DOI issue:
No. 186 (September 1912)
DOI article:Studio-talk
DOI Page / Citation link:https://doi.org/10.11588/diglit.20778#0327
Studio-Talk
“PROVENCAL SPRING”
by W. Schwarz, Helene Lange and H. Sandkuhl.
Space forbids my naming more.
German exhibitions of this kind are serious
affairs, for they are open for six months at a time,
and thus depend a great deal upon the visiting
travellers in the town in which they are held. If
the officials want to make them pay their own way,
they must equip them with especial attractions, all
the more so as there is always the competition
of similar functions in other towns.
There are two “ especial attractions ” at Dresden
this year—a Japanese exhibition, and an exhibition
of Saxon Art under the Electors, 1547—1806.
The Japanese loan exhibition is strong in fine old
colour-woodcuts, lacquer work and bronzes. The
other show, which is housed in a large, distinct
building, has been brought together in the course
of about two years, and drew principally upon the
contents of the various Saxon royal palaces and
castles, the museums in Dresden and abroad
(among the latter there is the Cluny of Paris), and
many private collections. The result is an historical
fine art museum, which alone is worth travelling
to see. H. W. S.
BY EUGEN BRACHT
DARMSTADT.—At the conclusion of my
article on the Hessian National Exhi-
bition, in the last number of The
Studio, it was intimated that a few
illustrations and notes would follow later to supple
ment those then published. It is in pursuance of
this promise that the accompanying illustrations are
now introduced, with some brief additional remarks
which must conclude our notice of this exhibition.
First of all, let me refer again to the “Kera-
mischer Prunkhof,” to which allusion was made in
my article, and of which an illustration in now given
on page 306. This Court was carried out on an
elaborate scale for the express purpose of demon-
strating the suitability of terra-cotta for other than
the small objects for which it is commonly employed.
The fountain in the centre is of polished limestone
with figures in bronze, modelled by the sculptor
H. Jobst. He also is responsible for the plastic
decoration of the pillars of the arcade, but the fault
of this seems to me to be its excessive naturalism.
All the terra-cotta work has been carried out by the
Grand Ducal Ceramic Factory, of which Prof. Schar-
vogel is the Director, and he and his staff are to
be congratulated on a very successful achievement.
3°4
“PROVENCAL SPRING”
by W. Schwarz, Helene Lange and H. Sandkuhl.
Space forbids my naming more.
German exhibitions of this kind are serious
affairs, for they are open for six months at a time,
and thus depend a great deal upon the visiting
travellers in the town in which they are held. If
the officials want to make them pay their own way,
they must equip them with especial attractions, all
the more so as there is always the competition
of similar functions in other towns.
There are two “ especial attractions ” at Dresden
this year—a Japanese exhibition, and an exhibition
of Saxon Art under the Electors, 1547—1806.
The Japanese loan exhibition is strong in fine old
colour-woodcuts, lacquer work and bronzes. The
other show, which is housed in a large, distinct
building, has been brought together in the course
of about two years, and drew principally upon the
contents of the various Saxon royal palaces and
castles, the museums in Dresden and abroad
(among the latter there is the Cluny of Paris), and
many private collections. The result is an historical
fine art museum, which alone is worth travelling
to see. H. W. S.
BY EUGEN BRACHT
DARMSTADT.—At the conclusion of my
article on the Hessian National Exhi-
bition, in the last number of The
Studio, it was intimated that a few
illustrations and notes would follow later to supple
ment those then published. It is in pursuance of
this promise that the accompanying illustrations are
now introduced, with some brief additional remarks
which must conclude our notice of this exhibition.
First of all, let me refer again to the “Kera-
mischer Prunkhof,” to which allusion was made in
my article, and of which an illustration in now given
on page 306. This Court was carried out on an
elaborate scale for the express purpose of demon-
strating the suitability of terra-cotta for other than
the small objects for which it is commonly employed.
The fountain in the centre is of polished limestone
with figures in bronze, modelled by the sculptor
H. Jobst. He also is responsible for the plastic
decoration of the pillars of the arcade, but the fault
of this seems to me to be its excessive naturalism.
All the terra-cotta work has been carried out by the
Grand Ducal Ceramic Factory, of which Prof. Schar-
vogel is the Director, and he and his staff are to
be congratulated on a very successful achievement.
3°4