DOI Artikel:
Levetus, A. S.: The twenty-third exhibition of the vieenna secession
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.20712#0076
Vienna Secession Exhibition
he painted it) and rich colouring, a vivid
rendering of the sanctum of the artist as
full of his presence as it was when I
saw him there last. Josef Engelhart, in his
Bankelsanger, again represents thos,e true Viennese
types with which he is in so much sym-
pathy ; the hunch-backed old man, bent over
his harp, upon the strings of which his fingers
linger, and the girl seated next him, singing,
are remarkably realistic. Your street singers
must be decently clad, for they are not
beggars, but honest working people. Your Viennese
girl is, above all things, smart; her figure is elegant,
and she wears her clothing with chic, and her hair
must be dressed, not just done up. Behind is
the garden. You may be sure her song will attract
guests, and that soon the tables will be crowded.
Herr Engelhart also exhibited a series of coloured
monotypes which were also characteristic of his
methods. His The Tax, the famous
mountain on the Semmering, is rich
in colouring—deep blue-greys and
purples, the masses of ice and snow-
covered peaks rising upwards towards
the heavens. Friedrich Konig’s Weg
tmPark is an exquisite bit of colouring,
the leafy green boughs seeming to
move as they are gently swayed by
the wind; in the centre of the path-
way is the keeper proudly wending
his way. Freiherr von Myrbach’s
Pfefferbaum Allee, in California, is
just as delicate and beautiful, the
long tendrils of the pepper-tree
seeming, as they droop to the earth,
to be lightly led here and there by the
tender hand of Zephyr. Maximilian
Liebenwein’s illustrations of The Sleep-
ing Beauty occupy a whole wall and
relate the story so distinctly that
even the uninitiated would under-
stand what the pictures say ; they are
mediaeval in form and in colour, and
extremely pleasing. Maximilian Lenz
has composed a ballet, The Magic
Wand, a series of fifteen water-
colours rich in phantasy and colour
-—fairy princes and princesses in dark,
gold-bordered cloaks in enchanted
woods.
The Lady in White and Black and
the Lady in Black and White by W.
List, portraits of one and the same
lady, show great variety in treatment.
58
Franz Hohenberger in his motives in Kagran has
depicted luxuriant growths of wild flowers and
misty grey skies; Anton Novak’s landscapes of
Znaim are full of charm, colour, and atmosphere ;
Ludwig Sigmundt’s Die Weide is a scene of pastoral
tranquillity, a true idyll; Carl Moll’s scenes from
Heiligenstadt and the Kahlenberg, both now parts
of Greater Vienna, are full of life and character;
Ferdinand Andri’s original lithographs of rural
scenes ordered by the K. K. Hof und Staats-
druckerei are broad and sympathetic in treatment.
Alois Hanisch, Adolf Holzel, Ernst Stohr, and
Max Kurzweil were well represented, the last-
mentioned artist’s La Rivilre de St. Jean, Brittany,
being a fascinating, tranquil scene of a peaceful
river flowing its even way, the blues of the skies
being reflected in its waters.
The Polish members of the Secession were well
to the fore, each artist having his own particular
“a ruthenian girl
BY T. AXENTOWICZ
he painted it) and rich colouring, a vivid
rendering of the sanctum of the artist as
full of his presence as it was when I
saw him there last. Josef Engelhart, in his
Bankelsanger, again represents thos,e true Viennese
types with which he is in so much sym-
pathy ; the hunch-backed old man, bent over
his harp, upon the strings of which his fingers
linger, and the girl seated next him, singing,
are remarkably realistic. Your street singers
must be decently clad, for they are not
beggars, but honest working people. Your Viennese
girl is, above all things, smart; her figure is elegant,
and she wears her clothing with chic, and her hair
must be dressed, not just done up. Behind is
the garden. You may be sure her song will attract
guests, and that soon the tables will be crowded.
Herr Engelhart also exhibited a series of coloured
monotypes which were also characteristic of his
methods. His The Tax, the famous
mountain on the Semmering, is rich
in colouring—deep blue-greys and
purples, the masses of ice and snow-
covered peaks rising upwards towards
the heavens. Friedrich Konig’s Weg
tmPark is an exquisite bit of colouring,
the leafy green boughs seeming to
move as they are gently swayed by
the wind; in the centre of the path-
way is the keeper proudly wending
his way. Freiherr von Myrbach’s
Pfefferbaum Allee, in California, is
just as delicate and beautiful, the
long tendrils of the pepper-tree
seeming, as they droop to the earth,
to be lightly led here and there by the
tender hand of Zephyr. Maximilian
Liebenwein’s illustrations of The Sleep-
ing Beauty occupy a whole wall and
relate the story so distinctly that
even the uninitiated would under-
stand what the pictures say ; they are
mediaeval in form and in colour, and
extremely pleasing. Maximilian Lenz
has composed a ballet, The Magic
Wand, a series of fifteen water-
colours rich in phantasy and colour
-—fairy princes and princesses in dark,
gold-bordered cloaks in enchanted
woods.
The Lady in White and Black and
the Lady in Black and White by W.
List, portraits of one and the same
lady, show great variety in treatment.
58
Franz Hohenberger in his motives in Kagran has
depicted luxuriant growths of wild flowers and
misty grey skies; Anton Novak’s landscapes of
Znaim are full of charm, colour, and atmosphere ;
Ludwig Sigmundt’s Die Weide is a scene of pastoral
tranquillity, a true idyll; Carl Moll’s scenes from
Heiligenstadt and the Kahlenberg, both now parts
of Greater Vienna, are full of life and character;
Ferdinand Andri’s original lithographs of rural
scenes ordered by the K. K. Hof und Staats-
druckerei are broad and sympathetic in treatment.
Alois Hanisch, Adolf Holzel, Ernst Stohr, and
Max Kurzweil were well represented, the last-
mentioned artist’s La Rivilre de St. Jean, Brittany,
being a fascinating, tranquil scene of a peaceful
river flowing its even way, the blues of the skies
being reflected in its waters.
The Polish members of the Secession were well
to the fore, each artist having his own particular
“a ruthenian girl
BY T. AXENTOWICZ