DOI issue:
No. 111 (June, 1902)
DOI article:Studio-talk
DOI Page / Citation link:https://doi.org/10.11588/diglit.19876#0078
Studio- Talk
KARLSRUHE. — The Karlsruhe Inter- last fifty years, the evolution of realism, particularly
national Jubilee Exhibition was opened realistic landscape, has been one of the most in-
by the Grand Duke of Baden on the teresting and instructive. But possibly with a view
25th of April. The dual object of the to making the exhibition more homogeneous and
organisers was to render homage to the Grand harmonious, the realists, as well as genre and
Duke, and to demonstrate how far the Fine Arts historical painters, are excluded. It cannot be
have developed in Baden during the fifty years of gainsaid that there is a distinct decorative advan-
his reign ; for it is due to his protection and interest tage in the absence of clashing elements ; still,
that Karlsruhe has developed into one of the however one may quarrel with the views of the
art centres of Europe. At the same time, by naturalists, a retrospective collection is incomplete
inviting foreign artists, an international character is without some samples of their aims,
given to the exhibition, enabling direct comparisons -
to be made, and establishing a standard for the The exhibition is a decorative success, bright
works produced in Karlsruhe. One looked in vain and interesting. The exterior is decorated in white
for some of the works of Lessing and Schirmer, the and gold ; the interior rooms, thirty in all, are
men who founded the Karlsruhe School, and so draped with low-toned jute of various colours, the
powerfully influenced the painters of their day; top lights screened with soft white material, and
and in a retrospective view of the changes of the the pictures hung with plenty of space about them.
There is a wealth of sculpture
in bronze, marble, and tinted
plaster; and coloured ceramics
by Lauger, Ratzel, and Siis,
add to the general sparkle.
The entrance cupola, deco-
rated in white and gold, and
hung with purple velvet, con-
tains the three colossal paint-
ings by Segantini, Sein,
Werden, and Verge hen and
Segantini's strong individu-
ality, his original and elaborate
technique, give the keynote
to the whole exhibition. The
most prominent place is taken
by Hans Thoma, with forty
works, most of them painted
in his best period, between
1880 and 1890. Three
of them can be reckoned
amongst his highest, Religious
Instruction, Paradise, and
the superb, golden - toned
Fishers. _
Schonleber sends nineteen
works, as interesting as the
work of nineteen different
men would be. Restraint
and delicacy of feeling char-
acterise all. His latest evolu-
tion will be watched with
A KITCHEN GARDEN" BY LAJOS DEAK-EBNER keen ^VeSt ; for he is
(See Budapest Studio-Talk) now painting small tempera
66
KARLSRUHE. — The Karlsruhe Inter- last fifty years, the evolution of realism, particularly
national Jubilee Exhibition was opened realistic landscape, has been one of the most in-
by the Grand Duke of Baden on the teresting and instructive. But possibly with a view
25th of April. The dual object of the to making the exhibition more homogeneous and
organisers was to render homage to the Grand harmonious, the realists, as well as genre and
Duke, and to demonstrate how far the Fine Arts historical painters, are excluded. It cannot be
have developed in Baden during the fifty years of gainsaid that there is a distinct decorative advan-
his reign ; for it is due to his protection and interest tage in the absence of clashing elements ; still,
that Karlsruhe has developed into one of the however one may quarrel with the views of the
art centres of Europe. At the same time, by naturalists, a retrospective collection is incomplete
inviting foreign artists, an international character is without some samples of their aims,
given to the exhibition, enabling direct comparisons -
to be made, and establishing a standard for the The exhibition is a decorative success, bright
works produced in Karlsruhe. One looked in vain and interesting. The exterior is decorated in white
for some of the works of Lessing and Schirmer, the and gold ; the interior rooms, thirty in all, are
men who founded the Karlsruhe School, and so draped with low-toned jute of various colours, the
powerfully influenced the painters of their day; top lights screened with soft white material, and
and in a retrospective view of the changes of the the pictures hung with plenty of space about them.
There is a wealth of sculpture
in bronze, marble, and tinted
plaster; and coloured ceramics
by Lauger, Ratzel, and Siis,
add to the general sparkle.
The entrance cupola, deco-
rated in white and gold, and
hung with purple velvet, con-
tains the three colossal paint-
ings by Segantini, Sein,
Werden, and Verge hen and
Segantini's strong individu-
ality, his original and elaborate
technique, give the keynote
to the whole exhibition. The
most prominent place is taken
by Hans Thoma, with forty
works, most of them painted
in his best period, between
1880 and 1890. Three
of them can be reckoned
amongst his highest, Religious
Instruction, Paradise, and
the superb, golden - toned
Fishers. _
Schonleber sends nineteen
works, as interesting as the
work of nineteen different
men would be. Restraint
and delicacy of feeling char-
acterise all. His latest evolu-
tion will be watched with
A KITCHEN GARDEN" BY LAJOS DEAK-EBNER keen ^VeSt ; for he is
(See Budapest Studio-Talk) now painting small tempera
66