Drawings and Sketches by Modern Masters
Kunstgewerbe- T~->y RAWINGS AND SKETCHES
schule will under- I 1 BY MODERN MASTERS. BY
go still greater ■_ I T MARTIN WOOD.
developments is
as certain as the In a preceding article dealing with the drawings
success it has of older masters we attributed our pleasure in
already achieved, studying them to the sensitiveness of the vision
Copyists and shown and the nervous responsiveness of the
" patchers" have pencil; and we regretted the modern tendency
arisen; that is only to lose the more sympathetic qualities of drawing
natural, and is in a system almost mechanical in its aim, which
a sign of flattery, is, unfortunately, fostered in the schools. In this
as is all imitation, article we have brought together examples of the
This is exactly work of modern draughtsmen with whom the secret
where the evil lies: of good drawing remains, who show that they share
the ignorant are with the old masters indifference to everything but
apt to accept the personal vision and interpretation. And by the
dross for real gold; word personal we do not mean that self-conscious
they neither know work which effectually marks where originality
nor wish to know leaves off and eccentricity begins. For this self-
the difference, and consciousness surely shows that an artist has
it is only given to allowed other people's work to obsess his mind,
the few to distin- since he is so painfully anxious to show in his
guish the real from art an extraordinary difference between himself
the false. Thus and them. Compared with the contrasts after
the imitators which the modern artists strain that their work
tapestry designed by „ . , ,., , , , f , ,
margarethe gullmann- reap much of the may be unlike each other's, the work of the old
theller and woven in benefit that should
frau guttmann s class
fall to the original
artist. Still there
is every prospect of a bright future for these young
artists, who are made of good mettle and capable
of long endurance; and, after all, it is only by
steady perseverance that success can be reached.
A. S. Levetus.
In celebration of the three hundredth anniversary
of the foundation of the city of Mannheim steps
are being taken to organise an International Art
Exhibition, to be held there during the coming
summer. It is stated in the circular sent to us
that the "traditions of the 'Seceders' of the
Munich and Vienna schools in the nineties will be
revived and carried cn," and also that " especial
stress will be laid on the introduction of lately
executed and distinguished works." It is also stated
that a sum of ^15,000 has already been guaranteed
as purchase money. Prof. Ludwig Dill is the
chairman of the exhibition, and Prof. Rudolph
Hellwag, who was one of the organisers of the
German Art Exhibition held at Knightsbridge
last summer, has been entrusted with the selection
of British works. Prof. Hellwag's address is Alma plaster model by nora von exner
_ ,. „, , , _ , t^ . „. (prof, metzner's class)
Studios, Stratford Road, Kensington, W. (See previous article)
334
Kunstgewerbe- T~->y RAWINGS AND SKETCHES
schule will under- I 1 BY MODERN MASTERS. BY
go still greater ■_ I T MARTIN WOOD.
developments is
as certain as the In a preceding article dealing with the drawings
success it has of older masters we attributed our pleasure in
already achieved, studying them to the sensitiveness of the vision
Copyists and shown and the nervous responsiveness of the
" patchers" have pencil; and we regretted the modern tendency
arisen; that is only to lose the more sympathetic qualities of drawing
natural, and is in a system almost mechanical in its aim, which
a sign of flattery, is, unfortunately, fostered in the schools. In this
as is all imitation, article we have brought together examples of the
This is exactly work of modern draughtsmen with whom the secret
where the evil lies: of good drawing remains, who show that they share
the ignorant are with the old masters indifference to everything but
apt to accept the personal vision and interpretation. And by the
dross for real gold; word personal we do not mean that self-conscious
they neither know work which effectually marks where originality
nor wish to know leaves off and eccentricity begins. For this self-
the difference, and consciousness surely shows that an artist has
it is only given to allowed other people's work to obsess his mind,
the few to distin- since he is so painfully anxious to show in his
guish the real from art an extraordinary difference between himself
the false. Thus and them. Compared with the contrasts after
the imitators which the modern artists strain that their work
tapestry designed by „ . , ,., , , , f , ,
margarethe gullmann- reap much of the may be unlike each other's, the work of the old
theller and woven in benefit that should
frau guttmann s class
fall to the original
artist. Still there
is every prospect of a bright future for these young
artists, who are made of good mettle and capable
of long endurance; and, after all, it is only by
steady perseverance that success can be reached.
A. S. Levetus.
In celebration of the three hundredth anniversary
of the foundation of the city of Mannheim steps
are being taken to organise an International Art
Exhibition, to be held there during the coming
summer. It is stated in the circular sent to us
that the "traditions of the 'Seceders' of the
Munich and Vienna schools in the nineties will be
revived and carried cn," and also that " especial
stress will be laid on the introduction of lately
executed and distinguished works." It is also stated
that a sum of ^15,000 has already been guaranteed
as purchase money. Prof. Ludwig Dill is the
chairman of the exhibition, and Prof. Rudolph
Hellwag, who was one of the organisers of the
German Art Exhibition held at Knightsbridge
last summer, has been entrusted with the selection
of British works. Prof. Hellwag's address is Alma plaster model by nora von exner
_ ,. „, , , _ , t^ . „. (prof, metzner's class)
Studios, Stratford Road, Kensington, W. (See previous article)
334