DOI Heft:
Nr. 122 (May 1903)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.19878#0306
Studio- Talk
TEA ROOM DESIGNED BY LEOPOLD BAUER
Diisseldorf played in the development of German creators, also abound ; but there is, alas ! nothing
painting in the nineteenth century. Even now to justify a hope that all this industry and facility
the Academy of that city is one of the most will result in the development of any very great
important in Europe, and from it go forth very talent. The old doom which has so often over-
many students who, even if they are not original taken a school with very strong traditions of the
geniuses, have at least mastered the rudiments of past has fallen upon that now under notice; but at
their profession and have learnt how to draw. It the recent exhibition there were some few works
is especially noteworthy, moreover, that in spite of worthy of special examination, combining as they
the near neighbourhood of Diisseldorf to England, did the characteristics of the Diisseldorf School
France, and Belgium, its school has retained with a certain marked individuality of their own.
its individuality, and has never been affected by W. F.
the modern revolution in colouring, which has
been the most noteworthy feature of the painting "| >y RESDEN. — The accompanying illus-
of the present day. The chief aim of modern ; \ trations show a few specimens of
painters is, indeed, to express faithfully in colour, | ' W the "Dresden toys"—a new departure
with the aid of all the new technical skill recently ^ which, to a certain degree, returns to
acquired, the very impressions received by their old-time principles and usages. Pedagogically
trained eyesight and highly sensitive nerves. Of speaking, much is to be said against the modern
this kind of interpretation of nature there is nothing toys, that carry copying too far, and offer
to be seen in Diisseldorf. Italy is the promised almost exact reduced facsimiles of the objects of
land of the artists who aspire to it, and the colour- nature. I believe the inventors and makers of
ing of its landscapes has been transferred to German animals with real fur, and walking or speaking
canvases. Sweet-faced Madonnas and scenes of dolls, have, while they were producing these
family life, treated in the style of the old masters, marvels of skill, kept their own delight more in
are very popular. Genre pictures, anecdotal view than the wishes and demands of the little
subjects, portraits painted with great technical ones for whom ostensibly they are working,
skill but which betray the weariness of their Almost all our toys nowadays are not to be
294
TEA ROOM DESIGNED BY LEOPOLD BAUER
Diisseldorf played in the development of German creators, also abound ; but there is, alas ! nothing
painting in the nineteenth century. Even now to justify a hope that all this industry and facility
the Academy of that city is one of the most will result in the development of any very great
important in Europe, and from it go forth very talent. The old doom which has so often over-
many students who, even if they are not original taken a school with very strong traditions of the
geniuses, have at least mastered the rudiments of past has fallen upon that now under notice; but at
their profession and have learnt how to draw. It the recent exhibition there were some few works
is especially noteworthy, moreover, that in spite of worthy of special examination, combining as they
the near neighbourhood of Diisseldorf to England, did the characteristics of the Diisseldorf School
France, and Belgium, its school has retained with a certain marked individuality of their own.
its individuality, and has never been affected by W. F.
the modern revolution in colouring, which has
been the most noteworthy feature of the painting "| >y RESDEN. — The accompanying illus-
of the present day. The chief aim of modern ; \ trations show a few specimens of
painters is, indeed, to express faithfully in colour, | ' W the "Dresden toys"—a new departure
with the aid of all the new technical skill recently ^ which, to a certain degree, returns to
acquired, the very impressions received by their old-time principles and usages. Pedagogically
trained eyesight and highly sensitive nerves. Of speaking, much is to be said against the modern
this kind of interpretation of nature there is nothing toys, that carry copying too far, and offer
to be seen in Diisseldorf. Italy is the promised almost exact reduced facsimiles of the objects of
land of the artists who aspire to it, and the colour- nature. I believe the inventors and makers of
ing of its landscapes has been transferred to German animals with real fur, and walking or speaking
canvases. Sweet-faced Madonnas and scenes of dolls, have, while they were producing these
family life, treated in the style of the old masters, marvels of skill, kept their own delight more in
are very popular. Genre pictures, anecdotal view than the wishes and demands of the little
subjects, portraits painted with great technical ones for whom ostensibly they are working,
skill but which betray the weariness of their Almost all our toys nowadays are not to be
294