DOI Heft:
No. 186 (September 1912)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.20778#0322
Studio- Talk
“a summer night in the LOFOTENS”
BY KARL BOEHME
looks Parisian in his exquisite female nude, and
Spanish in the sombre colour-contrasts of feminine
portraiture. Hans von Bartels is eminent in
brilliant water-colours and lends monumentality to
his peasants. R. and G. Schuster-Woldan have
sent characteristic contributions, and we owe
enjoyment to Ernst Liebermann, Heller, and
Kunz. The “ Ktinstlergenossenschaft ” of Munich
is represented by some of the best names : Kaul-
bach, Defregger, Knopf, von Brandt, Erdelt,
Papperitz, von Petersen, Simm, Fink, and Grassel,
the confessors of anti-Secessionism, give proofs of
excellent work. _
Five single-man shows of Berlin painters confirm
established reputations. Fr. Kallmorgen watches
the changes of time and weather, the doings of
peasants and people in the open-air, and renders
these subjects with reserve and selection. R.
Dammeier is prominent in interiors, architectural
pieces and portraits. Although somewhat too fond
of black tints, he occasionally soars to classical
heights. E. Pfannschmidt recalls Gebhardt in his
religious subjects, and G. H. Engelhardt is inde-
fatigable in sympathetic rendering of highland
scenery. W. Kuhnert fascinates by strongly
pictorial scenes from the life of African animals
and Europeanised natives.
The performances of German sculptors are so
important and varied that they should have received
special consideration. Adolf Briitt has sent the
only work of genius to this exhibition. His
Notturno seizes with the magnetism of inspiration.
The mighty block of marble annuls the law ot
gravity, as we see a passionate young couple, a
kind of Paolo and Francesca, in a cloud of veiling
garments, drawn towards each other and carried
upward in a crescendo of irresistible powers.
Brutal animal force is crouching and Pain looming
at their feet. We become witness of a drama of
love triumphant as we walk round the living block
and listen to the whisperings of its symbolic forms.
At first sight we are reminded of Rodin by the
veils, which unfortunately do not veil the one
weak spot of the group. But Briitt has a per-
299
“a summer night in the LOFOTENS”
BY KARL BOEHME
looks Parisian in his exquisite female nude, and
Spanish in the sombre colour-contrasts of feminine
portraiture. Hans von Bartels is eminent in
brilliant water-colours and lends monumentality to
his peasants. R. and G. Schuster-Woldan have
sent characteristic contributions, and we owe
enjoyment to Ernst Liebermann, Heller, and
Kunz. The “ Ktinstlergenossenschaft ” of Munich
is represented by some of the best names : Kaul-
bach, Defregger, Knopf, von Brandt, Erdelt,
Papperitz, von Petersen, Simm, Fink, and Grassel,
the confessors of anti-Secessionism, give proofs of
excellent work. _
Five single-man shows of Berlin painters confirm
established reputations. Fr. Kallmorgen watches
the changes of time and weather, the doings of
peasants and people in the open-air, and renders
these subjects with reserve and selection. R.
Dammeier is prominent in interiors, architectural
pieces and portraits. Although somewhat too fond
of black tints, he occasionally soars to classical
heights. E. Pfannschmidt recalls Gebhardt in his
religious subjects, and G. H. Engelhardt is inde-
fatigable in sympathetic rendering of highland
scenery. W. Kuhnert fascinates by strongly
pictorial scenes from the life of African animals
and Europeanised natives.
The performances of German sculptors are so
important and varied that they should have received
special consideration. Adolf Briitt has sent the
only work of genius to this exhibition. His
Notturno seizes with the magnetism of inspiration.
The mighty block of marble annuls the law ot
gravity, as we see a passionate young couple, a
kind of Paolo and Francesca, in a cloud of veiling
garments, drawn towards each other and carried
upward in a crescendo of irresistible powers.
Brutal animal force is crouching and Pain looming
at their feet. We become witness of a drama of
love triumphant as we walk round the living block
and listen to the whisperings of its symbolic forms.
At first sight we are reminded of Rodin by the
veils, which unfortunately do not veil the one
weak spot of the group. But Briitt has a per-
299