DOI Heft:
Nr. 145 (April 1905)
DOI Artikel:Van der Veer, Lenore: Professor Ludwig Dill: the man and his work
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.20711#0231
Ludwig Dill
LANDSCAPE FROM A DRAWING BY PROFESSOR L. DILL
the highest artistic harmony. His aim is to paint
only the noble and classic in nature. He finds
scenes on the Dachau Moor that are like pictures
by Titian, but most often the artist chooses rather
to compose his pictures from gathered portions
here and there, using often as a colour scheme
the tones found in a tiny leaf or flower found
growing along the bank of a moorland stream,
making a colour harmony most beautiful and rare.
His work is an art of personal choosing. He
cares only for the things in nature that most
express character and individuality, taking only the
abstract things and leaving out all unimportant
details, choosing only that which is most ideal. He
rarely includes anything made by any other hand
than nature's. His early pictures had some quaint
old houses and mills, but of later years we find
nothing but pure landscapes of nature's own
making. He loves best the birches of his moor,
silver in tone and full of poetic tenderness,
standing out like the pillars of a holy temple
against the brown, rich soil of the moorland, and
the patches of golden light.
The Dachau Moor is his paradise. No other
man knows its beauties nor feels its alluring
charms as he does; the classic solemnity of its
noble wood, the rich brown earth toning into warm
yellows and silver, the quiet pools of crystal
water still and rich in shadows of over-hanging
bushes, the mists and the fogs of autumn days,
the melting snow in spring-time.
Professor Dill may be said to have been con-
siderably influenced by the Glasgow men, and to
have learned some of his methods of work and
expression of feeling from the Barbizon school.
He admires most the modern English and French
school of landscape painters. The influence of
his work on the German landscapists is very
strong,—in truth he may be said to have influ-
enced very agreeably much of the landscape
work of Germany. After founding the Munich
Secession in 1893 he was made president until
1900, when he was appointed professor at the
Art Academy in Carlsruhe and president of
the Jubilee Exhibition in Carlsruhe in 1902.
He twice served as the German juror at
215
LANDSCAPE FROM A DRAWING BY PROFESSOR L. DILL
the highest artistic harmony. His aim is to paint
only the noble and classic in nature. He finds
scenes on the Dachau Moor that are like pictures
by Titian, but most often the artist chooses rather
to compose his pictures from gathered portions
here and there, using often as a colour scheme
the tones found in a tiny leaf or flower found
growing along the bank of a moorland stream,
making a colour harmony most beautiful and rare.
His work is an art of personal choosing. He
cares only for the things in nature that most
express character and individuality, taking only the
abstract things and leaving out all unimportant
details, choosing only that which is most ideal. He
rarely includes anything made by any other hand
than nature's. His early pictures had some quaint
old houses and mills, but of later years we find
nothing but pure landscapes of nature's own
making. He loves best the birches of his moor,
silver in tone and full of poetic tenderness,
standing out like the pillars of a holy temple
against the brown, rich soil of the moorland, and
the patches of golden light.
The Dachau Moor is his paradise. No other
man knows its beauties nor feels its alluring
charms as he does; the classic solemnity of its
noble wood, the rich brown earth toning into warm
yellows and silver, the quiet pools of crystal
water still and rich in shadows of over-hanging
bushes, the mists and the fogs of autumn days,
the melting snow in spring-time.
Professor Dill may be said to have been con-
siderably influenced by the Glasgow men, and to
have learned some of his methods of work and
expression of feeling from the Barbizon school.
He admires most the modern English and French
school of landscape painters. The influence of
his work on the German landscapists is very
strong,—in truth he may be said to have influ-
enced very agreeably much of the landscape
work of Germany. After founding the Munich
Secession in 1893 he was made president until
1900, when he was appointed professor at the
Art Academy in Carlsruhe and president of
the Jubilee Exhibition in Carlsruhe in 1902.
He twice served as the German juror at
215