Studio: international art (45.1909)

Decorative Art at the Munich Exhibition

of the jury being that they had to take into ac-
count considerations which could not be evaded.
In the totality of the display, however, the exhibition
discloses a good average of achievement, and not-
withstanding a certain monotony in the forms of
expression, it is both abundant and varied. And
if there is comparatively little that stands out above
the general level, it may be said on the other hand
that what there is of a commonplace character is of
too small moment to affect the merit of the mass.

The chief interest of the exhibition centres in
the series of fully-equipped interiors, more than a
hundred in number, comprising every apartment
of a dwelling-house. For these Hall No. i was
reserved, and access to this is obtained through a
hall of honour designed by Richard Berndl, a
domed structure of impressive proportions, con-
taining four huge antique figures in niches, the
work of Karl Ebbinghaus. The adjacent prome-
nade, decorated with bright-coloured wall pictures
by G. Klemm, which have been executed in a
manner that shows little regard for the close
proximity of the observer, leads to the space fitted
up as a museum for a small town, and to a

picture-gallery and sculpture-room, wherein are
exhibited excellent works by Munich artists, and
to several halls in which the local antique dealers
display their treasures. There is a certain essential
kinship between these and the interiors which have
been equipped by a group of Munich firms under
the artistic direction of Prof. Gabriel von Seidl,
representative of the “ Old Munich ” mode, and
avowedly designed as an antithesis to the modern
type. Their chief interior is a large hall which
in its general design betrays the master-hand of
the architect, though in detail there is less evidence
of his influence, and consequently one misses that
uniformity and completeness of effect which might
make the modern eye appreciate more fully this
reminiscence of the olden time.

Seidl’s art is again seen to advantage in a
white room, designed by him as a lady’s boudoir,
on the chimney wall of which is a medallion
portrait by Franz von Stuck of his wife ; but for
the furniture of this room, which consists of quite
feeble imitations of Louis XVI. models, Seidl must
not be held responsible. The same thing holds
with regard to a music-room belonging to this

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KITCHEN DESIGNED BY ARCHITECT OTTO BAUER

ARRANGED BY MARTIN PAUSON, MUNICH

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