DOI issue:
Nr. 192 (March 1909)
DOI article:Studio-talk
DOI Page / Citation link:https://doi.org/10.11588/diglit.20966#0181
Studio-Talk
, PORTRAIT OF HERR M. R. (Kiinstlergenossenschaft, Vienna) BY NICOLAUS schattenstein
works always stir speculation as to future produc-
tions. Pictorial qualities and refined taste distin-
guish him and suggest a thorough Parisian school-
ing. The personalities of two new-comers, Ernst
Kropp and Joachim von Billow, impressed them-
selves as disciples of the Manet school. Frida
Menshausen-Labriola is strengthening her position
as one of the most commendable interpreters of
female charm by some life-size pastel portraits, and
Richard Eschke worthily sustains his father’s fame
in landscape painting.
Emil Orlik is such a fertile producer that the
whole Salon Gurlitt was filled with his new works.
This time it was the painter and not the graphic
artist who appeared before us. We studied his
portraits and landscapes, his Japanese scenes, bits
from real life and still life, his designs for tapes-
tries, for the stage, the contributions that touch
the domain of applied arts, and those which are
applied art pure and simple, and we experienced a
variety of feelings. Respect for thoroughness,
delight in refinement and originality, were para-
mount impressions. We enjoyed the colourist, the
draughtsman, the naturalist, the imaginative artist
who occasionally even engenders emotion. The
pathetic note is sounded when he composes gigantic
scenes, The Mountain Lake, The Waterfall., in
strong summarising colour-spots for textile designs,
and even in works of pure craftsmanship, when
composing lacquer pictures like Korin, he can
attain such effects. But enjoyment in mere clever-
ness generally prevails. As Orlik’s versatility is
always coupled with reliability and distinction, we
can be thankful that such a master belongs to the
staff of Berlin art-teachers. J. J.
VIENNA. — Though the recent Winter
exhibition at the Kiinstlerhaus showed
little variation in the methods of arrange-
ment, it was nevertheless of interest
because of the groups of rising young artists whose
works made an attractive display. As usual the chief
interest centred in the portrait-painters, Rauchinger,
*59
, PORTRAIT OF HERR M. R. (Kiinstlergenossenschaft, Vienna) BY NICOLAUS schattenstein
works always stir speculation as to future produc-
tions. Pictorial qualities and refined taste distin-
guish him and suggest a thorough Parisian school-
ing. The personalities of two new-comers, Ernst
Kropp and Joachim von Billow, impressed them-
selves as disciples of the Manet school. Frida
Menshausen-Labriola is strengthening her position
as one of the most commendable interpreters of
female charm by some life-size pastel portraits, and
Richard Eschke worthily sustains his father’s fame
in landscape painting.
Emil Orlik is such a fertile producer that the
whole Salon Gurlitt was filled with his new works.
This time it was the painter and not the graphic
artist who appeared before us. We studied his
portraits and landscapes, his Japanese scenes, bits
from real life and still life, his designs for tapes-
tries, for the stage, the contributions that touch
the domain of applied arts, and those which are
applied art pure and simple, and we experienced a
variety of feelings. Respect for thoroughness,
delight in refinement and originality, were para-
mount impressions. We enjoyed the colourist, the
draughtsman, the naturalist, the imaginative artist
who occasionally even engenders emotion. The
pathetic note is sounded when he composes gigantic
scenes, The Mountain Lake, The Waterfall., in
strong summarising colour-spots for textile designs,
and even in works of pure craftsmanship, when
composing lacquer pictures like Korin, he can
attain such effects. But enjoyment in mere clever-
ness generally prevails. As Orlik’s versatility is
always coupled with reliability and distinction, we
can be thankful that such a master belongs to the
staff of Berlin art-teachers. J. J.
VIENNA. — Though the recent Winter
exhibition at the Kiinstlerhaus showed
little variation in the methods of arrange-
ment, it was nevertheless of interest
because of the groups of rising young artists whose
works made an attractive display. As usual the chief
interest centred in the portrait-painters, Rauchinger,
*59