Studio: international art (36.1906)

Studio-Talk

is not seen to such advantage. His sculpture,
which is occasionally tinted, is inspired by ancient
Greek art.

Frederick Kallmorgen contributed five paintings,
■each showing his old predilection for depicting scenes
taken from the harbour and street life of Hamburg.

Hermann Prell exhibited a series of cartoons
for the decoration of the walls of the Dresden
Albertinum, and forty water-colours. His aptitude
for filling large spaces with fantastic forms full of life
resulted in his early becoming a painter of frescoes.
The wall paintings in the Berlin Architektenhaus
and those in the Throne Room of the Palazza Cassa-
relle in Rome, the official residence of the German
Ambassador, are among his earlier works. This
latter work was entrusted to Prell by the German
Emperor, who wished to
show Italian artists what
a modern German artist
could do.

The Dresden Associa-
tion, “ Elba,” sent a collec-
tion of the works of its
members, amongst which
those of August Wilckins
were especially noteworthy.
Of the works contributed
by the Munich Artists’Asso-
ciation, a figure subject,
The Visit, by Ferdinand
Bredt, called for notice on
account of that refinement
of colour which distin-
guishes his work. Carl
Seiler, who sent two works,
is almost entirely self-taught,
and is best known for his
vivid renderings of inci-
dents from life during the
Franco-German campaign,
in which he took part.
Several of these have been
purchased for the Pina
kothek in Munich.

Fritz Kaulbach’s presen-
tation of the Spanish dancer
Guerrero, in a decollete
dress, was interesting as an
example of the artist’s apti-
tude for showing to advan-

364

tage the attractions of beautiful women. The
accomplished water-colourist Hans Bohrdt con-
tributed several marine scenes. A winter land-
scape, I?i the Isar Valley, by Andersen, with its
fine tone and fascinating harmony, is perhaps one
of his best productions. Carl Koechling shows
thoughtful execution in his Fishermen behind the
Mill, a pretty rustic scene; and Adolph Oberlarder,
painter and draughtsman, contributed a couple of
fantastic subjects. Oberlarder is inexhaustible in
his subjects, which are pervaded with that irre-
sistible humour which makes him one of the first
of Germany’s comic illustrators. The Spanish
Dancer, by Kiesel, is another of that painter’s
triumphs, particularly in the technique of drapery.

Of the exhibits sent by the Munich group of
artists, Schuster-Woldau’s Sonnette was one of the

MONOTYPE BY CARL LANGHAMMER