DOI Heft:
Nr. 192 (March 1909)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.20966#0180
Studio- Talk
The winter exhibition of the Secession was
entirely dedicated to the arts of the draughtsman.
As the gentle art of the pencil has been treated
rather as a stepchild by modern impressionism
such an undertaking was to be heartily welcomed.
Much good work was hung, but also many in-
significant and superficial exhibits, so that the
study of this too comprehensive show threatened
confusion. A retrospective section dedicated to
the portraits and animal-drawings of Franz Kruger
recalled the exactness and elegance of artistic woik
of Old Berlin under King Frederick William IV.
Present-day spirit was best represented by Seces-
sion leaders like Liebermann, Slevogt, Corinth,
Hiibener and their various standard-bearers, whilst
draughtsmen like Kalkreuth, Baluschek, R. E.
Weiss, Orlik, Bischof-Kulm and Klein-Diepold
stood up in their diverse characters for the gospel of
finish. A life-size coloured
portrait by Gertrud von
Kunowski became by
rhythmical proportions and
rigour of contour the best
pleader for her husband’s
high-minded revivalism of
old - master principles.
Humorists like Wilke,
Thony, Feldbauer and
Reznizek, and caricaturists
like Gulbranson, Brandt,
Behmer, Strathmann, Fein-
inger, Hablik and Stern,
showed fecundity in these
domains and fascinated all
by individual cleverness.
There was much in method
and spirit that called to
mind Lautrec, Paul, Busch
and Beardsley, but there
was also a good deal of
home-grown originality.
L. von Hofmann failed in
attempts to assume an
amusing physiognomy. A
collection of small works,
of sculpture produced wel-
come variety. Mendes da
Costa’s veracious Dutch
market-types attracted
much notice, and also
Barlach, with his strange
groups and single figures of
Mongolian peasants and
beggars, whose sluggish and
158
crouching, yet pagoda-like attitude liken them to
amphibious creatures. Dr. Lobach again evinced
his penetrating faculty in some excellent portrait-
heads.
At the Salon Schulte one is forcibly reminded of
the over-production of our time by its constant
change of programme. Yet it must be owned that
this gallery has always valuable materials to offer.
We derived real pleasure from Max Thedy of
Weimar, who studies nature so seriously and paints
so “old-master” like, that names like Altdorfer,
De Hoogh, Vermeer, occasionally even Ribera, are
recalled quite naturally. His Munich training
under Loffcz is still so strong upon him that, in
spite of its splendid qualities, his art will always be
ranged with a past period. Walter Geffcken, from
Munich, is one of the younger artists whose new
PORTRAIT (KiinstlergenossenschaJ-t, Vienna) BY VICTOR SCHARF
The winter exhibition of the Secession was
entirely dedicated to the arts of the draughtsman.
As the gentle art of the pencil has been treated
rather as a stepchild by modern impressionism
such an undertaking was to be heartily welcomed.
Much good work was hung, but also many in-
significant and superficial exhibits, so that the
study of this too comprehensive show threatened
confusion. A retrospective section dedicated to
the portraits and animal-drawings of Franz Kruger
recalled the exactness and elegance of artistic woik
of Old Berlin under King Frederick William IV.
Present-day spirit was best represented by Seces-
sion leaders like Liebermann, Slevogt, Corinth,
Hiibener and their various standard-bearers, whilst
draughtsmen like Kalkreuth, Baluschek, R. E.
Weiss, Orlik, Bischof-Kulm and Klein-Diepold
stood up in their diverse characters for the gospel of
finish. A life-size coloured
portrait by Gertrud von
Kunowski became by
rhythmical proportions and
rigour of contour the best
pleader for her husband’s
high-minded revivalism of
old - master principles.
Humorists like Wilke,
Thony, Feldbauer and
Reznizek, and caricaturists
like Gulbranson, Brandt,
Behmer, Strathmann, Fein-
inger, Hablik and Stern,
showed fecundity in these
domains and fascinated all
by individual cleverness.
There was much in method
and spirit that called to
mind Lautrec, Paul, Busch
and Beardsley, but there
was also a good deal of
home-grown originality.
L. von Hofmann failed in
attempts to assume an
amusing physiognomy. A
collection of small works,
of sculpture produced wel-
come variety. Mendes da
Costa’s veracious Dutch
market-types attracted
much notice, and also
Barlach, with his strange
groups and single figures of
Mongolian peasants and
beggars, whose sluggish and
158
crouching, yet pagoda-like attitude liken them to
amphibious creatures. Dr. Lobach again evinced
his penetrating faculty in some excellent portrait-
heads.
At the Salon Schulte one is forcibly reminded of
the over-production of our time by its constant
change of programme. Yet it must be owned that
this gallery has always valuable materials to offer.
We derived real pleasure from Max Thedy of
Weimar, who studies nature so seriously and paints
so “old-master” like, that names like Altdorfer,
De Hoogh, Vermeer, occasionally even Ribera, are
recalled quite naturally. His Munich training
under Loffcz is still so strong upon him that, in
spite of its splendid qualities, his art will always be
ranged with a past period. Walter Geffcken, from
Munich, is one of the younger artists whose new
PORTRAIT (KiinstlergenossenschaJ-t, Vienna) BY VICTOR SCHARF