DOI Heft:
Nr. 146 (May 1905)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.20711#0382
Studio- Talk
The bedroom design aims at space and comfort, but is scarcely known outside the very limited
and pieces of furniture which might be likely to circle of his friends. He is fortunately not dependent
require removal from one place to another are upon his work as an artist for a living, and can paint
made with lightness, without contrast in style to what he likes and as he likes without the least
the fixed or less movable objects in the room, concern for how it appeals to anybody after it is
The bedroom furniture is made of fine yellow finished. He can dispense with not being " dis-
lemon wood, and the flat carved work is old gold covered," and not being made a hero of. This,
in tone, as are also the other ornaments. The rather than the quality of his work, explains why he
walls are covered with pigeon-grey linen, stencilled is so little known. Stadler's landscapes show some
with roses. Of especial interest is the fireplace affinity to the paintings of Hans Thoma, Karl
design for a sitting-room. Haider, and that class, more, perhaps, to the old
splendid pictures of wide expanses of country that
DRESDEN.—Among our recent exhibi- Vandermeer of Delft and Rembrandt van Rijn
tions the one acquainting us with the occasionally undertook, without being directly
landscape work of Toni Stadler was reminiscent of either. It is refreshing to see that
certainly the most interesting. Stadler his pictures are still able to take a strong hold
is an artist who has been working for a long time, upon us, in spite of the circumstance that they are
not buoyed up by any one of the many
fads of our day, each one of which
claims to be the only true modern
style of art.
M. A. Nicolai has already made his
debut in The Studio, one or two years
ago, and we take pleasure in repro-
ducing some of his latest designs in
wicker-work. It is always difficult
to aim at something new in such
hackneyed problems as the designing
of chairs and settees without forgetting
that novelty attained at the expense of
practicability is worth nothing, but
Nicolai seems to keep this well in
mind. He has also applied this kind
of work to umbrella stands and flower
racks, which does not seem to me a
happy idea; both will occasionally
get wet, and the water will run through
the wicker-work. Ladies' work-baskets
and indoor huts for lap-dogs or tabbies
are certainly better adapted for this
material, and these designs belong to
Nicolai's best.
Mrs. Marie Grey-Heintze really
belongs to the Dresden artists,
although she has lately settled at
Leipsic. She has done some portrait
painting in pastels, but her prin-
cipal work so far has been black
and white, amounting to some sixty
etchings and a dozen lithographs. All
wardrobe designed by georg honold of them betray the influence of her
364
The bedroom design aims at space and comfort, but is scarcely known outside the very limited
and pieces of furniture which might be likely to circle of his friends. He is fortunately not dependent
require removal from one place to another are upon his work as an artist for a living, and can paint
made with lightness, without contrast in style to what he likes and as he likes without the least
the fixed or less movable objects in the room, concern for how it appeals to anybody after it is
The bedroom furniture is made of fine yellow finished. He can dispense with not being " dis-
lemon wood, and the flat carved work is old gold covered," and not being made a hero of. This,
in tone, as are also the other ornaments. The rather than the quality of his work, explains why he
walls are covered with pigeon-grey linen, stencilled is so little known. Stadler's landscapes show some
with roses. Of especial interest is the fireplace affinity to the paintings of Hans Thoma, Karl
design for a sitting-room. Haider, and that class, more, perhaps, to the old
splendid pictures of wide expanses of country that
DRESDEN.—Among our recent exhibi- Vandermeer of Delft and Rembrandt van Rijn
tions the one acquainting us with the occasionally undertook, without being directly
landscape work of Toni Stadler was reminiscent of either. It is refreshing to see that
certainly the most interesting. Stadler his pictures are still able to take a strong hold
is an artist who has been working for a long time, upon us, in spite of the circumstance that they are
not buoyed up by any one of the many
fads of our day, each one of which
claims to be the only true modern
style of art.
M. A. Nicolai has already made his
debut in The Studio, one or two years
ago, and we take pleasure in repro-
ducing some of his latest designs in
wicker-work. It is always difficult
to aim at something new in such
hackneyed problems as the designing
of chairs and settees without forgetting
that novelty attained at the expense of
practicability is worth nothing, but
Nicolai seems to keep this well in
mind. He has also applied this kind
of work to umbrella stands and flower
racks, which does not seem to me a
happy idea; both will occasionally
get wet, and the water will run through
the wicker-work. Ladies' work-baskets
and indoor huts for lap-dogs or tabbies
are certainly better adapted for this
material, and these designs belong to
Nicolai's best.
Mrs. Marie Grey-Heintze really
belongs to the Dresden artists,
although she has lately settled at
Leipsic. She has done some portrait
painting in pastels, but her prin-
cipal work so far has been black
and white, amounting to some sixty
etchings and a dozen lithographs. All
wardrobe designed by georg honold of them betray the influence of her
364