DOI Heft:
Nr. 118 (January 1903)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.19877#0317
Studio- Talk
very remarkable works, on which I have not space
to dwell more particularly to-day, to my regret, for
his gifts of insight and execution combine to
admirable effect.
H. F.
BERLIN.—The season of the Berlin
Salons opened with good average
shows, but without any particular
artistic features. Schulte's Salon was
filled with pictures by Swedish painters. There
was, besides, a decidedly striking portrait by Ernst
von Flotow-Greessow, a young German artist (a
pupil of Carl Marr), who appears likely to follow
a line of his own. His portrait of a Russian
gentleman betrays a resolute hand in grappling
with his subject, as well as original powers
of observation. At Cassirer's we have had some
work by Josef Israels and a number of exquisite
examples of Japanese applied art. At Keller and
Reiners' we have had a painted reproduction of a
room fitted by Melchior Lechter at Cologne—one
more of that artist's attempts to put into colour
Wagner's music. Interesting and decidedly original
as they may be, to the genuine lover of Wagner
they appear somewhat weak, notwithstanding the
unconventional effects obtained by the artist in
his composition of groups of figures. Somehow
it would seem as if there was less backbone in
Lechter than in Wagner. Lechter's work subse-
quently made room for Klinger's Beethoven, the
work that has aroused many differences of opinion
amongst critics in Austria and Germany. As always
with Klinger, the giant, there is a conflict of
Klinger the philosopher and Klinger the artist.
Then, again, the artist in him is half-sculptor, half-
painter.
The artistic presentation of any complex con-
ception such as this will always show some
parts that to the superficial art amateur appears
merely "ugly." This, perhaps, is the reason of
the divided feeling of the public concerning the
Beethoven. L. H.
MUNICH.—An exhibition is
now open in the Print-
room of the Old Pina-
kothek, of the works of
Emil Lugo. This artist, who was born
near Konstanz, in Baden, died on the
4th of June last. He was one of
the originators of the " Secession "
in Munich, though his training, under
Schirmer and Preller, a yet older man,
would have led us to expect of him
anything rather than an ultra-modern
development. And, in fact, Lugo
never adopted the fashion in art set
by the Secessionists; he always went
quietly on in his own way, and finally
reached a stage much akin to that
where Thoma has taken his stand.
Landscape was the principal object of
his study. Whenever he introduced
figures into his primaeval forests or
solitary country scenes, or tried to
suggest the poetic affinities of man
and nature, not only was he far in-
ferior to Thoma, but he did not
come up to his own artistic standard.
This exhibition gives an interesting
view of his development; shows that
he gradually advanced from laborious
transcripts of nature to full mastery of
natural form ; and, after evident striving
3°3
very remarkable works, on which I have not space
to dwell more particularly to-day, to my regret, for
his gifts of insight and execution combine to
admirable effect.
H. F.
BERLIN.—The season of the Berlin
Salons opened with good average
shows, but without any particular
artistic features. Schulte's Salon was
filled with pictures by Swedish painters. There
was, besides, a decidedly striking portrait by Ernst
von Flotow-Greessow, a young German artist (a
pupil of Carl Marr), who appears likely to follow
a line of his own. His portrait of a Russian
gentleman betrays a resolute hand in grappling
with his subject, as well as original powers
of observation. At Cassirer's we have had some
work by Josef Israels and a number of exquisite
examples of Japanese applied art. At Keller and
Reiners' we have had a painted reproduction of a
room fitted by Melchior Lechter at Cologne—one
more of that artist's attempts to put into colour
Wagner's music. Interesting and decidedly original
as they may be, to the genuine lover of Wagner
they appear somewhat weak, notwithstanding the
unconventional effects obtained by the artist in
his composition of groups of figures. Somehow
it would seem as if there was less backbone in
Lechter than in Wagner. Lechter's work subse-
quently made room for Klinger's Beethoven, the
work that has aroused many differences of opinion
amongst critics in Austria and Germany. As always
with Klinger, the giant, there is a conflict of
Klinger the philosopher and Klinger the artist.
Then, again, the artist in him is half-sculptor, half-
painter.
The artistic presentation of any complex con-
ception such as this will always show some
parts that to the superficial art amateur appears
merely "ugly." This, perhaps, is the reason of
the divided feeling of the public concerning the
Beethoven. L. H.
MUNICH.—An exhibition is
now open in the Print-
room of the Old Pina-
kothek, of the works of
Emil Lugo. This artist, who was born
near Konstanz, in Baden, died on the
4th of June last. He was one of
the originators of the " Secession "
in Munich, though his training, under
Schirmer and Preller, a yet older man,
would have led us to expect of him
anything rather than an ultra-modern
development. And, in fact, Lugo
never adopted the fashion in art set
by the Secessionists; he always went
quietly on in his own way, and finally
reached a stage much akin to that
where Thoma has taken his stand.
Landscape was the principal object of
his study. Whenever he introduced
figures into his primaeval forests or
solitary country scenes, or tried to
suggest the poetic affinities of man
and nature, not only was he far in-
ferior to Thoma, but he did not
come up to his own artistic standard.
This exhibition gives an interesting
view of his development; shows that
he gradually advanced from laborious
transcripts of nature to full mastery of
natural form ; and, after evident striving
3°3