DOI Heft:
No. 138 (September, 1904)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.19882#0376
Studio- Talk
have the horizontal line. This fresco
is, as are all his works, realistic to a
fine degree. The tones are black and
white, and one looks upon it with a
shuddering fascination as if drawn to it
in spite of oneself: yet the scheme is
not at all an unpleasant one. The
sleepers lie stretched along the floor
wrapped in their long black garments,
all in deep stillness, except for one
who lies in terrible unrest; and over
him there hovers a veiled and fearful
figure. A series of allegories, repre-
senting Der Tag (Day), Die Empfin-
dung (Sensation), Heilige Stwide (The
SSL Solemn Hour), and other subjects, show
the same rhythm as the previous works :
as though the artist were striving to
embody his own thoughts and sensa-
tions in the figures before him. Here,
too, the balance is well kept in the cen-
tral figure, with two others, one on
either side; and whether it be they
are placed in a sort of semicircle or
in straight line, what the artist seems
vestibule, KIIMT exhibition, vienna , „\mpA at ,V „ rerffll'n wilH
designed and arranged by tosef hoffmann t0 naVe alme<1 at 1S a Certain Wild
symmetry of form. Consequently, the
anatomy of his figures must yield to
artist shows a knowledge of life in all its phases, this ; yet at the same time they are full of life and
and has gone to all classes for his subjects. He its outward expression. Many of the smaller
proceeds with the execu-
tion of his work in a
whether it be in the' fresco ^^^^
Enttiiuschung (Disillusion),
Wahrlieit (Truth), Weary
of Life, or the other works
exhibited here, he fills them
with life with apparently a
few rapid strokes. Yet each
figure is finely characterised,
and has its own peculiar in-
terest ; so that each remains
in the memory as a separate
picture. In Die Nacht
(Night), which I first saw
at the Diisseldorf, instead
of the perpendicular we klimt exhibition, vienna arranged by koloman moser
352
have the horizontal line. This fresco
is, as are all his works, realistic to a
fine degree. The tones are black and
white, and one looks upon it with a
shuddering fascination as if drawn to it
in spite of oneself: yet the scheme is
not at all an unpleasant one. The
sleepers lie stretched along the floor
wrapped in their long black garments,
all in deep stillness, except for one
who lies in terrible unrest; and over
him there hovers a veiled and fearful
figure. A series of allegories, repre-
senting Der Tag (Day), Die Empfin-
dung (Sensation), Heilige Stwide (The
SSL Solemn Hour), and other subjects, show
the same rhythm as the previous works :
as though the artist were striving to
embody his own thoughts and sensa-
tions in the figures before him. Here,
too, the balance is well kept in the cen-
tral figure, with two others, one on
either side; and whether it be they
are placed in a sort of semicircle or
in straight line, what the artist seems
vestibule, KIIMT exhibition, vienna , „\mpA at ,V „ rerffll'n wilH
designed and arranged by tosef hoffmann t0 naVe alme<1 at 1S a Certain Wild
symmetry of form. Consequently, the
anatomy of his figures must yield to
artist shows a knowledge of life in all its phases, this ; yet at the same time they are full of life and
and has gone to all classes for his subjects. He its outward expression. Many of the smaller
proceeds with the execu-
tion of his work in a
whether it be in the' fresco ^^^^
Enttiiuschung (Disillusion),
Wahrlieit (Truth), Weary
of Life, or the other works
exhibited here, he fills them
with life with apparently a
few rapid strokes. Yet each
figure is finely characterised,
and has its own peculiar in-
terest ; so that each remains
in the memory as a separate
picture. In Die Nacht
(Night), which I first saw
at the Diisseldorf, instead
of the perpendicular we klimt exhibition, vienna arranged by koloman moser
352