DOI Heft:
Nr. 150 (September 1905)
DOI Artikel:Reviews
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.20712#0379
Reviews
the long ago, calling up visions of the days when
the interiors represented were lived in and the
beautiful furniture was in daily use. Mr. Benn
begins his examination of style in furniture by
describing some of the few existing examples of
earlier date than the seventeenth century, and
passes thence to review in chronological order
every phase of development from the Elizabethan
to the French Art Nouveau; concluding with a
chapter, into which, under the general name of
“ Quaint,” he gathers up the various vagaries of
quite modern fashion. In a word the book is
thoroughly complete and up to date, whilst the
numerous illustrations after the drawings of Mr.
W. C. Baldock, that are most of them shown in
their natural environment, admirably supplement
the text.
Die Werke des Matthias Griinewald. By Franz
portrait BUST (See Copenhagen Studio-Talk)
Bock. (Strassburg: HeitzandMiindel.) 12 Marks.—
Whilst frankly admitting that there exist no adequate
materials for a biography of the famous German
painter, whom his fellow-countrymen rank next to
Diirer and Holbein, Herr Bock has managed to
write a very interesting monograph on his work.
The masterpieces that have been preserved, says
this able critic, are sufficiently numerous for it to
be possible to trace very clearly the art develop-
ment of Matthias Griinewald, and he claims, more-
over, that in them his unique personality is also
vividly reflected. Herr Bock adds, however, that
his book must not be considered exhaustive, for he
has avoided repeating what has already been well
said by his predecessors, who have, unfortunately,
as a general rule, founded their estimate of the
genius of their subject chiefly on the Isenheim
Altarpiece, and the few works produced after it.
In so doing they have neg-
lected a very great many
earlier paintings, drawings,
wood and copper-plate en-
gravings that have recently
been identified, and to
which no reference is made
even in the best German
art dictionaries or even
in the scholarly study by
Herr Schmidt, the best of
the present writer’s pre-
decessors. Herr Bock
prefaces his actual exami-
nation of the work of
Matthias Griinewald with
a brief but able summary
of the history of German
painting in the 15th and
early part of the 16th
centuries, and he supple-
ments his text with 31
good reproductions of typi-
cal works by the master,
in which the strong influ-
ence of Diirer and Cranach
is very noticeable, as is
also the strange love of
ugliness apparently inherent
in the Teutonic tempera-
ment. The Flight into
Egypt and the Crucifixion,
both from the Dresden
Gallery, and the Lovers of
the Gotha Museum are
by r. tegner especially fine.
361
the long ago, calling up visions of the days when
the interiors represented were lived in and the
beautiful furniture was in daily use. Mr. Benn
begins his examination of style in furniture by
describing some of the few existing examples of
earlier date than the seventeenth century, and
passes thence to review in chronological order
every phase of development from the Elizabethan
to the French Art Nouveau; concluding with a
chapter, into which, under the general name of
“ Quaint,” he gathers up the various vagaries of
quite modern fashion. In a word the book is
thoroughly complete and up to date, whilst the
numerous illustrations after the drawings of Mr.
W. C. Baldock, that are most of them shown in
their natural environment, admirably supplement
the text.
Die Werke des Matthias Griinewald. By Franz
portrait BUST (See Copenhagen Studio-Talk)
Bock. (Strassburg: HeitzandMiindel.) 12 Marks.—
Whilst frankly admitting that there exist no adequate
materials for a biography of the famous German
painter, whom his fellow-countrymen rank next to
Diirer and Holbein, Herr Bock has managed to
write a very interesting monograph on his work.
The masterpieces that have been preserved, says
this able critic, are sufficiently numerous for it to
be possible to trace very clearly the art develop-
ment of Matthias Griinewald, and he claims, more-
over, that in them his unique personality is also
vividly reflected. Herr Bock adds, however, that
his book must not be considered exhaustive, for he
has avoided repeating what has already been well
said by his predecessors, who have, unfortunately,
as a general rule, founded their estimate of the
genius of their subject chiefly on the Isenheim
Altarpiece, and the few works produced after it.
In so doing they have neg-
lected a very great many
earlier paintings, drawings,
wood and copper-plate en-
gravings that have recently
been identified, and to
which no reference is made
even in the best German
art dictionaries or even
in the scholarly study by
Herr Schmidt, the best of
the present writer’s pre-
decessors. Herr Bock
prefaces his actual exami-
nation of the work of
Matthias Griinewald with
a brief but able summary
of the history of German
painting in the 15th and
early part of the 16th
centuries, and he supple-
ments his text with 31
good reproductions of typi-
cal works by the master,
in which the strong influ-
ence of Diirer and Cranach
is very noticeable, as is
also the strange love of
ugliness apparently inherent
in the Teutonic tempera-
ment. The Flight into
Egypt and the Crucifixion,
both from the Dresden
Gallery, and the Lovers of
the Gotha Museum are
by r. tegner especially fine.
361