DOI issue:
Nr. 115 (October 1902)
DOI article:Studio-talk
DOI Page / Citation link:https://doi.org/10.11588/diglit.19877#0080
Studio- Talk
In a hidden corner of
the old, dusty Glaspalast,
there blossoms, however,
like a spring flower among
the ruins of a mediaeval
castle, a curious young,
strange, and shining plant
—known as the " Miin-
chener Scholle." All good
art lovers bless this
precious shoot of a de-
caying tree of Munich
art. It is to-day our
sole joy, our sole hope.
However puny it may
be, it serves to compen-
sate us, in a manner,
for what we have lost,
perhaps for ever, in the
Secession. Like a family
which, having lost all its
"winter" by h. hoyek progeny except one little
grandson, guards this
remnant with all possible
Besides the young Secessionists there are the care and confidence, we group ourselves round
old ones, those renowned and honoured masters, the "Scholle," hoping that a benevolent Providence
who a decade since founded the modern Munich may permit it to grow and prosper.
school. It is not asserting too much to say that -
spiritually they have nearly spent themselves.
Not one of them has any new inspiration. If
they did not obtain such ridiculously high prices
they would have given up painting long ago, and
retired into private life. But it cannot be
denied that at present Munich pictures are
painted more delicately and more tastefully
than they were in the creative days of the
modern school. England and Scotland are the
ideals to which the school reverentially turns its
gaze. To be able to paint aristocratically, as
they do on the other side of the Channel,
is the highest hope of the modern Munich school,
suffering from its crude Bavarian methods.
In the Glaspalast, where the reactionary school
of painting has its headquarters, of course the
fashion of yesterday Still rules supreme. The
anecdotal picture, with the same repetitions
of the same humorous or sentimental motive,
in the same old glistening style, takes the largest
share of wall space in the sixty or so large
rooms of the building. Certainly, some progress
is observable; but Glaspalast painting has now
become mere opportunist work.
by hermann hahn
68
In a hidden corner of
the old, dusty Glaspalast,
there blossoms, however,
like a spring flower among
the ruins of a mediaeval
castle, a curious young,
strange, and shining plant
—known as the " Miin-
chener Scholle." All good
art lovers bless this
precious shoot of a de-
caying tree of Munich
art. It is to-day our
sole joy, our sole hope.
However puny it may
be, it serves to compen-
sate us, in a manner,
for what we have lost,
perhaps for ever, in the
Secession. Like a family
which, having lost all its
"winter" by h. hoyek progeny except one little
grandson, guards this
remnant with all possible
Besides the young Secessionists there are the care and confidence, we group ourselves round
old ones, those renowned and honoured masters, the "Scholle," hoping that a benevolent Providence
who a decade since founded the modern Munich may permit it to grow and prosper.
school. It is not asserting too much to say that -
spiritually they have nearly spent themselves.
Not one of them has any new inspiration. If
they did not obtain such ridiculously high prices
they would have given up painting long ago, and
retired into private life. But it cannot be
denied that at present Munich pictures are
painted more delicately and more tastefully
than they were in the creative days of the
modern school. England and Scotland are the
ideals to which the school reverentially turns its
gaze. To be able to paint aristocratically, as
they do on the other side of the Channel,
is the highest hope of the modern Munich school,
suffering from its crude Bavarian methods.
In the Glaspalast, where the reactionary school
of painting has its headquarters, of course the
fashion of yesterday Still rules supreme. The
anecdotal picture, with the same repetitions
of the same humorous or sentimental motive,
in the same old glistening style, takes the largest
share of wall space in the sixty or so large
rooms of the building. Certainly, some progress
is observable; but Glaspalast painting has now
become mere opportunist work.
by hermann hahn
68