DOI issue:
No. 173 (August, 1907)
DOI article:The Mannheim tercentenary exhibition
DOI Page / Citation link: https://doi.org/10.11588/diglit.20775#0223
The Mannheim Tercentenary Exhibition
GARDEN WITH OPEN-AIR THEATRE, MANNHEIM EXHIBITION DESIGNED BY PROF. PETER BEHRENS
The room by Josef Hofmann, of Vienna, strikes work will remain in Mannheim. Cottet has a
one at once by its originality. The floor is tiled special room, and Khnopff is also honoured in the
with narrow strips of black and white, the walls same way. His silver-grey drawings, with faint
being also black and white, with discreet use of suggestions of colour, are very restful and aristo-
gold to soften and unite. Professors Hofmann cratic. Dill has six characteristic tempera pictures
and Kolo Moser have endeavoured to bring to- which do not sit quite happily against their restless
gether the products of the strongest individualities background. Hellwag makes a happy departure
in Vienna. The result is deeply interesting, but in technique in his White Sail, though a little dry in
one feels that too much is sacrified for the sake of quality. Frieseke, a young American, has a well
noveliy. modelled nude, and it is evident that he has learnt
Room 9 is devoted to Japanese art, and Prutscher much from Whistler. Kallmorgen in his sound
has been entirely successful in designing a room in and vigorous work has shaken off the influence of
the restrained colour-schemes and wonderful har- a school for which he was temperamentally too
monies of the Japanese. robust; nevertheless, the experience may have
Plastic art has here a numerical importance that benefited him. Schonleber's beautiful colour
is not usual in exhibitions, and whilst there is little schemes and consummate brush-work make him
of international interest, there is a high standard of bien-venu anywhere; he combines the extreme
merit, though perhaps too much of the pseudo- schools most felicitously.
primitive; but such marvellously modelled works There are three paintings by Victor Mueller,
as the Marble Head, by Oppler, or the Mother and who died in 1871 ; his Head of a Man is a master-
Child, in bronze, by Lagae, are inspired by that piece of the first rank, and his Schneewittchen is
realistic idealism which we call classical. almost as good. How is it possible for a painter
To go back to the pictures, not only is the of his quality to be so completely forgotten in so
Biitish Section very strongly represented, but they short a time? Bantzer's Hessian Peasants is a
have found material appreciation, and much of the powerful character study; the surface textures
193
GARDEN WITH OPEN-AIR THEATRE, MANNHEIM EXHIBITION DESIGNED BY PROF. PETER BEHRENS
The room by Josef Hofmann, of Vienna, strikes work will remain in Mannheim. Cottet has a
one at once by its originality. The floor is tiled special room, and Khnopff is also honoured in the
with narrow strips of black and white, the walls same way. His silver-grey drawings, with faint
being also black and white, with discreet use of suggestions of colour, are very restful and aristo-
gold to soften and unite. Professors Hofmann cratic. Dill has six characteristic tempera pictures
and Kolo Moser have endeavoured to bring to- which do not sit quite happily against their restless
gether the products of the strongest individualities background. Hellwag makes a happy departure
in Vienna. The result is deeply interesting, but in technique in his White Sail, though a little dry in
one feels that too much is sacrified for the sake of quality. Frieseke, a young American, has a well
noveliy. modelled nude, and it is evident that he has learnt
Room 9 is devoted to Japanese art, and Prutscher much from Whistler. Kallmorgen in his sound
has been entirely successful in designing a room in and vigorous work has shaken off the influence of
the restrained colour-schemes and wonderful har- a school for which he was temperamentally too
monies of the Japanese. robust; nevertheless, the experience may have
Plastic art has here a numerical importance that benefited him. Schonleber's beautiful colour
is not usual in exhibitions, and whilst there is little schemes and consummate brush-work make him
of international interest, there is a high standard of bien-venu anywhere; he combines the extreme
merit, though perhaps too much of the pseudo- schools most felicitously.
primitive; but such marvellously modelled works There are three paintings by Victor Mueller,
as the Marble Head, by Oppler, or the Mother and who died in 1871 ; his Head of a Man is a master-
Child, in bronze, by Lagae, are inspired by that piece of the first rank, and his Schneewittchen is
realistic idealism which we call classical. almost as good. How is it possible for a painter
To go back to the pictures, not only is the of his quality to be so completely forgotten in so
Biitish Section very strongly represented, but they short a time? Bantzer's Hessian Peasants is a
have found material appreciation, and much of the powerful character study; the surface textures
193