DOI Heft:
No. 162 (September, 1906)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.20715#0375
Studio-Talk
BUST IN POLYCHROME-WOOD BY MAX KRUSE
OF F. VON GLEICHEN-RUSSWURM
reuth, the President of the Bund, by a portrait
of himself at work in his studio; Robert von
Haug by a study of soldiers dying or wounded
on a lone wintry plain; Leistikow by some
Swedish landscapes, different in character from
much of his work with which we are familiar;
Stuck sent his Saharet portrait; and Hans Olde, the
director of the Modern School of Art in Weimar,
two portraits of ladies, one broadly executed and
deftly toned in silvery grey, the other taken before
a wooded blue-green background of pines—a diffi-
cult colour problem. Triibner sent a rather wild
display of his brush (Adam and Eve), seconded by
some still life and landscape from the hand of
Mrs. Triibner, attaining to a nicety the master’s
subdued, sombre tones. Prof. Hagen (Weimar)
may be congratulated upon the freshness and spirit
of his versatile palette. Last, not least. Liebermann
in his SeiLerbahn (rope walk) shows his best in a
small painting that gives the impression of elaborate
work, though rapidly executed.
Ludwig von Hofmann shows some fine com-
position sketches of Dances (similar to a series of
354
lithographs by the same artist), conspicuous by
that feeling for harmony of rhythmical movement,
peculiar to the artist. Heinrich Vogeler (Worps-
wede) has contributed his triptych of a Summer
Evening, a company of young men and women
making or listening to music on the verandah of his
dwelling house, Barkenhof, near Worpswede. The
bulky framing of this elaborate, over-worked canvas
requires a space all for itself, and seems out of place
altogether in an exhibition. Bernhard Pankok
sent a portrait of himself, dated 1898; Emil Orlik
a fine study An Bord der Kiautschau; Max
Kurzweil (Vienna) a symbolical painting, Non
omnis mnriar; Adolf Holzel some plein aA-views
from Dachau; and Ida Gerhardi a characteristic
portrait of the painter Rohlfs.
Among the exhibits by younger men who are
making their debuts at this exhibition may be noted
a large, airy canvas of an unusual character, show-
ing under a grey toned, half-overcast sky, naked
men walking, wrestling, or running on a wide
expanse of sandy sea-shore. In the grouping of his
BUST BY HERMAN HAHN
BUST IN POLYCHROME-WOOD BY MAX KRUSE
OF F. VON GLEICHEN-RUSSWURM
reuth, the President of the Bund, by a portrait
of himself at work in his studio; Robert von
Haug by a study of soldiers dying or wounded
on a lone wintry plain; Leistikow by some
Swedish landscapes, different in character from
much of his work with which we are familiar;
Stuck sent his Saharet portrait; and Hans Olde, the
director of the Modern School of Art in Weimar,
two portraits of ladies, one broadly executed and
deftly toned in silvery grey, the other taken before
a wooded blue-green background of pines—a diffi-
cult colour problem. Triibner sent a rather wild
display of his brush (Adam and Eve), seconded by
some still life and landscape from the hand of
Mrs. Triibner, attaining to a nicety the master’s
subdued, sombre tones. Prof. Hagen (Weimar)
may be congratulated upon the freshness and spirit
of his versatile palette. Last, not least. Liebermann
in his SeiLerbahn (rope walk) shows his best in a
small painting that gives the impression of elaborate
work, though rapidly executed.
Ludwig von Hofmann shows some fine com-
position sketches of Dances (similar to a series of
354
lithographs by the same artist), conspicuous by
that feeling for harmony of rhythmical movement,
peculiar to the artist. Heinrich Vogeler (Worps-
wede) has contributed his triptych of a Summer
Evening, a company of young men and women
making or listening to music on the verandah of his
dwelling house, Barkenhof, near Worpswede. The
bulky framing of this elaborate, over-worked canvas
requires a space all for itself, and seems out of place
altogether in an exhibition. Bernhard Pankok
sent a portrait of himself, dated 1898; Emil Orlik
a fine study An Bord der Kiautschau; Max
Kurzweil (Vienna) a symbolical painting, Non
omnis mnriar; Adolf Holzel some plein aA-views
from Dachau; and Ida Gerhardi a characteristic
portrait of the painter Rohlfs.
Among the exhibits by younger men who are
making their debuts at this exhibition may be noted
a large, airy canvas of an unusual character, show-
ing under a grey toned, half-overcast sky, naked
men walking, wrestling, or running on a wide
expanse of sandy sea-shore. In the grouping of his
BUST BY HERMAN HAHN