DOI issue:
Nr. 181 (April 1908)
DOI article:Studio-talk
DOI Page / Citation link:https://doi.org/10.11588/diglit.20777#0274
Studio-Talk
youthful freshness is exhaled, whilst a matured
state offers coloristic delicacies. Theo von
Brockhausen surprised by the truthful depic-
tion of gushing water. Max Slevogt’s portraits
impressed one by their searching analysis and
direct painting, but their spontaneity becomes
vexatious when it is not backed by executive
carefulness. We soon shrink from the sight of
faces that show gross and abrupt accents very
unlike the rough-hewn handling of Franz Hals, in
which every brushstroke is instinct with life.
The Otto Greiner Exhibition at the Schulte
Gallery offered an opportunity of studying one of
our most marked artistic individualities. Greiner,
the friend and spiritual relation of Max Klinger,
has been working for several years in Rome. He
has carried with him the Dtirer spirit of the vera-
cious draughtsman, and the classical atmosphere
has penetrated it with its elevation. His fame was
established several years -ago by his graphic works,
and he is now successfully claiming his place as a
At the Cassirer Gal-
lery last month Prof.
Max Liebermann intro-
duced his newest paint-
ings with his old subjects
of horsemen on the sea-
shore and scenes from
Dutch life. This time
the Greengrocer s Auction
at Delft has fascinated
his eyes. A spirit of
great art involves the idea of style. The courtesy
of English possessors in letting such treasures
travel over the sea was rewarded by the complete
gratitude of German friends of art.
At the exhibition of the United Berlin Clubs in
the Kiinstlerhaus an absence of the so-called
Prussian spirit was noticeable, and stiffness and
dryness had given way in many instances to
naturalness, to the joy of the modernist in life and
colour. Sound realism was the common feature, and
was particularly evinced in landscapes. Lively river
scenes, with rocking boats and smoking steamers,
yielded fit tasks for L. Landrock and Lietke.
Kayser-Eichberg is the portrayer of trees with a kind
of fantastic grandeur. Felix Krause endeavoured
to achieve veracity in the painting of clouds and
plain and vegetation, and Hans Hartig again
called attention by originality in selection and
firm grasp. Portraiture of the lively searching
kind was represented by Prof. L. Meyn, and Prof.
Klein-Chevalier was at his best on the track of
light and movement.
Imagination is only a rare
dweller among Berlin
artists. She visits Stassen
in a classical attire, looks
with a romantic face upon
Hendrich and Achten-
hagen and with a theatri-
cal gaze on Koberstein.
Fritz Heinemann is pro-
minent among some
sculpture colleagues. His
female marble bust is of
peculiar charm in line
and expression. It avoids
the ordinary scheme of
the bust, and gives an
impression of the whole
figure by characteristic
movement.
BY FRITZ HEINEMANN
255
PORTRAIT BUST
youthful freshness is exhaled, whilst a matured
state offers coloristic delicacies. Theo von
Brockhausen surprised by the truthful depic-
tion of gushing water. Max Slevogt’s portraits
impressed one by their searching analysis and
direct painting, but their spontaneity becomes
vexatious when it is not backed by executive
carefulness. We soon shrink from the sight of
faces that show gross and abrupt accents very
unlike the rough-hewn handling of Franz Hals, in
which every brushstroke is instinct with life.
The Otto Greiner Exhibition at the Schulte
Gallery offered an opportunity of studying one of
our most marked artistic individualities. Greiner,
the friend and spiritual relation of Max Klinger,
has been working for several years in Rome. He
has carried with him the Dtirer spirit of the vera-
cious draughtsman, and the classical atmosphere
has penetrated it with its elevation. His fame was
established several years -ago by his graphic works,
and he is now successfully claiming his place as a
At the Cassirer Gal-
lery last month Prof.
Max Liebermann intro-
duced his newest paint-
ings with his old subjects
of horsemen on the sea-
shore and scenes from
Dutch life. This time
the Greengrocer s Auction
at Delft has fascinated
his eyes. A spirit of
great art involves the idea of style. The courtesy
of English possessors in letting such treasures
travel over the sea was rewarded by the complete
gratitude of German friends of art.
At the exhibition of the United Berlin Clubs in
the Kiinstlerhaus an absence of the so-called
Prussian spirit was noticeable, and stiffness and
dryness had given way in many instances to
naturalness, to the joy of the modernist in life and
colour. Sound realism was the common feature, and
was particularly evinced in landscapes. Lively river
scenes, with rocking boats and smoking steamers,
yielded fit tasks for L. Landrock and Lietke.
Kayser-Eichberg is the portrayer of trees with a kind
of fantastic grandeur. Felix Krause endeavoured
to achieve veracity in the painting of clouds and
plain and vegetation, and Hans Hartig again
called attention by originality in selection and
firm grasp. Portraiture of the lively searching
kind was represented by Prof. L. Meyn, and Prof.
Klein-Chevalier was at his best on the track of
light and movement.
Imagination is only a rare
dweller among Berlin
artists. She visits Stassen
in a classical attire, looks
with a romantic face upon
Hendrich and Achten-
hagen and with a theatri-
cal gaze on Koberstein.
Fritz Heinemann is pro-
minent among some
sculpture colleagues. His
female marble bust is of
peculiar charm in line
and expression. It avoids
the ordinary scheme of
the bust, and gives an
impression of the whole
figure by characteristic
movement.
BY FRITZ HEINEMANN
255
PORTRAIT BUST