DOI issue:
No. 174 (September, 1907)
DOI article:Studio-talk
DOI Page / Citation link:https://doi.org/10.11588/diglit.20775#0362
Studio- Talk
fined interieurs. The
Secession is especially the
place for the exhibition
of the nude, in which,
however, the modesty of
nature is, I am afraid,
sometimes lost sight of.
It has some interesting
portraits to offer by Linde-
Walther, von Kardorff,
von Konig, Breyer, Dora
Hitz and Maurer, and
some strongly rendered
naturalistic subjects by
garden fence by otto schulz Count Kalckreuth, Franck,
Bischoff - Culm, and
practicability. He drew an octagonal and a quad- Charlotte Berend. That still-life in its utmost re-
rangular pavilion, each covered with a roof of finement is becoming a prominent feature here is
shingle-wood. The particular charm of these significant, and may, it is hoped, tend towards a
competitive works lay in the exquisiteness of Schulz's more peaceable spirit in this dissident art centre,
architectural drawing. J. J.
The Secession has made an effort to assume a A MSTERDAM.—With the renaissance of
^^^^ ^
result is a very interesting exhibition. There is / \ four decades of the nineteenth century,
a good deal of strong work and some really ■* *■ there was a kindred revival of the graphic
refined productions. Max
Liebermann is on a classic
height in most of his works
between 1876-1896, but his
latest coup de force, the
portrait group of the Ham-
burg Professors impresses
one in many respects as
unsatisfactory. Louis
Corinth is the only one
among German artists with
a Rubenese vein, but void
of the Flemish grandseign-
eur's quality of noblesse.
Max Slevogt cultivates in-
teresting colour - schemes
and vivid delineation, and
Leistikow's landscapes
sound the rhapsodic note
as strongly as the idyllic.
Ulrich Hiibner's pictures
from the North German
waterside carry the fresh-
ness of breeze and flood
with them, and Heinrich
Hiibner understands how
to add interesting features
to the quiet charm of re- summer house by otto schulz
324
fined interieurs. The
Secession is especially the
place for the exhibition
of the nude, in which,
however, the modesty of
nature is, I am afraid,
sometimes lost sight of.
It has some interesting
portraits to offer by Linde-
Walther, von Kardorff,
von Konig, Breyer, Dora
Hitz and Maurer, and
some strongly rendered
naturalistic subjects by
garden fence by otto schulz Count Kalckreuth, Franck,
Bischoff - Culm, and
practicability. He drew an octagonal and a quad- Charlotte Berend. That still-life in its utmost re-
rangular pavilion, each covered with a roof of finement is becoming a prominent feature here is
shingle-wood. The particular charm of these significant, and may, it is hoped, tend towards a
competitive works lay in the exquisiteness of Schulz's more peaceable spirit in this dissident art centre,
architectural drawing. J. J.
The Secession has made an effort to assume a A MSTERDAM.—With the renaissance of
^^^^ ^
result is a very interesting exhibition. There is / \ four decades of the nineteenth century,
a good deal of strong work and some really ■* *■ there was a kindred revival of the graphic
refined productions. Max
Liebermann is on a classic
height in most of his works
between 1876-1896, but his
latest coup de force, the
portrait group of the Ham-
burg Professors impresses
one in many respects as
unsatisfactory. Louis
Corinth is the only one
among German artists with
a Rubenese vein, but void
of the Flemish grandseign-
eur's quality of noblesse.
Max Slevogt cultivates in-
teresting colour - schemes
and vivid delineation, and
Leistikow's landscapes
sound the rhapsodic note
as strongly as the idyllic.
Ulrich Hiibner's pictures
from the North German
waterside carry the fresh-
ness of breeze and flood
with them, and Heinrich
Hiibner understands how
to add interesting features
to the quiet charm of re- summer house by otto schulz
324