DOI Heft:
Nr. 188 (November 1908)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.20965#0179
Studio-Talk
his animals have become inhabitants of moorland
and plain. We watch their functions and enjoy
at the same time the splendours of sun and air, the
witchcraft of beautiful landscape scenes. Zügel is
indefatigable in observing his models at all sea-
sons, at dusk and at dawn. He is, like Liljefors, a
painter of animal portraits, but his magic circle
does not lie around the risky hiding-places of the
hunter, but around the domestic spheres of pasture
and stable.
Zügel’s realism never borders on monotony, as
his deeply poetical mind always shapes the idyll
or the epic—lately even the dramatic compo-
sition. He has fully utilised the teachings of
impressionism and his boldness goes sometimes
rather far in subordinating form to light. But
such attempts are mainly experimental, and a
master of the craft can dare much. His ambition
is to realise plastic force, and it is wonderful
what massive effects he attains by mere subtlety
of shading, without any loading of paint, while
preserving a perfectly smooth surface. The artist,
who is a professor at the Royal Munich Academy,
has formed a school which bears the stamp of his
forceful and delicate genius. He is one of the up-
right, who only obey the commands of conscience.
He never courted popularity, but the greatness of
his work has established it for him. J. J.
PRAGUE. — The Bohemian Art Union
(Kunstverein für Böhmen) managed
this year to give its annual exhibition a
quite distinctive note. The present year
being the jubilee of the Sovereign, it was only
fitting that the collection of works gathered together
on this occasion should afford a retrospective view
of Bohemian art. Such in fact it was, and the
retrospect covered, roughly speaking, the achieve-
ments of a century. We were thus able to take
note of the methods of the older generation of
Bohemian painters, and to obtain a glimpse of old
Prague as it appeared to them. From an artistic
standpoint our survey was not uniformly interest-
ing, but where we failed to get satisfaction from
their art, many of these old pictures proved
interesting by bringing back to our view the quaint
old streets and squares as they were long years
ago. And it is only from them that we know what
these places were like in those days, for the
picturesque features of the city are vanishing one
by one, and its narrow alleys and odd corners are
year by year giving place to straight, prim streets
and modem houses. Prague is, indeed, becoming
cleaner, but certainly it is not becoming more
beautiful.
The past century gave birth to not a few
Bohemian painters of importance. Josef, Ritter
his animals have become inhabitants of moorland
and plain. We watch their functions and enjoy
at the same time the splendours of sun and air, the
witchcraft of beautiful landscape scenes. Zügel is
indefatigable in observing his models at all sea-
sons, at dusk and at dawn. He is, like Liljefors, a
painter of animal portraits, but his magic circle
does not lie around the risky hiding-places of the
hunter, but around the domestic spheres of pasture
and stable.
Zügel’s realism never borders on monotony, as
his deeply poetical mind always shapes the idyll
or the epic—lately even the dramatic compo-
sition. He has fully utilised the teachings of
impressionism and his boldness goes sometimes
rather far in subordinating form to light. But
such attempts are mainly experimental, and a
master of the craft can dare much. His ambition
is to realise plastic force, and it is wonderful
what massive effects he attains by mere subtlety
of shading, without any loading of paint, while
preserving a perfectly smooth surface. The artist,
who is a professor at the Royal Munich Academy,
has formed a school which bears the stamp of his
forceful and delicate genius. He is one of the up-
right, who only obey the commands of conscience.
He never courted popularity, but the greatness of
his work has established it for him. J. J.
PRAGUE. — The Bohemian Art Union
(Kunstverein für Böhmen) managed
this year to give its annual exhibition a
quite distinctive note. The present year
being the jubilee of the Sovereign, it was only
fitting that the collection of works gathered together
on this occasion should afford a retrospective view
of Bohemian art. Such in fact it was, and the
retrospect covered, roughly speaking, the achieve-
ments of a century. We were thus able to take
note of the methods of the older generation of
Bohemian painters, and to obtain a glimpse of old
Prague as it appeared to them. From an artistic
standpoint our survey was not uniformly interest-
ing, but where we failed to get satisfaction from
their art, many of these old pictures proved
interesting by bringing back to our view the quaint
old streets and squares as they were long years
ago. And it is only from them that we know what
these places were like in those days, for the
picturesque features of the city are vanishing one
by one, and its narrow alleys and odd corners are
year by year giving place to straight, prim streets
and modem houses. Prague is, indeed, becoming
cleaner, but certainly it is not becoming more
beautiful.
The past century gave birth to not a few
Bohemian painters of importance. Josef, Ritter