Studio: international art (26.1902)

Studio- Talk

long been striving to find an ideal ex-
pression for the spirit of the day, and
that they have at last succeeded no true
judge can deny; although it must be
admitted that success has been won at
the cost, in some cases, of technical ex-
cellence. For this reason young artists
are wise in going back, as it were, to
the very beginning, mastering once more
the very rudiments of art, winning tech-
nical skill to begin with, so that they may
have in their power a language worthy to
express the ideal. By this means alone
can the best results be obtained; for no
genius, however great, can exempt its
fortunate possessor from the necessity of
acquiring technical skill. Amongst those
who at the present time best exemplify
in their work their conviction of this
incontrovertible truth, very first rank
must be given to Leo Putz, who delights
in painting in a low key subjects bathed
in mellow sunshine, his landscapes being
characterised by their freshness and the
boldness of their effects. Second only to
him is Rudolf Nisszl, who, when he is
interpreting natural scenery, shows a

. ., ... . PORTRAIT OF " IK MARVEL BY GARI MELCHERS

similar preference for quiet tones and (See Philadelphia Studio-Talk)
for broad daylight, but when he turns
to portraiture, notably in the likeness

of himself, is less successful, for his execution senting, with great succesf, a moonlight scene in

is heavy and his colouring decidedly gloomy. early spring. Of the older members of the

Another distinguished landscapist is Richard Society, Benno Becker, Baron Habermar.n, and

Kaiser, who, with the simplest means, such as Fritz von Uhde, were represented by characteristic

a mere strip of country with lofty trees beneath work,
a wide - spreading sky, produces a wonderful

impression of the beauty and force of nature. Last year the Luitpold group was conspicuous for

Hermann Groeber and Karl Kernstock also its absence at the Spring Exhibitions. This year,

deserve considerable credit for their masterly however, it reappeared at the Heinemann Society;

landscapes with figures, which are remarkable and, as is the case with the contemporary Secession

for breadth of treatment and richness of Society, the younger men were allowed to take

colouring. precedence of the older masters. The Luitpold

group may perhaps be said to hold a position

The Dachau and Zugel groups which have as a between the Secession and the Society of Artists :

rule hitherto taken the lead in the Spring Exhibitions that is to say, it forms a kind of link between the

of the Secession Society, were this year less prominent old and new, the past and the present. The Spring

than usual; but there were some excellent paintings Exhibition reflected what may be called the

by Hayeck, Schramm, ZitUu, and Behrendt. A transitional character of the art of the actual present,

series of views taken at Dordrecht by F. Hummel and there was no very strongly marked individuality

are also interesting and the effects of mist are full of about any of the paintings shown. There was, in

poetry, but they are rather too sketchy to be looked fact, nothing to call for very severe censure or for

upon as serious pictures. Amongst the four out- very decided praise, and the spectator left the

siders who exhibited this season, Ludwig Dettmann show with an unsatisfied feeling which was akin to

won distinction by an excellent landscape repre- annoyance. The most interesting thing there was
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