DOI Heft:
No. 173 (August, 1907)
DOI Artikel:The Mannheim tercentenary exhibition
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.20775#0222
The Mannheim Tercentenary Exhibition
arouse noble emotion" ; this entails sincerity of
purpose, Neither technique alone, nor imitation
alone, nor idealistic generalisation alone are suffi-
cient for the achievement of a great work of art,
and the supreme benediction of style may be given
to a naturalistic painter as to an impressionist.
All depends on their sincerity, their intensity of
feeling and technical ability to express themselves
with ease, subtlety and force. Just now these facts
are being lost sight of, it is to be hoped not for long;
we are indeed suffering from a plethora of men of
genius and need badly a few men of talent.
Of course men of cultivated taste do not
value a picture solely for its subject, but it
requires something more than technical charm and
beauty of craftsmanship to make us pardon the re-
pulsive subject of an old man cutting up geese on
a stall, much being made of a dirty basin of blood
in the foreground. Nor is the elaborate and costly
decoration in purple and gold of one of the rooms
justified either by subject or by technical accom-
plishment in the small still-life which is the key
note, and the raison d'itre of the room decoration.
The subject is a coarsely and superficially painted
pair of woman's corsets on a chair—nothing more,
but enough perhaps !
Coming now to the rooms, the first to call for
notice is Room 27 by Otto Rieth. This is
arranged as a picture gallery in a private house, a
modern room with baroque suggestions in the
woodwork. The wood is maple, stained blue-grey,
inlaid with rosewood and mother-of-pearl, the
stained surface shimmering like silk. The wall
covering, as well as the couches and chairs, are in
deeper tones of blue-grey. A rich deep-toned
landscape by De Bock and important canvases by
Lavery, Brangwyn, Schonleber, Cairati, and others
give an international stamp to the room.
There is an air of distinction about the room by
Bermann, with its architectural diversity of projec-
tions, niches and alcoves; the room is full of
sculpture so arranged as to take advantage of the
source of light, a large side window; the pedestals
are malachite, and the beauty of marble and bronze
is enhanced by the walls which with their silvery
patina form a softly shimmering background.
VESTIBULE, MANNHEIM EXHIBITION
DESIGNED BY PROF. H. BILLING
arouse noble emotion" ; this entails sincerity of
purpose, Neither technique alone, nor imitation
alone, nor idealistic generalisation alone are suffi-
cient for the achievement of a great work of art,
and the supreme benediction of style may be given
to a naturalistic painter as to an impressionist.
All depends on their sincerity, their intensity of
feeling and technical ability to express themselves
with ease, subtlety and force. Just now these facts
are being lost sight of, it is to be hoped not for long;
we are indeed suffering from a plethora of men of
genius and need badly a few men of talent.
Of course men of cultivated taste do not
value a picture solely for its subject, but it
requires something more than technical charm and
beauty of craftsmanship to make us pardon the re-
pulsive subject of an old man cutting up geese on
a stall, much being made of a dirty basin of blood
in the foreground. Nor is the elaborate and costly
decoration in purple and gold of one of the rooms
justified either by subject or by technical accom-
plishment in the small still-life which is the key
note, and the raison d'itre of the room decoration.
The subject is a coarsely and superficially painted
pair of woman's corsets on a chair—nothing more,
but enough perhaps !
Coming now to the rooms, the first to call for
notice is Room 27 by Otto Rieth. This is
arranged as a picture gallery in a private house, a
modern room with baroque suggestions in the
woodwork. The wood is maple, stained blue-grey,
inlaid with rosewood and mother-of-pearl, the
stained surface shimmering like silk. The wall
covering, as well as the couches and chairs, are in
deeper tones of blue-grey. A rich deep-toned
landscape by De Bock and important canvases by
Lavery, Brangwyn, Schonleber, Cairati, and others
give an international stamp to the room.
There is an air of distinction about the room by
Bermann, with its architectural diversity of projec-
tions, niches and alcoves; the room is full of
sculpture so arranged as to take advantage of the
source of light, a large side window; the pedestals
are malachite, and the beauty of marble and bronze
is enhanced by the walls which with their silvery
patina form a softly shimmering background.
VESTIBULE, MANNHEIM EXHIBITION
DESIGNED BY PROF. H. BILLING