DOI Heft:
Nr. 101 (August 1901)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.19788#0248
Studio- Talk
Schramm-Zittau, and R. Winternitz, who hold
their own worthily side by side with such famous
names as those of Uhde, Stack, Ziigel, Tooby,
Habermann, and Schlittgen.
Hans von Volkmann apart, Hans Thoma is
the only artist to send a large collection of
mostly new works from Karlsruhe. Stuttgart,
on the other hand, is well represented by Graf
von Kalckreuth, Carl Reiniger (the landscape
painter), and Carlos Grethe (the marine painter),
who is steadily coming to the front.
As for the foreigners, they include the inimitable
Besnard, Chudant, Blanche d'Espagnat, Guillaumin,
Camille Pissarro, Raffaelli, Schuffenecker, Forain,
Lucien Simon, Marie Slavona, and Toulouse-
Lautrec—to name the Parisians first. From
England we have Cameron, Neven Dumont,
Will Rothenstein, Georg Sauter, and Grosvenor
Thomas. Very interesting is the collection of
the Norwegian painter, Erik Werenskiold, and
the masterly interiors of the Swedish artist, Anders
Zorn, are also to be noted. The Belgian plein-
airiste, Emile Claus, reveals himself here in a
new role, as a portrait-painter. The Secession is
also to be congratulated on having secured the
co-operation of that individual Russian painter,
Constantin Somoff, who sends three bold and
essentially modern pictures.
Rodin dominates the sculpture gallery with
seven of his ever delicate and original works.
Charpentier is represented by a collection of his
delightful plaquettes. August Gaul exhibits
several splendid animal studies, which, particu-
larly in the case of his bronze lioness, unite the
best characteristics of ancient and modern sculp-
ture. The Diana of George Wrba, a Bohemian
settled in Munich, is a fine example of bronze
work. L. R.
SWITZERLAND.—A short time ago it was
our sad duty to chronicle the death of
Arnold Bcecklin. That great Swiss master
had attained old age, and was as fruit
ripe for the Gatherer's hand. To-day Switzerland
is lamenting the loss of Boecklin's favourite pupil,
Hans Sandreuter, cut off in the prime of his life
and in the plenitude of his artistic activity and
promise.
There were strong affinities between these two
men. They were both vigorous specimens of the
old Swiss type that, alas! is beginning to dis-
appear before the invading cosmopolitan ten-
dencies. Hans Sandreuter was born at Basel on
May nth, 1850. Though we find him feeling the
way to his vocation first at Wiirzburgh, then at
Verona, and later on in the studio of Carillo at
Naples, it was not until he met Bcecklin at Munich
in 1873 that he came to the clear consciousness of
his artistic possibilities. It has been said with
truth that, like his master, " he was alive to the
significance of symbol, disdainful of academic
elegancies, enamoured of brilliant colour, possessed
of a certain fund of romantic lyricism, sometimes
allying itself to that passion for the grotesque
which is perhaps one of the distinctive char-
acteristics of the German-Swiss mind." This
said, it is not difficult to realise how the pupil
was drawn to the master, and how he found in
Boecklin's teaching and work the needed stimulus
to the development of his own nascent gifts. In
1875 he went with Bcecklin to Florence, where the
passion for Italian art and landscape, awakened
in him during his former visit, was deepened and
intensified. Though, later on, he spent three
years in Paris, it was to Italy and to his native
land that he turned for inspiration, and we find
him at length silently working at the realisation
of his artistic ideals in the city of his birth and
in that beautiful home at Riehen, which he em-
bellished with his own hands, and where he died
on June 1st of the present year.
Hans Sandreuter's conception of the dignity of
the artist's vocation is succinctly expressed in a
letter he addressed on one occasion to the editor
of "La Patrie Suisse": "A painter should only
speak through his works. To those who under-
stand him there is no need of other eloquence."
And one of the chief merits of this artist's work is
that, reminiscent as it is of Bcecklin, it is no mere
echo, but the sincere expression of a strong and
vital artistic personality. In his Fontaine de
Jouvence, Dolce far niente, La Porte du Paradis,
and the beautiful Idylle Estivale, he has brought
the same absolute sincerity, the same wealth of
imaginative feeling and conception to the treatment
of symbolic and idyllic subjects, with a success
that leaves little to be desired. His Swiss landscapes
reveal an exquisite sensitiveness to the character
of those quieter aspects of the natural beauty of
this land that escape many painters.
