Studio: international art (44.1908)

Studio-Talk

give new proofs of already recognised talent. Some
of the Worpswede artists are represented by con-
tributions of the kind we usually get from them,
works inspired by the strong colourism and the
undisturbed solitude of their moorland haunts.
Tiircke and Brockmiller are adorers of island and
lake beauty in the long neglected Mark.

Figure subjects remain quite on the level of the
amiable; the Promethean spark seems nowhere
shimmering. Otto H. Engel and Looschen have
contributed pleasing pieces of excellent quality.
We must remember the name of Herbert Arnold,
whose Little Choristers in Winter betrays an eye
for peculiarity with a hand and taste to render
them effectively. P. W. Harnisch knows how to
arrest attention by extraordinary subjects and con-
spicuous colour - juxtapositions. Otto Heichert
again draws a striking scene from Salvation Army
life. A. Schwarzschild is very fortunate with the
Decoration fora Music-room. The colour delicacies

of Hughitt Haliday and Adele von Finck cannot
pass unnoticed.

A group of “ Alsatian Artists ” is particularly
interesting, as it shows an art-centre, unknown
heretofore, passionately seized by modern ten
dencies. There are no masterpieces offered, but
much of the work of these Elsassische Kiinstler,
especially that by Lothar von Seebach and Hein-
rich Ebel, is worth study. Less would have been
better from the “ Diisseldorf Kiinstlerschaft.”
Robert Boninger’s firm and brilliant brushwork is
striking in his In the Flower Garden. He sympathises
with attractive subjects and profits by the modern
predilection for sun effects. Reusing commends
himself by reserved and natural portraiture. F. von
Wille and E. Kampf have sent prominent land-
scapes, and E. von Gebhardt is, in spite of his
usual accomplishments, not quite satisfactory in
colour. Schmurr is conspicuous by a winterly
open-air portrait of the painter, Max Clarenbach,