DOI Heft:
Nr. 122 (May 1903)
DOI Artikel:Reviews
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.19878#0315
Reviews
rebellion, teaches a lesson hard indeed to learn.
The numerous illustrations, from the author's own
hand, unfortunately scarcely rise above the level of
the commonplace, though they are no doubt of
interest to herself as mementoes of a restful time.
French Engravers and Draughtsmen of the Eigh-
teenth Century. By Lady Dilke. (London : Bell
& Sons.) 2%s. net.—The new volume by Lady
Dilke on the engravers and draughtsmen of the
century she has made so peculiarly her own in the
course of many years of arduous study, will, if
possible, take even higher rank -than its prede-
cessors, as a masterly and exhaustive resume of all
that is known on the subject of which it treats. It
appeals indeed to an even wider public than do
the volumes on painting, sculpture, architecture,
and furniture; for in the very nature of things the
connoisseurs who collect engravings are far more
numerous than those who make it their business to
accumulate works of art of any other kind. More-
over in judging of a print far more guidance is
needed than in assessing the value, for instance, of
a piece of furniture or a painting; so that the
numerous illustrations with which Lady Dilke's text
is illuminated, and which include examples of every
variety of style reproduced with infinite care, form
a perfect storehouse of information to the student.
As in her books on the painters and sculptors, and
in that on furniture and decoration, Lady Dilke
has managed to give a personal and individual
character to every section of her narrative, selecting
in each case some typical personality and grouping
about him his collaborateurs, patrons, and friends.
Lady Dilke speaks of this new volume as the last
of her long series, but she has not really even now
exhausted the period, and it is to be hoped that she
may yet resume her pen to review the characteristic
French bric-a-brac of the eighteenth century, such
as the snuff-boxes, fans, walking-sticks, etc., that
reflect even more distinctly than pictorial or plastic
art the passing phases of fashion so significant of
the years preceding the great upheaval of the
Revolution.
Die Oesterreiche Kunst des XIX. Jahrhunderts
(Austrian Art in the 19th Century). By Ludwig
Hevesi. (Leipzig : E. A. Seeman.)—Mr. Hevesi
modestly calls his book an "attempt," but it is
something more than this, for we have at once
a graphic and fairly exhaustive history of the
struggle for freedom in art in Austria, Poland,
Bohemia, etc. It is very interesting to note that,
simultaneously with the Pre-Raphaelite move-
ment in England, a similar movement was taking
place in Austria, but, owing to political condi-
tions, the artists were not able to throw off the
thralls which held them bound as soon as did
their brethren in England. Mr. Hevesi has the
advantage of having lived through the changes of
the last forty years and of being in sympathy with
them, so that he is able to describe what he him-
self has seen. He treats of the different branches
of art, and shows that the Empire style, far from
being the immediate forerunner of the modern,
had in its turn produced what is known as the
Biedermaier, having a special artistic form arising
out of these qualities, and that it is from this
Biedermaier that the present style has evolved
itseli, and in spite of travels and study in foreign
lands and the coming of foreign architects Austrian
art has retained its originality. Most fascinating is
the history of art during the reign of Franz Josef,
who, himself no mean artist, from his youth has
helped, not only with personal encouragement but
with his private purse, to bring art forward ; and
others, such as Counts Hans Wilczek and Karl
Lanckorouski and the late Nicolas Dumba, have
followed in their Emperor's steps. There is no
branch of art forgotten in this clever and fascinating
work. The book is very well got up, and the
illustrations—which are profuse—are good and well
chosen. The cover was especially designed by Kolo
Moser.
In Flora's Realm. By Edward Shep, F.L.S.
(London: Nelson & Sons.)—Reverting to the
now old-fashioned " Sandford-and Merton " style, a
favourite uncle of the little girl who is the heroine
of this book induces her to absorb a good deal of
information under the impression that she is playing
a game of her own invention. "Flora's Realm " is
an old garden, and in it she learns all about the
flowers growing in it and their wild relations.
Illustrated with coloured plates of groups of flowers
and text illustrations of leaves, buds, etc., the book
will make a charming gift for boys or girls ; and in
it the secrets of plant-growth are revealed in language
that any intelligent child can readily understand.
Neue lichtbild Studien. By Frederick Enke.
(Stuttgart.)—These forty photographs, taken direct
from nature—amongst which the Old Wotnan sitting
against a background of Flowers, Moonlight at
Lindau, the Return from Work, and Evening
light are perhaps the best—show that Herr Enke
is no mere craftsman, but has real art feeling for the
beautiful fleeting effects he has so skilfully caught.
Juda. By Borries Freiherr von Mund-
haufen. Illustrated by E. M. Lilien. (Berlin :
Lattmann.) — That Germany has of late years
made great strides in aesthetic culture, especially
3°3
rebellion, teaches a lesson hard indeed to learn.