Hans Sandreuter had the Renaissance conception
of the largeness of the artist's vocation, and turned
219
Schramm-Zittau, and R. Winternitz, who hold
their own worthily side by side with such famous
names as those of Uhde, Stack, Ziigel, Tooby,
Habermann, and Schlittgen.
Hans von Volkmann apart, Hans Thoma is
the only artist to send a large collection of
mostly new works from Karlsruhe. Stuttgart,
on the other hand, is well represented by Graf
von Kalckreuth, Carl Reiniger (the landscape
painter), and Carlos Grethe (the marine painter),
who is steadily coming to the front.
As for the foreigners, they include the inimitable
Besnard, Chudant, Blanche d'Espagnat, Guillaumin,
Camille Pissarro, Raffaelli, Schuffenecker, Forain,
Lucien Simon, Marie Slavona, and Toulouse-
Lautrec—to name the Parisians first. From
England we have Cameron, Neven Dumont,
Will Rothenstein, Georg Sauter, and Grosvenor
Thomas. Very interesting is the collection of
the Norwegian painter, Erik Werenskiold, and
the masterly interiors of the Swedish artist, Anders
Zorn, are also to be noted. The Belgian plein-
airiste, Emile Claus, reveals himself here in a
new role, as a portrait-painter. The Secession is
also to be congratulated on having secured the
co-operation of that individual Russian painter,
Constantin Somoff, who sends three bold and
essentially modern pictures.
Rodin dominates the sculpture gallery with
seven of his ever delicate and original works.
Charpentier is represented by a collection of his
delightful plaquettes. August Gaul exhibits
several splendid animal studies, which, particu-
larly in the case of his bronze lioness, unite the
best characteristics of ancient and modern sculp-
ture. The Diana of George Wrba, a Bohemian
settled in Munich, is a fine example of bronze
work. L. R.
SWITZERLAND.—A short time ago it was
our sad duty to chronicle the death of
Arnold Bcecklin. That great Swiss master
had attained old age, and was as fruit
ripe for the Gatherer's hand. To-day Switzerland
is lamenting the loss of Boecklin's favourite pupil,
Hans Sandreuter, cut off in the prime of his life
and in the plenitude of his artistic activity and
promise.
There were strong affinities between these two
men. They were both vigorous specimens of the
old Swiss type that, alas! is beginning to dis-
appear before the invading cosmopolitan ten-
dencies. Hans Sandreuter was born at Basel on
May nth, 1850. Though we find him feeling the
way to his vocation first at Wiirzburgh, then at
Verona, and later on in the studio of Carillo at
Naples, it was not until he met Bcecklin at Munich
in 1873 that he came to the clear consciousness of
his artistic possibilities. It has been said with
truth that, like his master, " he was alive to the
significance of symbol, disdainful of academic
elegancies, enamoured of brilliant colour, possessed
of a certain fund of romantic lyricism, sometimes
allying itself to that passion for the grotesque
which is perhaps one of the distinctive char-
acteristics of the German-Swiss mind." This
said, it is not difficult to realise how the pupil
was drawn to the master, and how he found in
Boecklin's teaching and work the needed stimulus
to the development of his own nascent gifts. In
1875 he went with Bcecklin to Florence, where the
passion for Italian art and landscape, awakened
in him during his former visit, was deepened and
intensified. Though, later on, he spent three
years in Paris, it was to Italy and to his native
land that he turned for inspiration, and we find
him at length silently working at the realisation
of his artistic ideals in the city of his birth and
in that beautiful home at Riehen, which he em-
bellished with his own hands, and where he died
on June 1st of the present year.
Hans Sandreuter's conception of the dignity of
the artist's vocation is succinctly expressed in a
letter he addressed on one occasion to the editor
of "La Patrie Suisse": "A painter should only
speak through his works. To those who under-
stand him there is no need of other eloquence."
And one of the chief merits of this artist's work is
that, reminiscent as it is of Bcecklin, it is no mere
echo, but the sincere expression of a strong and
vital artistic personality. In his Fontaine de
Jouvence, Dolce far niente, La Porte du Paradis,
and the beautiful Idylle Estivale, he has brought
the same absolute sincerity, the same wealth of
imaginative feeling and conception to the treatment
of symbolic and idyllic subjects, with a success
that leaves little to be desired. His Swiss landscapes
reveal an exquisite sensitiveness to the character
of those quieter aspects of the natural beauty of
this land that escape many painters.
Hans Sandreuter had the Renaissance conception
of the largeness of the artist's vocation, and turned
219