DOI Heft:
Nr. 102 (Septembre 1901)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.19788#0327
Studio-Talk
could in any way detract from it.
Throughout his eminently successful
career Herman Grimm maintained this
position without flinching, winning for
himself many an appreciative admirer
outside what so often becomes a narrow
literary clique. His spoken words,
which were so often eagerly listened to
by the University students of Germany,
did much to spread the love of art
and to awaken interest in subjects con-
nected with it. His influence will, we
have no doubt, live long, for it will be
kept active by his literary works, which,
full as they are of true romance, the
outcome of an imagination thoroughly
in touch with the past, have about them
in the beginning of this new century
something which may perhaps be called
almost anachronistic.
MONUMENT TO THE POET VAJDA BY GYULA DONATH
On the very day when Grimm passed
away, the huge monument erected oppo-
site the Reichstag at Berlin to the
memory of Prince Bismarck was un-
veiled in the presence of an immense
and sympathetic crowd of spectators.
Unfortunately it is impossible to feel
that this gigantic example of modern
German sculpture is altogether satis-
factory. No little courage must have
been needed to undertake it, and there
is no doubt that the famous artist
Reinhold Begas, who is now nearly
seventy years old, has displayed rare
The two canvases by Bocklin, belonging to the technical skill, and that there is about his work
sculptor Kopf, are the chief adornment of his no little character and dash; but something more
Ancient and Modern gallery. The artists were on than such qualities as these is needed to ensure
the most cordial terms, as Kopf plainly shows in the spiritual force, the ideal dignity which should
his valuable memoir. characterise a theme such as that he had to
- treat. There are, in fact, certain weaknesses
Bocklin did a portrait of Kopf in 1863—a clear, about the figure of the Chancellor which no
fresh work, simply modelled in the style of Holbein allegorical setting can disguise. Future historians
—and even at this length of time the resemblance will know how to value this monument, the
is remarkable. The other painting is a small expression of the homage rendered by the German
landscape, done in 1866, and resembling Corot at people to one of their greatest men, and writers
his best. on modern art will, perforce, refer to it on account
of its huge proportions ; but they cannot fail at
BERLIN. — By the death ot Herman the same time to comment upon the contrast
Grimm, who was as much appreciated between the amount of material employed and
in England as in his native land, all the artistic effect produced, especially if they
artists and lovers of art have lost a compare it with Schluter's monument to the great
true friend, one whose simple-hearted delight in Chancellor or other works of a similar stamp,
the beautiful led him to ignore everything which L. K.
291
could in any way detract from it.
Throughout his eminently successful
career Herman Grimm maintained this
position without flinching, winning for
himself many an appreciative admirer
outside what so often becomes a narrow
literary clique. His spoken words,
which were so often eagerly listened to
by the University students of Germany,
did much to spread the love of art
and to awaken interest in subjects con-
nected with it. His influence will, we
have no doubt, live long, for it will be
kept active by his literary works, which,
full as they are of true romance, the
outcome of an imagination thoroughly
in touch with the past, have about them
in the beginning of this new century
something which may perhaps be called
almost anachronistic.
MONUMENT TO THE POET VAJDA BY GYULA DONATH
On the very day when Grimm passed
away, the huge monument erected oppo-
site the Reichstag at Berlin to the
memory of Prince Bismarck was un-
veiled in the presence of an immense
and sympathetic crowd of spectators.
Unfortunately it is impossible to feel
that this gigantic example of modern
German sculpture is altogether satis-
factory. No little courage must have
been needed to undertake it, and there
is no doubt that the famous artist
Reinhold Begas, who is now nearly
seventy years old, has displayed rare
The two canvases by Bocklin, belonging to the technical skill, and that there is about his work
sculptor Kopf, are the chief adornment of his no little character and dash; but something more
Ancient and Modern gallery. The artists were on than such qualities as these is needed to ensure
the most cordial terms, as Kopf plainly shows in the spiritual force, the ideal dignity which should
his valuable memoir. characterise a theme such as that he had to
- treat. There are, in fact, certain weaknesses
Bocklin did a portrait of Kopf in 1863—a clear, about the figure of the Chancellor which no
fresh work, simply modelled in the style of Holbein allegorical setting can disguise. Future historians
—and even at this length of time the resemblance will know how to value this monument, the
is remarkable. The other painting is a small expression of the homage rendered by the German
landscape, done in 1866, and resembling Corot at people to one of their greatest men, and writers
his best. on modern art will, perforce, refer to it on account
of its huge proportions ; but they cannot fail at
BERLIN. — By the death ot Herman the same time to comment upon the contrast
Grimm, who was as much appreciated between the amount of material employed and
in England as in his native land, all the artistic effect produced, especially if they
artists and lovers of art have lost a compare it with Schluter's monument to the great
true friend, one whose simple-hearted delight in Chancellor or other works of a similar stamp,
the beautiful led him to ignore everything which L. K.
291