DOI Heft:
No. 160 (July, 1906)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.20715#0193
Studio-Talk
VILLA MULLER, NEAR DRESDEN
of seeing his work purchased by the French
Government for the Palais des Beaux-Arts.
Our illustrations also comprise a statuette of a
Tricoteuse Zelandaise by Raymond Sudre, and a
Monument to Jean Lombard by Henri Buisseron.
The former has been on view this year at the Salon
des Artistes Francais, and forms one of a series
of kindred subjects executed by the artist during
a sojourn which his success at the Salon of 1902
enabled him to make in Zeeland. The Lombard
monument was commissioned by a group of
admirers of Jean Lombard, a powerful but little
known author of works of fiction.
DRESDEN.—The name of Max Kiihne
has appeared before this in the
columns of The Studio. No other
pupil of Wallot’s, the architect of both
the Berlin and the Dresden Houses of Parliament,
seems to be equally successful, and he is rapidly
making a name for himself, so that his services are
sought after far beyond the precincts of his home,
Dresden. Some of the decisive features of the
Fine Arts and Crafts Exhibition, which was opened
here this month, are the work of Herr Kiihne,
notably a series of model shops for the sale of
works of applied art, a model cemetery with funereal
chapel attached, a conservatory, a staircase hall in
a private villa, etc. We take pleasure in repro-
ducing some of his latest work.
The large staircase in the Villa Geitner—the
172
MAX HANS KUHNE, ARCHITECT
dimensions are about 17 yards by 13—was arranged
with a large top light at the express desire of the
owner. In order to get some light and shade into
it, the rather broad passage along the top floor was
decided upon, and the rows of heavily-carved,
ornamental pillars produce a pleasant perspective.
The Villa Moras stands at the top of a long slope,
and the architect’s chief care was directed towards
the system of broad terraces, which should serve as
a connecting-link between the house and the
ground upon which it stands. Whereas the colour-
scheme, the simple triad of white walls, red roof
and the green of the landscape, is a very usual one
here, the one made use of in the case of the Villa
Muller is not quite so common. The walls under
the vivid, red-tiled roof are painted a rich, deep
yellow ochre, which renders the building finely
luminous in the dark-green landscape. The villa
represents a successful attempt to transplant Italian
style into these northern climes. The principal
feature of the place does not appear in our picture.
This house is situated on the top of a high, steep
hill, and one enjoys a magnificent view over the
wide valley of the Elbe from its windows. This
accounts for the verandah and balcony to the right.
H. W. S.
VIENNA.—The Spring Exhibitions of the
Secession are generally devoted mainly
to the members of the society, and such
was the case this year, for few “ strangers ”
were there. The Polish Society “Sztuka” are,
VILLA MULLER, NEAR DRESDEN
of seeing his work purchased by the French
Government for the Palais des Beaux-Arts.
Our illustrations also comprise a statuette of a
Tricoteuse Zelandaise by Raymond Sudre, and a
Monument to Jean Lombard by Henri Buisseron.
The former has been on view this year at the Salon
des Artistes Francais, and forms one of a series
of kindred subjects executed by the artist during
a sojourn which his success at the Salon of 1902
enabled him to make in Zeeland. The Lombard
monument was commissioned by a group of
admirers of Jean Lombard, a powerful but little
known author of works of fiction.
DRESDEN.—The name of Max Kiihne
has appeared before this in the
columns of The Studio. No other
pupil of Wallot’s, the architect of both
the Berlin and the Dresden Houses of Parliament,
seems to be equally successful, and he is rapidly
making a name for himself, so that his services are
sought after far beyond the precincts of his home,
Dresden. Some of the decisive features of the
Fine Arts and Crafts Exhibition, which was opened
here this month, are the work of Herr Kiihne,
notably a series of model shops for the sale of
works of applied art, a model cemetery with funereal
chapel attached, a conservatory, a staircase hall in
a private villa, etc. We take pleasure in repro-
ducing some of his latest work.
The large staircase in the Villa Geitner—the
172
MAX HANS KUHNE, ARCHITECT
dimensions are about 17 yards by 13—was arranged
with a large top light at the express desire of the
owner. In order to get some light and shade into
it, the rather broad passage along the top floor was
decided upon, and the rows of heavily-carved,
ornamental pillars produce a pleasant perspective.
The Villa Moras stands at the top of a long slope,
and the architect’s chief care was directed towards
the system of broad terraces, which should serve as
a connecting-link between the house and the
ground upon which it stands. Whereas the colour-
scheme, the simple triad of white walls, red roof
and the green of the landscape, is a very usual one
here, the one made use of in the case of the Villa
Muller is not quite so common. The walls under
the vivid, red-tiled roof are painted a rich, deep
yellow ochre, which renders the building finely
luminous in the dark-green landscape. The villa
represents a successful attempt to transplant Italian
style into these northern climes. The principal
feature of the place does not appear in our picture.
This house is situated on the top of a high, steep
hill, and one enjoys a magnificent view over the
wide valley of the Elbe from its windows. This
accounts for the verandah and balcony to the right.
H. W. S.
VIENNA.—The Spring Exhibitions of the
Secession are generally devoted mainly
to the members of the society, and such
was the case this year, for few “ strangers ”
were there. The Polish Society “Sztuka” are,