DOI issue:
Nr. 194 (May 1909)
DOI article:Studio-talk
DOI Page / Citation link: https://doi.org/10.11588/diglit.20966#0349
Studio-Talk
“EGYPTIAN FLOWER-GIRL” (FAYENCE)
BY JOHANNA ME] ER-MICHEL
reproduced form part of a set representing the
four seasons. These have been executed in
the Wiener Keramik-Werkstatte, belonging to
two distinguished artists, Michel Powolny and
Berthold Loffler, the latter a professor at the
Imperial Arts and Crafts Schools.
Johanna Meier-Michel studied first under
Professor Kaufungen at the Kunstschule fur
Frauen und Madchen, Vienna, and later under
Professor Schwarz at the Imperial Arts and
Crafts School, where she likewise held a stipend.
It is in the art of the sculptor that her chief
talent lies. The bust of a little child reproduced
on p. 324 shows not only true aitistic feeling
but also an intimate knowledge of child life.
Her fayence, too, shows how capable she is.
The Egyptian flower-girl, with her basket
destined to be filled with violets, and the fruit-
stand with the little children moving around it,
are both admirable examples of her work in
this direction. Frau Meier has also been suc-
cessful in larger works of sculpture. She won
the first prize in open competition with a model
for a monument at Leipa, Bohemia, and this
brought her another commission, again for a
monument in the same little town, for in Bohemia,
as in Austria, even the small towns and villages love
to show their appreciation of their great men by
erecting monuments or busts to their memory, and
of course their liberality in this respect acts as a
great encouragement to young artists. A. S. L.
BERLIN.—Berlin is now in a phase of grow-
ing self-confidence and this state is indicated
by retrospects. It betrays the conviction
of personal weight when facts from our
past are treated with the importance of historical
materials. The Biedermeier renaissance, and the
interest taken in everything connected with old Berlin,
are symptoms of this phase. The Markische Museum
stands newly erected within our city, plays from former
times rule the stage, books full of the flavour of witty
and romantic days are favourites, and the aureoles of
real Berlin artists like Chodowiecki, Hosemann and
Franz Kruger have been re-gilt. The Royal Academy
has now done such service to its former president,
the sculptor Gottfried Schadow, by arranging, with
the valuable assistance of the renowned Schadow
scholar, Professor Hans Mackowsky, a comprehensive
Schadow exhibition within its galleries. The name
of this sculptor and draughtsman, the author of the
FAYENCE FLOWER-STAND, BY JOHANNA MEIER-MICHEL
323
“EGYPTIAN FLOWER-GIRL” (FAYENCE)
BY JOHANNA ME] ER-MICHEL
reproduced form part of a set representing the
four seasons. These have been executed in
the Wiener Keramik-Werkstatte, belonging to
two distinguished artists, Michel Powolny and
Berthold Loffler, the latter a professor at the
Imperial Arts and Crafts Schools.
Johanna Meier-Michel studied first under
Professor Kaufungen at the Kunstschule fur
Frauen und Madchen, Vienna, and later under
Professor Schwarz at the Imperial Arts and
Crafts School, where she likewise held a stipend.
It is in the art of the sculptor that her chief
talent lies. The bust of a little child reproduced
on p. 324 shows not only true aitistic feeling
but also an intimate knowledge of child life.
Her fayence, too, shows how capable she is.
The Egyptian flower-girl, with her basket
destined to be filled with violets, and the fruit-
stand with the little children moving around it,
are both admirable examples of her work in
this direction. Frau Meier has also been suc-
cessful in larger works of sculpture. She won
the first prize in open competition with a model
for a monument at Leipa, Bohemia, and this
brought her another commission, again for a
monument in the same little town, for in Bohemia,
as in Austria, even the small towns and villages love
to show their appreciation of their great men by
erecting monuments or busts to their memory, and
of course their liberality in this respect acts as a
great encouragement to young artists. A. S. L.
BERLIN.—Berlin is now in a phase of grow-
ing self-confidence and this state is indicated
by retrospects. It betrays the conviction
of personal weight when facts from our
past are treated with the importance of historical
materials. The Biedermeier renaissance, and the
interest taken in everything connected with old Berlin,
are symptoms of this phase. The Markische Museum
stands newly erected within our city, plays from former
times rule the stage, books full of the flavour of witty
and romantic days are favourites, and the aureoles of
real Berlin artists like Chodowiecki, Hosemann and
Franz Kruger have been re-gilt. The Royal Academy
has now done such service to its former president,
the sculptor Gottfried Schadow, by arranging, with
the valuable assistance of the renowned Schadow
scholar, Professor Hans Mackowsky, a comprehensive
Schadow exhibition within its galleries. The name
of this sculptor and draughtsman, the author of the
FAYENCE FLOWER-STAND, BY JOHANNA MEIER-MICHEL
323