The numerous illustrations, from the author's own
hand, unfortunately scarcely rise above the level of
the commonplace, though they are no doubt of
interest to herself as mementoes of a restful time.
French Engravers and Draughtsmen of the Eigh-
teenth Century. By Lady Dilke. (London : Bell
& Sons.) 2%s. net.—The new volume by Lady
Dilke on the engravers and draughtsmen of the
century she has made so peculiarly her own in the
course of many years of arduous study, will, if
possible, take even higher rank -than its prede-
cessors, as a masterly and exhaustive resume of all
that is known on the subject of which it treats. It
appeals indeed to an even wider public than do
the volumes on painting, sculpture, architecture,
and furniture; for in the very nature of things the
connoisseurs who collect engravings are far more
numerous than those who make it their business to
accumulate works of art of any other kind. More-
over in judging of a print far more guidance is
needed than in assessing the value, for instance, of
a piece of furniture or a painting; so that the
numerous illustrations with which Lady Dilke's text
is illuminated, and which include examples of every
variety of style reproduced with infinite care, form
a perfect storehouse of information to the student.
As in her books on the painters and sculptors, and
in that on furniture and decoration, Lady Dilke
has managed to give a personal and individual
character to every section of her narrative, selecting
in each case some typical personality and grouping
about him his collaborateurs, patrons, and friends.
Lady Dilke speaks of this new volume as the last
of her long series, but she has not really even now
exhausted the period, and it is to be hoped that she
may yet resume her pen to review the characteristic
French bric-a-brac of the eighteenth century, such
as the snuff-boxes, fans, walking-sticks, etc., that
reflect even more distinctly than pictorial or plastic
art the passing phases of fashion so significant of
the years preceding the great upheaval of the
Revolution.
Die Oesterreiche Kunst des XIX. Jahrhunderts
(Austrian Art in the 19th Century). By Ludwig
Hevesi. (Leipzig : E. A. Seeman.)—Mr. Hevesi
modestly calls his book an "attempt," but it is
something more than this, for we have at once
a graphic and fairly exhaustive history of the
struggle for freedom in art in Austria, Poland,
Bohemia, etc. It is very interesting to note that,
simultaneously with the Pre-Raphaelite move-
ment in England, a similar movement was taking
place in Austria, but, owing to political condi-
tions, the artists were not able to throw off the
thralls which held them bound as soon as did
their brethren in England. Mr. Hevesi has the
advantage of having lived through the changes of
the last forty years and of being in sympathy with
them, so that he is able to describe what he him-
self has seen. He treats of the different branches
of art, and shows that the Empire style, far from
being the immediate forerunner of the modern,
had in its turn produced what is known as the
Biedermaier, having a special artistic form arising
out of these qualities, and that it is from this
Biedermaier that the present style has evolved
itseli, and in spite of travels and study in foreign
lands and the coming of foreign architects Austrian
art has retained its originality. Most fascinating is
the history of art during the reign of Franz Josef,
who, himself no mean artist, from his youth has
helped, not only with personal encouragement but
with his private purse, to bring art forward ; and
others, such as Counts Hans Wilczek and Karl
Lanckorouski and the late Nicolas Dumba, have
followed in their Emperor's steps. There is no
branch of art forgotten in this clever and fascinating
work. The book is very well got up, and the
illustrations—which are profuse—are good and well
chosen. The cover was especially designed by Kolo
Moser.
In Flora's Realm. By Edward Shep, F.L.S.
(London: Nelson & Sons.)—Reverting to the
now old-fashioned " Sandford-and Merton " style, a
favourite uncle of the little girl who is the heroine
of this book induces her to absorb a good deal of
information under the impression that she is playing
a game of her own invention. "Flora's Realm " is
an old garden, and in it she learns all about the
flowers growing in it and their wild relations.
Illustrated with coloured plates of groups of flowers
and text illustrations of leaves, buds, etc., the book
will make a charming gift for boys or girls ; and in
it the secrets of plant-growth are revealed in language
that any intelligent child can readily understand.
Neue lichtbild Studien. By Frederick Enke.
(Stuttgart.)—These forty photographs, taken direct
from nature—amongst which the Old Wotnan sitting
against a background of Flowers, Moonlight at
Lindau, the Return from Work, and Evening
light are perhaps the best—show that Herr Enke
is no mere craftsman, but has real art feeling for the
beautiful fleeting effects he has so skilfully caught.
Juda. By Borries Freiherr von Mund-
haufen. Illustrated by E. M. Lilien. (Berlin :
Lattmann.) — That Germany has of late years
made great strides in aesthetic culture, especially
3°3