DOI issue:
No. 154 (January, 1906)
DOI article:Studio-talk
DOI Page / Citation link: https://doi.org/10.11588/diglit.20713#0385
Studio-Talk
DESIGN FOR STAINED GLASS
Thom Walchs in his Neckerei showed us a young
Tyrolean man and girl, peasants garbed in their
finest costumes ; the man has evidently been declar-
ing his love and is about to kiss the maiden whom
he has just clasped in his arms, she turning half-
teasingly away. The colouring of this picture is
very bright, for the Tyrolese love gay colours.
The girl is beautiful, with long golden hair
plaited in rich coils; the man’s face too is full of
manly beauty. In his Pest-Kapelle this artist
treats of a vastly different theme, for the chapel
before us is a thing to be avoided or passed
by with shuddering and hurrying steps, breathing
not of the beauty of death but of its horrors.
Alfons Siber sent many works mostly treating
of the mountain scenes which surround him. In
the Ski-Runner, a pastel, he gives us lavender-blues
on the mountains with the deep snowy tints of the
plateau ; in the distance we see the lights of a
town. In another of his pastels a ski-runner has
been overtaken by a snow-storm, a grey misty
cloud hides the mountains behind, and seems to
envelop the sportsman. In
his snow pictures the atmo-
sphere is rarefied, the tones
good and the lines very
fine. This artist also ex-
hibited designs for stained
glass destined for the
church in Aussig, which
show that in religious sub-
jects he also possesses power
and imagination.
Karl Jordan’s water-
colour with coloured chalks,
Die Missetdterin, filled us
with pity; a beautiful
slender woman with fine
features delicately deline-
ated stands before us ; she
has been stripped naked
for punishment, her hands
are bound behind, a rope
is slung round her neck, the
executioner, an old man,
holds the end of it, and is
pitilessly dragging her to
the place of punishment.
The expression of his face
shows brutal joy in the
work he has in hand.
Standing apart are the on-
lookers. But it is the finely-drawn figure of the
woman to which we are attracted, and on which
the artist seems to have concentrated his whole
thought. All the other figures are subsidiary, and
serve only to emphasize the beautiful form of the
woman.
Albert Reibmayr’s Adieu is full of feeling.
A Tyrolese soldier is kneeling at the grave of his
parents, bidding them good-bye. Outside the gates
the regiment is marching on; he feels it is time to
depart, and slowly rises. The tones are green in
green, the perspective good, while the yellow tints
of the morning light seem to break through all.
In Ploughing the artist again shows his delight in
describing the morning lights. Hans Weber showed
some fine and effective lithographs, as also some
placards for the new Stubtaibahn built by the
Siidbahn, and which was opened last summer.
These are really both decorative and beautiful, and
describe the glorious scenery along the route. Leo
Putz, the well-known artist of “Jugend,” the illus-
trated Munich paper, who is a Tyrolese, in his
367
DESIGN FOR STAINED GLASS
Thom Walchs in his Neckerei showed us a young
Tyrolean man and girl, peasants garbed in their
finest costumes ; the man has evidently been declar-
ing his love and is about to kiss the maiden whom
he has just clasped in his arms, she turning half-
teasingly away. The colouring of this picture is
very bright, for the Tyrolese love gay colours.
The girl is beautiful, with long golden hair
plaited in rich coils; the man’s face too is full of
manly beauty. In his Pest-Kapelle this artist
treats of a vastly different theme, for the chapel
before us is a thing to be avoided or passed
by with shuddering and hurrying steps, breathing
not of the beauty of death but of its horrors.
Alfons Siber sent many works mostly treating
of the mountain scenes which surround him. In
the Ski-Runner, a pastel, he gives us lavender-blues
on the mountains with the deep snowy tints of the
plateau ; in the distance we see the lights of a
town. In another of his pastels a ski-runner has
been overtaken by a snow-storm, a grey misty
cloud hides the mountains behind, and seems to
envelop the sportsman. In
his snow pictures the atmo-
sphere is rarefied, the tones
good and the lines very
fine. This artist also ex-
hibited designs for stained
glass destined for the
church in Aussig, which
show that in religious sub-
jects he also possesses power
and imagination.
Karl Jordan’s water-
colour with coloured chalks,
Die Missetdterin, filled us
with pity; a beautiful
slender woman with fine
features delicately deline-
ated stands before us ; she
has been stripped naked
for punishment, her hands
are bound behind, a rope
is slung round her neck, the
executioner, an old man,
holds the end of it, and is
pitilessly dragging her to
the place of punishment.
The expression of his face
shows brutal joy in the
work he has in hand.
Standing apart are the on-
lookers. But it is the finely-drawn figure of the
woman to which we are attracted, and on which
the artist seems to have concentrated his whole
thought. All the other figures are subsidiary, and
serve only to emphasize the beautiful form of the
woman.
Albert Reibmayr’s Adieu is full of feeling.
A Tyrolese soldier is kneeling at the grave of his
parents, bidding them good-bye. Outside the gates
the regiment is marching on; he feels it is time to
depart, and slowly rises. The tones are green in
green, the perspective good, while the yellow tints
of the morning light seem to break through all.
In Ploughing the artist again shows his delight in
describing the morning lights. Hans Weber showed
some fine and effective lithographs, as also some
placards for the new Stubtaibahn built by the
Siidbahn, and which was opened last summer.
These are really both decorative and beautiful, and
describe the glorious scenery along the route. Leo
Putz, the well-known artist of “Jugend,” the illus-
trated Munich paper, who is a Tyrolese, in his
367