DOI issue:
No. 125 (August, 1903)
DOI article:Studio-talk
DOI Page / Citation link:https://doi.org/10.11588/diglit.19879#0245
Studio- Talk
paratively small expense. Each of the sixty-three resi-
dences contains a sitting-room, either one or two
bedrooms, a kitchen and vestibule or porch, and
balconies have been provided where possible. The
buildings are of brick afterwards plastered in
grey, while the door-jambs and window-frames are
of Plagwitz sandstone. The bright effect of the
red-roofed buildings is much enhanced by the use
of copper for the roofs of the towers and in other
parts where metal was required.
Amongst the various imperial educational estab-
lishments erected in Berlin within the last few years,
the new Academy of Arts and High School for Music
is, no doubt, one of the most important. Formerly
these two public institutions were in separate build-
ings, situated in different parts of the city, whereas
now, although they cannot exactly be said to be in
one building, they adjoin and form together one huge
block of buildings. A long title has been given
to the combined institutions, but at present they
are popularly known as "Die neue Akademie."
The architects had no easy task in designing the
buildings; there were difficulties which required all
their practical experience to overcome. A certain
number of studios facing north, for painting and
sculpture, had to be provided for both masters and
students. The music school had to be entirely
isolated and yet must, as it were, adjoin ; a concert
hall, a theatre, a museum and glass-house for a
menagerie, so that the students might paint animals
from the life and in the open air, had to be
provided. It was the necessity for such a variety
of buildings which made the architects decide
upon forming a complex of buildings with a series
of courtyards, one large edifice being almost
impossible under such conditions ; besides, there
would be a pecuniary advantage. Had all been
combined under one roof the institution would have
required a certain imposing order, whereas divided
into a series of sections it was possible to make the
buildings on the frontage decoratively important,
and those at the back simple and without much orna-
mentation. The architects and artists engaged on
the work were Messrs. Kayser, Groszheim, Adams,
Ludwig Manzel, and Professor Otto Lessing.
ENICE.—There is no doubt that the
Municipality of Venice were actuated
by a desire to make the latest exhibition
an advance in every way upon the pre-
ceding ones, excellent though they were. Although
considerable space was allotted to the applied arts,
230
my remarks, owing to the exigencies of space,
must be confined to the pictorial exhibits only.
Although there are many such exhibits which will
stamp the present exhibition with exceptional
character, notably those of von Faber der Faur
and Ignacio Zuloaga, and some fine portraits,
one is compelled to admit with regret that on the
whole it is disappointing, and that it falls short
of previous exhibitions.
The general managing committee appear to have
done their best to obtain a well-selected and repre-
sentative exhibition of the modern art of painting,
and their object was clearly expressed in Article 5.
" The exhibition of Venice aims at collecting the
choicest contemporary artistic productions. It
accepts works of every school and of every
technique, but rejects every form of vulgarity."
In furtherance of this they gave explicit instruc-
tions to the judges to be most severe in their
selection, and it would appear that the judges
conscientiously observed these instructions, with
the result that a very large proportion of the works
submitted were rejected, and barely sufficient
remained to cover the walls. Indeed, it is reported
that in one department of Italy not a solitary work
was accepted. Amongst the rejected were a great
number of representative names—leading painters
of Italy. This is not the place for dwelling upon
this phase or reproducing the official letters on
the subject which appeared in the public press.
Suffice it to say that, as might have been antici-
pated, the decisions were met by anything but
general approval. The municipal executive decided
to allow a second examination of the rejected works
by the hanging committee, and to provide for the
hanging of those accepted in a separate gallery,
under the title of " Salia Refusa." This question-
able policy, open to the objection of publicly
throwing discredit on the impartial judgment of
the distinguished judges, was adopted, and forty
works were selected and shown.
The majority of works selected to represent the
British School can in no way be taken as represen-
tative. The exceptions would, of course, include
H. H. La Thangue, A.R.A., Alfred East, A.R.A.,
and F. Brangwyn. We can only regret, in the
interests of the exhibition and of British art, that
the British contributions are so very indifferent.
The Scottish School is particularly disappointing.
