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#0067
Prof. Ludwig Herterich
recommendation ; but when the strong statement seldom seen in a modern work. It has all the
brought to the fore in this work is expressed with charm of colour-vibration of the ultra-impres-
the fervour and the technical excellence which sionistic works, but Herterich has not stopped at
Herterich has here displayed it cannot but be that. It first exists as one complete piece of
commended. Of the latter phase much might be painting, and then follows unconsciously the
written, for it is the first quality upon which the pleasure one gets from its translucency of
merit of any picture rests. Its fine arrangement colour. It is truly a great work which could only
will be apparent in the accompanying reproduction, come from the hand of a strong, robust, well-
as well as the wonderful dexterity of the brush. In equipped painter who knows exactly what he
touching upon its colour, we come to that phase of wants to do and straightway does it.
the art of Herterich wherein we find him at its best. His St. George is less dexterous in its brushwork,
His colour is his strongest point. Seemingly in but the same spirit is there, which is, after all, the
an unconscious manner he has
brought the harmony of his colour
into its most pleasurable tune.
Passing through modern exhibitions,
we see many crude examples of ex-
tremes of temperatures in point of
colour balance, and from able men,
too ; but I have yet to see from the
brush of Herterich the composition
which does not hang in as fine a
balance of temperature, as pleasing
translucency of colour, as one might
wish to see. But these are merely
suggestions of the means by which
he has attained his splendid results.
Throughout his years of work as
a painter he has, amid the wildest
extremes of tendencies, maintained
an equilibrium which, with any man
less of a master, would have been
quite impossible. Therein lies the
proof of his power, and it is most
gratifying that he has (unlike the
prophet of tradition) first found
honour in his own country. Five of
his pictures have been bought by
the Bavarian Government — The
Ktiight, St. George, A Sttmmer
Evening, Ophelia, and At the Piano.
These are all, I believe, now hanging
in the New Pinakothek in Munich,
although I have only seen the first
three.
Of this group The Knight is, per-
haps, the strongest. Its scheme of
colour is very simple, ranging from a
warm grey under the horse's feet to
the strong note of blue in the
middle distance. The figure in
armour and the horse are powerfully
drawn —full of bold, masterful "ulrich von hutten" by ludwig herterich
strokes, and with a purity of colour (Dresden Gallery)
47
recommendation ; but when the strong statement seldom seen in a modern work. It has all the
brought to the fore in this work is expressed with charm of colour-vibration of the ultra-impres-
the fervour and the technical excellence which sionistic works, but Herterich has not stopped at
Herterich has here displayed it cannot but be that. It first exists as one complete piece of
commended. Of the latter phase much might be painting, and then follows unconsciously the
written, for it is the first quality upon which the pleasure one gets from its translucency of
merit of any picture rests. Its fine arrangement colour. It is truly a great work which could only
will be apparent in the accompanying reproduction, come from the hand of a strong, robust, well-
as well as the wonderful dexterity of the brush. In equipped painter who knows exactly what he
touching upon its colour, we come to that phase of wants to do and straightway does it.
the art of Herterich wherein we find him at its best. His St. George is less dexterous in its brushwork,
His colour is his strongest point. Seemingly in but the same spirit is there, which is, after all, the
an unconscious manner he has
brought the harmony of his colour
into its most pleasurable tune.
Passing through modern exhibitions,
we see many crude examples of ex-
tremes of temperatures in point of
colour balance, and from able men,
too ; but I have yet to see from the
brush of Herterich the composition
which does not hang in as fine a
balance of temperature, as pleasing
translucency of colour, as one might
wish to see. But these are merely
suggestions of the means by which
he has attained his splendid results.
Throughout his years of work as
a painter he has, amid the wildest
extremes of tendencies, maintained
an equilibrium which, with any man
less of a master, would have been
quite impossible. Therein lies the
proof of his power, and it is most
gratifying that he has (unlike the
prophet of tradition) first found
honour in his own country. Five of
his pictures have been bought by
the Bavarian Government — The
Ktiight, St. George, A Sttmmer
Evening, Ophelia, and At the Piano.
These are all, I believe, now hanging
in the New Pinakothek in Munich,
although I have only seen the first
three.
Of this group The Knight is, per-
haps, the strongest. Its scheme of
colour is very simple, ranging from a
warm grey under the horse's feet to
the strong note of blue in the
middle distance. The figure in
armour and the horse are powerfully
drawn —full of bold, masterful "ulrich von hutten" by ludwig herterich
strokes, and with a purity of colour (Dresden Gallery)
47