DOI issue:
No. 186 (September 1912)
DOI article:Studio-talk
DOI Page / Citation link:https://doi.org/10.11588/diglit.20778#0321
Studio-Talk
and Angermeyer and Zacharias have contributed
some refined genres. _
The “ Karlsruher Kiinstlerbund ” shows en-
deavour in different directions. Thoma and
Steinhausen feel religiously, and they raise their
simple models by exquisite execution into a sphere
of nobility. Biihler has sent with his pointillistic
painting, To the Unknown God, the only contribu-
tion that appeals to elevated moods. Schonleber,
von Volkmann, Kampmann, Sturzenegger, and von
Ravenstein continue the Karlsruhe tradition of
superior landscape painting. An extra room has
been dedicated to the colossal nudes of L. Schmid
Reute, who seems marked out for mural work; but
the immobility of his heavy figures and their
laboured construction seem to hint that his powers
are not equal to these titanic tasks.
The l: North-west German Artists” (Vereinigung
Nordwestdeutscher Kiinstler), which includes the
Worpswede group, are predominantly staunch
naturalists. Feddersen, Arp, lilies, Siebelist,
Dettmann, Eitner, and Kayser render waterside
aspects under all sorts of open-air light, and
Mohrbutter and Leipold have peculiar psychic
colour harmonies. Ahlers-Hestermann is fine in
the rendition of an interior scene. “The Elbier,” a
Dresden union, do not show a pronounced charac-
ter. There is a good deal of Secessionism in their
works, but an artist like Hans Unger stands out in
classical sternness with some female figures of the
Klinger and Bocklin type. Bendrat has hit upon
a lucky subject in his picturesque Sankt Marien,
an architectural sight from old Dantsic. Poehle-
mann is strong but sober, and Wilkens pleasing
with pretty maids in rich old peasant costumes.
In the rooms of the Munich painters we at
once feel on the reliable ground of tradition.
The Union “ Bayerncontains several masterpieces.
Geffken astonishes by his diversity of manner. He
“IN THE FLOWER GARDEN”
298
BY ROBERT BONINGER
and Angermeyer and Zacharias have contributed
some refined genres. _
The “ Karlsruher Kiinstlerbund ” shows en-
deavour in different directions. Thoma and
Steinhausen feel religiously, and they raise their
simple models by exquisite execution into a sphere
of nobility. Biihler has sent with his pointillistic
painting, To the Unknown God, the only contribu-
tion that appeals to elevated moods. Schonleber,
von Volkmann, Kampmann, Sturzenegger, and von
Ravenstein continue the Karlsruhe tradition of
superior landscape painting. An extra room has
been dedicated to the colossal nudes of L. Schmid
Reute, who seems marked out for mural work; but
the immobility of his heavy figures and their
laboured construction seem to hint that his powers
are not equal to these titanic tasks.
The l: North-west German Artists” (Vereinigung
Nordwestdeutscher Kiinstler), which includes the
Worpswede group, are predominantly staunch
naturalists. Feddersen, Arp, lilies, Siebelist,
Dettmann, Eitner, and Kayser render waterside
aspects under all sorts of open-air light, and
Mohrbutter and Leipold have peculiar psychic
colour harmonies. Ahlers-Hestermann is fine in
the rendition of an interior scene. “The Elbier,” a
Dresden union, do not show a pronounced charac-
ter. There is a good deal of Secessionism in their
works, but an artist like Hans Unger stands out in
classical sternness with some female figures of the
Klinger and Bocklin type. Bendrat has hit upon
a lucky subject in his picturesque Sankt Marien,
an architectural sight from old Dantsic. Poehle-
mann is strong but sober, and Wilkens pleasing
with pretty maids in rich old peasant costumes.
In the rooms of the Munich painters we at
once feel on the reliable ground of tradition.
The Union “ Bayerncontains several masterpieces.
Geffken astonishes by his diversity of manner. He
“IN THE FLOWER GARDEN”
298
BY ROBERT BONINGER