Studio-Talk
PORTRAIT OF GRAF BY W. WULFF
KALCKREUTH'S DAUGHTER
figures, partly in rapid motion, Max Beckmann
(Berlin) appears still somewhat unsteady, and his
anatomy at times faulty;
yet a spirit of antique, of
hellenic joy seems to per-
vade the whole and argues
well for the artist’s future,
provided he can combine
with the flight of his fancy
the additional quality of
sound draughtsmanship.
Bischoff- Culm sent a
portrait study and a picture
of two Netztragerinnen, a
sober piece of brushwork ;
Konrad von Kardorff a
Garten - Restaurant, and
Wassily Kaudinsky some
vividly-coloured drawings
altogether on a flat, decora-
tive principle—light dabs
of paint on a black back-
ground, showing some of
his best qualities. His sub-
jects are holiday- makers
356
in laughing array, children playing, or an old-
fashioned Russian knight in gaudy armour on a
white steed.
Theo von Brockhusen gives some good land-
scape effects, and Vincenz Cissarz two seascapes
from the lonely downs of Sylt. Luis Corinth
figures scarcely to his advantage in a portrait of an
octogenarian and a large dog (Tigerdogge), very
sound in colour, but sketchily drawn; Ludwig Dill,
one of the old guard, brings two specimens of
his “one” picture from the swamps of Dachau;
Feddersen of Kleiseer-Koog a bright seascape of
breakers on a weather-beaten beach; Max Thedy,
a portrait of his son (p. 358); Eugen Feiks,
some studies of turf life; Carlos Grethe, a Ham-
burg harbour view, and a fine-toned open sea with
fishing craft; Rudolf Hellwag, a bright, breezy
view of Old Chelsea.
Amandus Faure gives promises of much talent,
both as colourist and as humourist; his circus inte-
riors, intimate snap-shots of Bohemian life, are teem-
ing with dark-toned colour and vivacity. One of the
strongest pictures of the exposition is the Ausfah-
render Zug (see p. 357), by Hermann Pleuer
(Stuttgart), a work excellent in colour, light and
strength of execution. Frau Julie Wolfthorn
contributes a pastel portrait of Frau Dehmel,
and a study in greens and violets, both intimate
PORTRAIT OF GRAF BY W. WULFF
KALCKREUTH'S DAUGHTER
figures, partly in rapid motion, Max Beckmann
(Berlin) appears still somewhat unsteady, and his
anatomy at times faulty;
yet a spirit of antique, of
hellenic joy seems to per-
vade the whole and argues
well for the artist’s future,
provided he can combine
with the flight of his fancy
the additional quality of
sound draughtsmanship.
Bischoff- Culm sent a
portrait study and a picture
of two Netztragerinnen, a
sober piece of brushwork ;
Konrad von Kardorff a
Garten - Restaurant, and
Wassily Kaudinsky some
vividly-coloured drawings
altogether on a flat, decora-
tive principle—light dabs
of paint on a black back-
ground, showing some of
his best qualities. His sub-
jects are holiday- makers
356
in laughing array, children playing, or an old-
fashioned Russian knight in gaudy armour on a
white steed.
Theo von Brockhusen gives some good land-
scape effects, and Vincenz Cissarz two seascapes
from the lonely downs of Sylt. Luis Corinth
figures scarcely to his advantage in a portrait of an
octogenarian and a large dog (Tigerdogge), very
sound in colour, but sketchily drawn; Ludwig Dill,
one of the old guard, brings two specimens of
his “one” picture from the swamps of Dachau;
Feddersen of Kleiseer-Koog a bright seascape of
breakers on a weather-beaten beach; Max Thedy,
a portrait of his son (p. 358); Eugen Feiks,
some studies of turf life; Carlos Grethe, a Ham-
burg harbour view, and a fine-toned open sea with
fishing craft; Rudolf Hellwag, a bright, breezy
view of Old Chelsea.
Amandus Faure gives promises of much talent,
both as colourist and as humourist; his circus inte-
riors, intimate snap-shots of Bohemian life, are teem-
ing with dark-toned colour and vivacity. One of the
strongest pictures of the exposition is the Ausfah-
render Zug (see p. 357), by Hermann Pleuer
(Stuttgart), a work excellent in colour, light and
strength of execution. Frau Julie Wolfthorn
contributes a pastel portrait of Frau Dehmel,
and a study in greens and violets, both intimate