DOI issue:
Nr. 143 (February 1905)
DOI article:Oliver, Maude I. G.: German paintings and sculpture at the St. Louis exhibition
DOI Page / Citation link: https://doi.org/10.11588/diglit.20711#0074
German Art at St. Louis
of kindliness, with the desire of educating the which entered a problem that had been excellently
public in regard to celebrated art productions rendered, was the German Cemetery covered by Snow,
dealing with governmental affairs. Still, when one from the brush of Victor Freudemann. Variety in
considered that these huge canvases, with their the composition was managed through the colour of
aggressive detail, forced attention and fixed the the newly decorated mounds in this city of the dead,
standard of their surroundings, the wisdom of being contrasted with earlier graves, upon which
such installation seemed questionable. The German the snow had fallen. The fluent manner of Fritz
section had the advantage of about the finest Baer was exemplified in his two canvases entitled
suite of galleries in the four buildings, and it respectively Kuchenspitze and Stormy Evening in
profited by the employment of some of the fore- the High Mountains. Two notable architectural
most decorators of the day, in its selections of landscapes were shown in a couple of views of the
colour schemes, and in its placing of exhibits, city of Dresden. The textures in these paintings,
which included many gems of the modern school. especially in the handling of river, had been
Among the landscapes, one of the surest to skilfully managed,
arrest attention was the sweet, tuneful essay entitled Of the portrait subjects, the Lenbachs naturally
Silesian Spring Landscape, by E. Kubierschky. stood pre-eminent. There were five of these
This was a poetic treatment, with colour soft and works, two being loaned by private individuals,
harmonious. It breathed the bleak, yet hopeful, These two represented entirely different phases in
spirit of the season in
no uncertain manner.
The composition was
nicely felt, the interest
was happily centred,
and the distance was
intelligently described.
A strong, decisive bit
of work was observed
in the set of weather-
beaten stones beneath
the protecting arms of
a knot of stalwart oak-
trees in the subject
entitled The Table of
Sacrifice in the Liine-
burgerHeide, by Franz
Hoffmann - Fallersle-
ben. The colour in this
painting was very dar-
ing and the technique
was quite remarkable.
Carl Kustner's Winter
Evening, with its
cleverly modelled fore-
ground of snow, its
silent stream, into
which were reflected
rose-tinged clouds, was
an admirable work,
and thoroughly de-
served the interest
which it created.
Another landscape, of
quite an unusual sub-
ject, however, into " adam and eve " by peter brener
58
of kindliness, with the desire of educating the which entered a problem that had been excellently
public in regard to celebrated art productions rendered, was the German Cemetery covered by Snow,
dealing with governmental affairs. Still, when one from the brush of Victor Freudemann. Variety in
considered that these huge canvases, with their the composition was managed through the colour of
aggressive detail, forced attention and fixed the the newly decorated mounds in this city of the dead,
standard of their surroundings, the wisdom of being contrasted with earlier graves, upon which
such installation seemed questionable. The German the snow had fallen. The fluent manner of Fritz
section had the advantage of about the finest Baer was exemplified in his two canvases entitled
suite of galleries in the four buildings, and it respectively Kuchenspitze and Stormy Evening in
profited by the employment of some of the fore- the High Mountains. Two notable architectural
most decorators of the day, in its selections of landscapes were shown in a couple of views of the
colour schemes, and in its placing of exhibits, city of Dresden. The textures in these paintings,
which included many gems of the modern school. especially in the handling of river, had been
Among the landscapes, one of the surest to skilfully managed,
arrest attention was the sweet, tuneful essay entitled Of the portrait subjects, the Lenbachs naturally
Silesian Spring Landscape, by E. Kubierschky. stood pre-eminent. There were five of these
This was a poetic treatment, with colour soft and works, two being loaned by private individuals,
harmonious. It breathed the bleak, yet hopeful, These two represented entirely different phases in
spirit of the season in
no uncertain manner.
The composition was
nicely felt, the interest
was happily centred,
and the distance was
intelligently described.
A strong, decisive bit
of work was observed
in the set of weather-
beaten stones beneath
the protecting arms of
a knot of stalwart oak-
trees in the subject
entitled The Table of
Sacrifice in the Liine-
burgerHeide, by Franz
Hoffmann - Fallersle-
ben. The colour in this
painting was very dar-
ing and the technique
was quite remarkable.
Carl Kustner's Winter
Evening, with its
cleverly modelled fore-
ground of snow, its
silent stream, into
which were reflected
rose-tinged clouds, was
an admirable work,
and thoroughly de-
served the interest
which it created.
Another landscape, of
quite an unusual sub-
ject, however, into " adam and eve " by peter brener
58