This is more regrettable, as this very school was
the feature of one of the previous exhibitions.
paratively small expense. Each of the sixty-three resi-
dences contains a sitting-room, either one or two
bedrooms, a kitchen and vestibule or porch, and
balconies have been provided where possible. The
buildings are of brick afterwards plastered in
grey, while the door-jambs and window-frames are
of Plagwitz sandstone. The bright effect of the
red-roofed buildings is much enhanced by the use
of copper for the roofs of the towers and in other
parts where metal was required.
Amongst the various imperial educational estab-
lishments erected in Berlin within the last few years,
the new Academy of Arts and High School for Music
is, no doubt, one of the most important. Formerly
these two public institutions were in separate build-
ings, situated in different parts of the city, whereas
now, although they cannot exactly be said to be in
one building, they adjoin and form together one huge
block of buildings. A long title has been given
to the combined institutions, but at present they
are popularly known as "Die neue Akademie."
The architects had no easy task in designing the
buildings; there were difficulties which required all
their practical experience to overcome. A certain
number of studios facing north, for painting and
sculpture, had to be provided for both masters and
students. The music school had to be entirely
isolated and yet must, as it were, adjoin ; a concert
hall, a theatre, a museum and glass-house for a
menagerie, so that the students might paint animals
from the life and in the open air, had to be
provided. It was the necessity for such a variety
of buildings which made the architects decide
upon forming a complex of buildings with a series
of courtyards, one large edifice being almost
impossible under such conditions ; besides, there
would be a pecuniary advantage. Had all been
combined under one roof the institution would have
required a certain imposing order, whereas divided
into a series of sections it was possible to make the
buildings on the frontage decoratively important,
and those at the back simple and without much orna-
mentation. The architects and artists engaged on
the work were Messrs. Kayser, Groszheim, Adams,
Ludwig Manzel, and Professor Otto Lessing.
ENICE.—There is no doubt that the
Municipality of Venice were actuated
by a desire to make the latest exhibition
an advance in every way upon the pre-
ceding ones, excellent though they were. Although
considerable space was allotted to the applied arts,
230
my remarks, owing to the exigencies of space,
must be confined to the pictorial exhibits only.
Although there are many such exhibits which will
stamp the present exhibition with exceptional
character, notably those of von Faber der Faur
and Ignacio Zuloaga, and some fine portraits,
one is compelled to admit with regret that on the
whole it is disappointing, and that it falls short
of previous exhibitions.
The general managing committee appear to have
done their best to obtain a well-selected and repre-
sentative exhibition of the modern art of painting,
and their object was clearly expressed in Article 5.
" The exhibition of Venice aims at collecting the
choicest contemporary artistic productions. It
accepts works of every school and of every
technique, but rejects every form of vulgarity."
In furtherance of this they gave explicit instruc-
tions to the judges to be most severe in their
selection, and it would appear that the judges
conscientiously observed these instructions, with
the result that a very large proportion of the works
submitted were rejected, and barely sufficient
remained to cover the walls. Indeed, it is reported
that in one department of Italy not a solitary work
was accepted. Amongst the rejected were a great
number of representative names—leading painters
of Italy. This is not the place for dwelling upon
this phase or reproducing the official letters on
the subject which appeared in the public press.
Suffice it to say that, as might have been antici-
pated, the decisions were met by anything but
general approval. The municipal executive decided
to allow a second examination of the rejected works
by the hanging committee, and to provide for the
hanging of those accepted in a separate gallery,
under the title of " Salia Refusa." This question-
able policy, open to the objection of publicly
throwing discredit on the impartial judgment of
the distinguished judges, was adopted, and forty
works were selected and shown.
The majority of works selected to represent the
British School can in no way be taken as represen-
tative. The exceptions would, of course, include
H. H. La Thangue, A.R.A., Alfred East, A.R.A.,
and F. Brangwyn. We can only regret, in the
interests of the exhibition and of British art, that
the British contributions are so very indifferent.
The Scottish School is particularly disappointing.
This is more regrettable, as this very school was
the feature of one of the previous exhibitions.