DOI issue:
Nr. 168 (March 1907)
DOI article:Studio-talk
DOI Page / Citation link:https://doi.org/10.11588/diglit.20774#0179
Studio-Talk
“ UNDER THE ELMS ”
movements, learning their ways and learning to
understand them. The results of this system of
close observation are seen in the figures we repro-
duce. Barwig carves all his figures from life. It
seems a pity that there are so few artist-craftsmen
who devote themselves to this work. It is the
old question of demand and supply. So long as
people are content to buy imitations because they
are cheap, such men as Franz Barwig have little
acknowledgment materially. Artistic success he
has met with on all sides; he is a prominent
member of the Hagenbund, and it is significant
that he is employed by the Education Department
to make models for the Fachschulen.
The twenty-first exhibition of the Hagenbund
though small was interesting, and showed an
advance on previous ones. Louis Corinth, a leader
of the Berlin Secession, was one of the guests and
exhibited several works, a portrait of Konrad
Ansorge attracting much attention. Among the
other guests Victor Stretti exhibited some coloured
etchings, warm in tone and fine in drawing. The
BY J. J. BEYER
“Jungbund ” were also guests and were fairly repre-
sented, their part of the exhibition being arranged
by the architect, Oskar Laske, who also exhibited
several etchings showing considerable merit, tem-
perament and delicacy of conception. Alexander
Wilke sent some coloured drawings full of humour
and vigour, while Adolf Gross exhibited some
delicate motifs in pastel.
Of works by the members of the Hagenbund
Herr R. Konopa’s On the Aven, Brittany, is full
of strength, yet poetical in conception. The tones
are grey, verging to grey-blue. Hugo Baar’s idyll,
Abend im Herbst, pastel, is a charming piece of
farmyard life, with a fine sense of atmosphere, which
one also noticed in his Herbst. His oil painting
Walda?idacht has been acquired by the Govern-
ment for the Modern Gallery. It depicts a wood of
pines, of which only the stems are to be seen ; in the
foreground is a wayside crucifix, behind which is
the path through the wood. Ludwig Kuba’s Garten
im Friihling breathes of spring, with tender young
roots sending forth their first shoots. His portrait
H7
“ UNDER THE ELMS ”
movements, learning their ways and learning to
understand them. The results of this system of
close observation are seen in the figures we repro-
duce. Barwig carves all his figures from life. It
seems a pity that there are so few artist-craftsmen
who devote themselves to this work. It is the
old question of demand and supply. So long as
people are content to buy imitations because they
are cheap, such men as Franz Barwig have little
acknowledgment materially. Artistic success he
has met with on all sides; he is a prominent
member of the Hagenbund, and it is significant
that he is employed by the Education Department
to make models for the Fachschulen.
The twenty-first exhibition of the Hagenbund
though small was interesting, and showed an
advance on previous ones. Louis Corinth, a leader
of the Berlin Secession, was one of the guests and
exhibited several works, a portrait of Konrad
Ansorge attracting much attention. Among the
other guests Victor Stretti exhibited some coloured
etchings, warm in tone and fine in drawing. The
BY J. J. BEYER
“Jungbund ” were also guests and were fairly repre-
sented, their part of the exhibition being arranged
by the architect, Oskar Laske, who also exhibited
several etchings showing considerable merit, tem-
perament and delicacy of conception. Alexander
Wilke sent some coloured drawings full of humour
and vigour, while Adolf Gross exhibited some
delicate motifs in pastel.
Of works by the members of the Hagenbund
Herr R. Konopa’s On the Aven, Brittany, is full
of strength, yet poetical in conception. The tones
are grey, verging to grey-blue. Hugo Baar’s idyll,
Abend im Herbst, pastel, is a charming piece of
farmyard life, with a fine sense of atmosphere, which
one also noticed in his Herbst. His oil painting
Walda?idacht has been acquired by the Govern-
ment for the Modern Gallery. It depicts a wood of
pines, of which only the stems are to be seen ; in the
foreground is a wayside crucifix, behind which is
the path through the wood. Ludwig Kuba’s Garten
im Friihling breathes of spring, with tender young
roots sending forth their first shoots. His portrait
H7