DOI Heft:
No. 106 (January, 1902)
DOI Artikel:Fred, Alfred W.: The Darmstadt artists' colony
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.19874#0287
The Darmstadt Artists Colony
whether he applies his colour in true proportion ; building by the standard of a dwelling-house for a.
whether he does not neglect line and form in its bank official, a schoolmaster, or a subaltern officer,
favour. This appears to me to be the case in It is the house of a painter. Colour prevails every-
Professor Christiansen's house, the architect of
which is Professor Olbrich. I know very well
that the first objection to criticism in such a
case is this : We have built these houses for
ourselves, and we must be the final Court of
Appeal to decide the question whether they are
good—good for those immediately con-
cerned—or not. Now, this is at once true
and false. Every criticism is a judgment
of work and intention. The intention and
the result are weighed one against the other.
For my part, I am able to judge whether the
intention is good, and I am. able to strike a
balance and decide as to how far the intention
has been realised. The first point—the inten-
tion—must naturally be of secondary importance
in a critical report on the Exhibition Houses.
Everything turns on the second point — the
result.
It was the natural wish of the artist to arrange
his house for his special mode of living. I shall,
therefore, not think of judging Christiansen's decoration by ludwig habicbi
274
whether he applies his colour in true proportion ; building by the standard of a dwelling-house for a.
whether he does not neglect line and form in its bank official, a schoolmaster, or a subaltern officer,
favour. This appears to me to be the case in It is the house of a painter. Colour prevails every-
Professor Christiansen's house, the architect of
which is Professor Olbrich. I know very well
that the first objection to criticism in such a
case is this : We have built these houses for
ourselves, and we must be the final Court of
Appeal to decide the question whether they are
good—good for those immediately con-
cerned—or not. Now, this is at once true
and false. Every criticism is a judgment
of work and intention. The intention and
the result are weighed one against the other.
For my part, I am able to judge whether the
intention is good, and I am. able to strike a
balance and decide as to how far the intention
has been realised. The first point—the inten-
tion—must naturally be of secondary importance
in a critical report on the Exhibition Houses.
Everything turns on the second point — the
result.
It was the natural wish of the artist to arrange
his house for his special mode of living. I shall,
therefore, not think of judging Christiansen's decoration by ludwig habicbi
274