Studio: international art (25.1902)

Studio- Talk

fifteenth and sixteenth cen-
turies, yet without assuming
on that account an artificial
or unreal primitiveness.
The most eminent among
the older artists showing
this tendency is Karl
Haider; while of the
younger artists, Edmund
Steppes has done much
beautiful work. Haider,
Hans Thoma, and the
little - known, but capable,
Anton Lang have taught
and impelled him ; like
them, he rarely creates his
pictures in the open, but
develops them from the
„„„„,,„„ rich stores of his memory,

RABBITS BY W. GEFFCKEN , J

which he supports and
nourishes by careful study

duction is now given. Therese Weber was already and close observation. Thus, his best works
an able artist, complete in her technical education, possess the freshness of poetical inspiration, and,
when she came to Dachau to study
under Hoelzel. Formerly she was satis-
fied with reproducing faithfully the rich
coloured landscapes of Upper Bavaria;
but at Dachau she learned to interpret
the aspects of Nature more freely and
more artistically, to transform and
simplify her motives into broad, sub-
dued schemes of composition, and to
temper and combine her colours into
one noble, harmonious key. Reproduc-
tions of paintings produced on such
principles naturally lose very much of the
beauty and charm of the original; yet
the reproduction of the painting Sommer,
the prevailing tone of which is a fresh,
and at the same time very quiet green,
will give an idea of the style generally
affected by the New Dachauer School: a
thick clump of trees, the silhouette of
which stands out softly yet clearly against
the atmosphere; a level, but somewhat
broken soil; a piece of water, reflecting
the colours of the clouds and trees still
more quietly and more profoundly.

While the "New Dachauer" artists
owe much to the influence of the modern
Scottish School, there are in Munich a
few landscape painters who still sit at the
feet of the old German masters of the
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