DOI Heft:
No. 110 (May, 1902)
DOI Artikel:Singer, Hans Wolfgang: A German painter: Robert Sterl
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.19875#0253
Robert Sterl
settled in its capital, Dresden. Yet it only houses meadow that lies in the shadow of a dark forest in
him for about half the year—the winter season, the middle distance. As the setting sun (not visible
during which he spends a considerable time teach- itself) is behind this forest, this, too, presents
ing classes. Half his interests are centred in to our eye a sombre, quiet silhouette. But
Hessia, and he feels drawn to that soil as another beyond and below it in the perspective the last
would to his native country. Repeated sketch- golden rays fall upon some distant trees that are
ing tours thither with friends have made him lighted up in a blaze and form a most telling
enamoured of those parts, and at last he built contrast to the subdued quiet of all the fore-
himself a small house there, merely a studio and ground and middle distance.
a couple of rooms, at Winninghausen, two hours Another large painting is an excellent attempt
from the next railroad station, three from Frankfort- at a most difficult undertaking—that of painting
on-the-Main. To spend a season so far removed darkness. Farm hands are at work with some
from all comfort is a tax upon almost anyone, but sort of a wagon, long after sundown, when the
the past summer—with its splendid percentage of cloak of black night has already almost covered
fine days—well repaid him with its opportunities of the earth. I have seldom seen a picture of this
work for any inconveniences he may have had to subject so excellently done. Just as we, in
suffer. It was the first summer he has spent altogether nature, recognise objects when it has turned
at Winninghausen, and it was a most fruitful one. dark only very gradually, so we do in this picture.
Taken altogether, his love of simplicity and his Unfortunately it offers insurmountable difficulties
selection as to form still hold good, but he has to the photographer, but the crayon sketch here
learned to take more delight in colour. What his reproduced will indicate in what direclion the
landscape art may have lost in refined harmony it has virtues of the painting lie.
gained in freshness. There
are delightful sketches of
juicy green meadows,
watered by glittering
brooks against a bright
blue sky, among this last
year's work. Confronted
so much during the height
of summer with a luxurious
bit of country, he has been
attracted more than
formerly by problems ol
intense sunlight. The
labourer, for example,
seated at the brink of a
clay pit, was painted in
full midsummer sun ; the
sketch is glaring with reds
and yellows, and one of
the most powerful present-
ations of sunshine imagin-
able. This is but a
sketch, to be utilised in
some future painting.
Among the finished paint-
ings with a similar pro-
blem, there is a specially
fascinating one called the
Return from the Field. A
farmer, his wife and a child
are returning home from
their day's work across a "mowers" by rohert sterl
settled in its capital, Dresden. Yet it only houses meadow that lies in the shadow of a dark forest in
him for about half the year—the winter season, the middle distance. As the setting sun (not visible
during which he spends a considerable time teach- itself) is behind this forest, this, too, presents
ing classes. Half his interests are centred in to our eye a sombre, quiet silhouette. But
Hessia, and he feels drawn to that soil as another beyond and below it in the perspective the last
would to his native country. Repeated sketch- golden rays fall upon some distant trees that are
ing tours thither with friends have made him lighted up in a blaze and form a most telling
enamoured of those parts, and at last he built contrast to the subdued quiet of all the fore-
himself a small house there, merely a studio and ground and middle distance.
a couple of rooms, at Winninghausen, two hours Another large painting is an excellent attempt
from the next railroad station, three from Frankfort- at a most difficult undertaking—that of painting
on-the-Main. To spend a season so far removed darkness. Farm hands are at work with some
from all comfort is a tax upon almost anyone, but sort of a wagon, long after sundown, when the
the past summer—with its splendid percentage of cloak of black night has already almost covered
fine days—well repaid him with its opportunities of the earth. I have seldom seen a picture of this
work for any inconveniences he may have had to subject so excellently done. Just as we, in
suffer. It was the first summer he has spent altogether nature, recognise objects when it has turned
at Winninghausen, and it was a most fruitful one. dark only very gradually, so we do in this picture.
Taken altogether, his love of simplicity and his Unfortunately it offers insurmountable difficulties
selection as to form still hold good, but he has to the photographer, but the crayon sketch here
learned to take more delight in colour. What his reproduced will indicate in what direclion the
landscape art may have lost in refined harmony it has virtues of the painting lie.
gained in freshness. There
are delightful sketches of
juicy green meadows,
watered by glittering
brooks against a bright
blue sky, among this last
year's work. Confronted
so much during the height
of summer with a luxurious
bit of country, he has been
attracted more than
formerly by problems ol
intense sunlight. The
labourer, for example,
seated at the brink of a
clay pit, was painted in
full midsummer sun ; the
sketch is glaring with reds
and yellows, and one of
the most powerful present-
ations of sunshine imagin-
able. This is but a
sketch, to be utilised in
some future painting.
Among the finished paint-
ings with a similar pro-
blem, there is a specially
fascinating one called the
Return from the Field. A
farmer, his wife and a child
are returning home from
their day's work across a "mowers" by rohert sterl