DOI issue:
No. 175 (October, 1907)
DOI article:Studio-talk
DOI Page / Citation link:https://doi.org/10.11588/diglit.20776#0092
Studio-Talk
delicacy of the brush, for here Bernatzik in a way probably not one of the competitors ever even
seemed to emulate Klimt. On the walls were caught a glimpse of her, and as no photographic
hung landscapes, long and narrow in form, bits of or other portraits were available, 1hey were
meadows filled with grass, amid which the wild left without any definite guidance. This may
flowers played hide and seek, or woods where tall account for the indistinctness of the features in
poplars showed their silvery stems in varying lights, Professor Hans Bitterlich's statue, for which he
or bits of mother earth covered with verdure, all of was awarded second prize (the first was with-
them full of that fine atmospheric feeling which the held). The dress, too, is open to criticism, but
artist shared with Nature herself. At one end was here again the conditions laid down by the
a triptych, in the centre of which was a stream Committee made it impossible to secure a
meandering through banks gay with flowers, with perfectly satisfactory result. The pose of the
tall poplars in the foreground, and on either side a figure, however, is easy and graceful, and its
female figure. The arrangement and decorations dignity is enhanced by the architectural back-
of Bernatzik's " Yellow Room " are not easily to be ground, the work of Oberbaurat Ohmann. The
forgotten. monument is erected in a corner of the Volks-
- garten, and, spite of its faults, avoidable and
The memorial exhibition offered an opportunity unavoidable, will form an additional attraction
of judging of Bernatzik's powers as an artist, to the city. A. S. L.
Both the Miethke Galleries
were taken up with his pictures
and drawings. The idea was
a very happy one, and even
those best acquainted with him
were surprised at the display,
particularly with his latest work,
of which even his intimate
friends were ignorant till death
snatched him away from them.
This exhibition showed how great
a place he occupied among Aus-
tria's artists, and how much he
is appreciated is proved by the
fact that many were found eager
to acquire his works.
The monument to the Empress
Elizabeth, recently unveiled here
by the Emperor, and which was
subscribed for by the people of
Vienna, has been the subject of
a great deal of criticism. When
the models sent in for the open
competition started by the com-
mittee were exhibited at the
Austrian Museum some two years
ago, it was seen that the condi-
tions laid down by the committee
militated against any entirely
satisfactory result. One of these
conditions was that the statue
should represent the Empress as
she was in her later years, but
living as she did very much in , , ,.„„„
5 ^ j ^ (<at the wrixikg_bueead> (water-colour)
retirement during this period, by wilhelm bernatzik
delicacy of the brush, for here Bernatzik in a way probably not one of the competitors ever even
seemed to emulate Klimt. On the walls were caught a glimpse of her, and as no photographic
hung landscapes, long and narrow in form, bits of or other portraits were available, 1hey were
meadows filled with grass, amid which the wild left without any definite guidance. This may
flowers played hide and seek, or woods where tall account for the indistinctness of the features in
poplars showed their silvery stems in varying lights, Professor Hans Bitterlich's statue, for which he
or bits of mother earth covered with verdure, all of was awarded second prize (the first was with-
them full of that fine atmospheric feeling which the held). The dress, too, is open to criticism, but
artist shared with Nature herself. At one end was here again the conditions laid down by the
a triptych, in the centre of which was a stream Committee made it impossible to secure a
meandering through banks gay with flowers, with perfectly satisfactory result. The pose of the
tall poplars in the foreground, and on either side a figure, however, is easy and graceful, and its
female figure. The arrangement and decorations dignity is enhanced by the architectural back-
of Bernatzik's " Yellow Room " are not easily to be ground, the work of Oberbaurat Ohmann. The
forgotten. monument is erected in a corner of the Volks-
- garten, and, spite of its faults, avoidable and
The memorial exhibition offered an opportunity unavoidable, will form an additional attraction
of judging of Bernatzik's powers as an artist, to the city. A. S. L.
Both the Miethke Galleries
were taken up with his pictures
and drawings. The idea was
a very happy one, and even
those best acquainted with him
were surprised at the display,
particularly with his latest work,
of which even his intimate
friends were ignorant till death
snatched him away from them.
This exhibition showed how great
a place he occupied among Aus-
tria's artists, and how much he
is appreciated is proved by the
fact that many were found eager
to acquire his works.
The monument to the Empress
Elizabeth, recently unveiled here
by the Emperor, and which was
subscribed for by the people of
Vienna, has been the subject of
a great deal of criticism. When
the models sent in for the open
competition started by the com-
mittee were exhibited at the
Austrian Museum some two years
ago, it was seen that the condi-
tions laid down by the committee
militated against any entirely
satisfactory result. One of these
conditions was that the statue
should represent the Empress as
she was in her later years, but
living as she did very much in , , ,.„„„
5 ^ j ^ (<at the wrixikg_bueead> (water-colour)
retirement during this period, by wilhelm bernatzik