DOI issue:
Nr. 115 (October 1902)
DOI article:Studio-talk
DOI Page / Citation link:https://doi.org/10.11588/diglit.19877#0074
Studio-Talk
beauties. He is a realist, sees nature in a healthy Paris he obtained the Medal ot Honour in the
way, and interprets it without formulas ; his palette American Section. F. L.
is sober, pure in tones, with marked intensities of
colour. Expressive, frank, intimate and commu- I ~V ERLIN.—Germans have ever been noted
nicative, he is at once a humanist, a poet, and a I—^ f°r their tendency to split up into
psychologist. His technique is based on well-tested \ factions, and a spirit of breaking from
principles, on the logic of classicism deduced from parties into particles is so extensively
the assiduous study of the old Flemish masters. at work that in matters political the unity of
- English party-spirit is often held up as a model by
Albert Lynch is a member of the Societe des superiors to the citizens of the Fatherland. In
Artistes Francais, a Knight of the Legion of matters artistic we find this self-same readiness to
Honour, and in the last great International drift away from common objects of interest. The
" Concours de Peinture" at the Exhibition in mere outward observer is, in cases of this kind,
generally annoyed at each new artists' squabble;
it is troublesome to try and remember another
series of names and to catch the current
phrases of some new artistic programme.
Some feeling of this kind was alive among
the art connoisseurs of West Berlin, when in
the course of last winter there arose a kind
of secession from the Secession. It was quite
enough to have to visit and remember a
big official Berlin Exhibition, a Secession, and
half-a-dozen Kunst-Salons ! Take into the
bargain the whole of the museums and you
might reasonably consider the two millions of
Berliners sufficiently supplied with artistic
interest, with material for education in art,
that famous " Kunsterziehung," which is caus-
ing so much stir! Nevertheless, there was
this group of discontented artists who made
Carl Langhammer their speaker. They accused
the Great Berliner, the official exhibition, of
bad hanging, the Secession of favouritism to
outlanders, and, above all, of making the
public believe that every single Manet is
a good Manet, whereas to the real con-
noisseur there exists a difference between a
good Manet and a bad one, between a Lieber-
mann that was influenced by Israels, and a
Liebermann of the day when that chieftain of
Berlin art chose to take Manet for a guide;
that they tried to make people forget it
was not sufficient for Leistikow to be some-
times a real poet and sometimes rather a dry
schoolmaster, etc. Altogether, the squabble
resulted in this : that the jury of the Grosse
Berliner Kunstaustellung gave the seceded
Secessionists leave to have a jury of their
own and do their own hanging in a large room
allotted to them. The result is doubtless most
interesting as far as the question of hanging
goes, notwithstanding the fact that the jury
a portrait by a. lynch of the Grosse Berliner made hanging their
62
1
beauties. He is a realist, sees nature in a healthy Paris he obtained the Medal ot Honour in the
way, and interprets it without formulas ; his palette American Section. F. L.
is sober, pure in tones, with marked intensities of
colour. Expressive, frank, intimate and commu- I ~V ERLIN.—Germans have ever been noted
nicative, he is at once a humanist, a poet, and a I—^ f°r their tendency to split up into
psychologist. His technique is based on well-tested \ factions, and a spirit of breaking from
principles, on the logic of classicism deduced from parties into particles is so extensively
the assiduous study of the old Flemish masters. at work that in matters political the unity of
- English party-spirit is often held up as a model by
Albert Lynch is a member of the Societe des superiors to the citizens of the Fatherland. In
Artistes Francais, a Knight of the Legion of matters artistic we find this self-same readiness to
Honour, and in the last great International drift away from common objects of interest. The
" Concours de Peinture" at the Exhibition in mere outward observer is, in cases of this kind,
generally annoyed at each new artists' squabble;
it is troublesome to try and remember another
series of names and to catch the current
phrases of some new artistic programme.
Some feeling of this kind was alive among
the art connoisseurs of West Berlin, when in
the course of last winter there arose a kind
of secession from the Secession. It was quite
enough to have to visit and remember a
big official Berlin Exhibition, a Secession, and
half-a-dozen Kunst-Salons ! Take into the
bargain the whole of the museums and you
might reasonably consider the two millions of
Berliners sufficiently supplied with artistic
interest, with material for education in art,
that famous " Kunsterziehung," which is caus-
ing so much stir! Nevertheless, there was
this group of discontented artists who made
Carl Langhammer their speaker. They accused
the Great Berliner, the official exhibition, of
bad hanging, the Secession of favouritism to
outlanders, and, above all, of making the
public believe that every single Manet is
a good Manet, whereas to the real con-
noisseur there exists a difference between a
good Manet and a bad one, between a Lieber-
mann that was influenced by Israels, and a
Liebermann of the day when that chieftain of
Berlin art chose to take Manet for a guide;
that they tried to make people forget it
was not sufficient for Leistikow to be some-
times a real poet and sometimes rather a dry
schoolmaster, etc. Altogether, the squabble
resulted in this : that the jury of the Grosse
Berliner Kunstaustellung gave the seceded
Secessionists leave to have a jury of their
own and do their own hanging in a large room
allotted to them. The result is doubtless most
interesting as far as the question of hanging
goes, notwithstanding the fact that the jury
a portrait by a. lynch of the Grosse Berliner made hanging their
62
1