DOI Heft:
No. 155 (February, 1906)
DOI Artikel:Covey, Arthur Sinclair: A German painter: Prof. Ludwig Herterich
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.20714#0062
Prof. Ludwig Herterich
many and powerful supporters among the highest
in the land on the other—a combat from which
even the wielder of the royal sceptre, himself a
keen art critic, has with difficulty kept clear, though,
curiously enough, he now finds himself in possession
of a most important collection by Bocklin, one of
the prime movers of the " new tendency," and who
is to-day ranked by the Germans as one of the very
ablest of their modern painters.
Thirty years ago a small group of men were
forced into exile in foreign lands to free themselves
of the hard-and-fast lines with which Imperial
German art was bound. I refer to the experiences
of Leibl, Liebermann, Von Uhde, and Klinger, who
had taken up the work started by Menzel, Bocklin,
Feuerbach, and Von Marees. The influence of these
men may be seen in the present high standard
of modern German painting, the very best of which
is found in the Munich and Berlin Secession exhi-
bitions, where evidence in plenty is not wanting,
that this influence has on the whole been whole-
some and invigorating, though here and there, it is
true, the note of exaggeration is sounded.
One of the ablest and most noted of the Munich
group of painters to-day is Professor Ludwig
Herterich, whose work forms the subject of this
article.
Ludwig Herterich was born in 1856, which late
date gave him an opportunity of entering the field
of action at a time much more advantageous than
his predecessors Menzel and Bocklin. The very
spirit of the time seemed ready to receive him, and
with his rare talent he has responded to the call
in a manner which shows how well he deserves the
high position he now occupies. His father being
a sculptor, he was enabled very early to indulge
himself in his love for the romantic and picturesque
phases of life. His home was filled with curios,
old pictures and pieces of sculpture, armour, etc.,
which his father had collected, and among these
young Herterich found his greatest pleasure. He
very early thought to fit himself for the profession
of a musician, but soon gave this up for the study
of painting; yet although he has pursued the latter
with such a high degree of success, his love for
music has never abated.
many and powerful supporters among the highest
in the land on the other—a combat from which
even the wielder of the royal sceptre, himself a
keen art critic, has with difficulty kept clear, though,
curiously enough, he now finds himself in possession
of a most important collection by Bocklin, one of
the prime movers of the " new tendency," and who
is to-day ranked by the Germans as one of the very
ablest of their modern painters.
Thirty years ago a small group of men were
forced into exile in foreign lands to free themselves
of the hard-and-fast lines with which Imperial
German art was bound. I refer to the experiences
of Leibl, Liebermann, Von Uhde, and Klinger, who
had taken up the work started by Menzel, Bocklin,
Feuerbach, and Von Marees. The influence of these
men may be seen in the present high standard
of modern German painting, the very best of which
is found in the Munich and Berlin Secession exhi-
bitions, where evidence in plenty is not wanting,
that this influence has on the whole been whole-
some and invigorating, though here and there, it is
true, the note of exaggeration is sounded.
One of the ablest and most noted of the Munich
group of painters to-day is Professor Ludwig
Herterich, whose work forms the subject of this
article.
Ludwig Herterich was born in 1856, which late
date gave him an opportunity of entering the field
of action at a time much more advantageous than
his predecessors Menzel and Bocklin. The very
spirit of the time seemed ready to receive him, and
with his rare talent he has responded to the call
in a manner which shows how well he deserves the
high position he now occupies. His father being
a sculptor, he was enabled very early to indulge
himself in his love for the romantic and picturesque
phases of life. His home was filled with curios,
old pictures and pieces of sculpture, armour, etc.,
which his father had collected, and among these
young Herterich found his greatest pleasure. He
very early thought to fit himself for the profession
of a musician, but soon gave this up for the study
of painting; yet although he has pursued the latter
with such a high degree of success, his love for
music has never abated.