DOI Heft:
Nr. 115 (October 1902)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.19877#0076
Studio- Talk
even in this work that suspicion of acrobatic ten- purity of light, to the everlasting beauty of the sky
dency so often fatal to a woman's art. Its presence lingers in it, blended with a sense of humour that
somehow serves to bring out more clearly the can afford to smile at the shortcomings of human
athletic strength of Looschen's Ramseskopf. nature and perhaps even at some imperfections of
his own. This it is that guards him against the
all too common fault of attempting achievements
The most naturalistic of the group of artists, but beyond his strength.
not the least poetic, is Richard Friese, who, in his _
interpretations of Polar life, manages to strike
an individual note akin to the best of his pre- In his landscape Nach So/inenuntergang, the
decessors, and yet brimful of a life of its own. chief interest lies in the struggling of the lights of a
The work of interpreting Nature to the population steamer and of two windows against the last rays
of large cities is also being undertaken by Victor of the sunset; and to any close observer and lover
Freudemann, who revels in colour, and weaves the of Nature the way he grapples with this difficult
beauties of Nature into dreamy and fanciful visions, problem, and victoriously solves it, will always be
Franz Lippisch, on the other hand, displays an remembered on account of the masterly manner in
almost maidenly shyness in dealing with the which he has gained success where so many others
mysteries of Nature. Oscar Frenzel and Carl have signally failed. L. H.
Langhammer are known
to the readers of The
Studio already. Frenzel
was a great favourite
with visitors to last
year's Secession. He is
decidedly a "quietist,"
personifying an absolute
abandonment to Nature's
charm, mixed with just a
trifle of that sentimentality
which is an ingredient
of the average Berliner's
temperament, notwith-
standing, or perhaps on
account of, his satirical
inclinations. If there be
such a thing as a migra-
tion of artistic fluid from
one branch of produc-
tion to another, then
Carl Langhammer is the
continuance of Theodore
Fontane, that essentially
Prussian romancer of the
nineteenth century, who
discovered the charm of
the Markish landscape, the
environment of Berlin for
the Berliner. There is all
Fontane's conscious cling-
ing to the native soil in
Langhammer's work, and
at the same time a desire
to push onward; a feeling „
r ° "IM WASCHHAUS BY PAUL HOENIGER
of being related to the (Photograph by Hermann Boll)
64
even in this work that suspicion of acrobatic ten- purity of light, to the everlasting beauty of the sky
dency so often fatal to a woman's art. Its presence lingers in it, blended with a sense of humour that
somehow serves to bring out more clearly the can afford to smile at the shortcomings of human
athletic strength of Looschen's Ramseskopf. nature and perhaps even at some imperfections of
his own. This it is that guards him against the
all too common fault of attempting achievements
The most naturalistic of the group of artists, but beyond his strength.
not the least poetic, is Richard Friese, who, in his _
interpretations of Polar life, manages to strike
an individual note akin to the best of his pre- In his landscape Nach So/inenuntergang, the
decessors, and yet brimful of a life of its own. chief interest lies in the struggling of the lights of a
The work of interpreting Nature to the population steamer and of two windows against the last rays
of large cities is also being undertaken by Victor of the sunset; and to any close observer and lover
Freudemann, who revels in colour, and weaves the of Nature the way he grapples with this difficult
beauties of Nature into dreamy and fanciful visions, problem, and victoriously solves it, will always be
Franz Lippisch, on the other hand, displays an remembered on account of the masterly manner in
almost maidenly shyness in dealing with the which he has gained success where so many others
mysteries of Nature. Oscar Frenzel and Carl have signally failed. L. H.
Langhammer are known
to the readers of The
Studio already. Frenzel
was a great favourite
with visitors to last
year's Secession. He is
decidedly a "quietist,"
personifying an absolute
abandonment to Nature's
charm, mixed with just a
trifle of that sentimentality
which is an ingredient
of the average Berliner's
temperament, notwith-
standing, or perhaps on
account of, his satirical
inclinations. If there be
such a thing as a migra-
tion of artistic fluid from
one branch of produc-
tion to another, then
Carl Langhammer is the
continuance of Theodore
Fontane, that essentially
Prussian romancer of the
nineteenth century, who
discovered the charm of
the Markish landscape, the
environment of Berlin for
the Berliner. There is all
Fontane's conscious cling-
ing to the native soil in
Langhammer's work, and
at the same time a desire
to push onward; a feeling „
r ° "IM WASCHHAUS BY PAUL HOENIGER
of being related to the (Photograph by Hermann Boll)
64