Studio: international art (46.1909)

Studio- Talk

arrest the attention by their compelling expression,
proclaiming their painter’s capability of reading and
mirroring souls like G. F. Watts, but such happy
realisations are not frequent. The faces of the
nudes are strangely neglected, as the sculptural
aspect of the body is the supreme aim of this
art, and we can understand that Mare'es’ truest
followers are sculptors. As a fresco - painter
he also strove after repose and clearness, but
did not possess the power of the great com-
poser who dominates masses. What he painted
in a happy mood astonishes us by freedom and
strength, by the rhythmic elasticity of move-
ment, as in his beautiful group of rowers, the
central piece of the most original fresco in the
Aquarium of Naples. Before such an inspiration,
as before the life breathed in his drawings, we
realise more keenly his habitual gloom, his wrest-
lings with the materials which a whole Marees
exhibition exposes like an Icarus fate. We study
endless attempts and repetitions;
loftiness of principle often seems
carried to extremes and sim-
plicity appears as dulness. The
harvest of masterworks is rather
small, and in most cases we have
to content ourselves with the will
instead of the deed, yet this strange
artist cannot be placed otherwise
than with the Titans of German art.

and of men in broad and thick-laid strokes, which
want distance to be fully appreciated. The relief
work of his surface is somewhat smoothed down by
the glass cover. With this robustness of brush-
work, generally applied to small-size paintings, the
artist combines a colourism of unique distinction.
His delicate values afford rare treats for the
eye, and the most bewitching combination is
accomplished in his Flower Garden.

Schulte’s Salon offered a new collection of
Laszld portraits which regained old sympathies for
a certainly lovable master. He had disappointed
us in preceding exhibits, but we can again hail
him as the hand that renders sympathetically and
with distinction. Laszlo’s art seems to carefully
evade modernism, but we have no proof that
capabilities are lacking. He knowingly cultivates
old-master methods, and considers repose the
most desirable feature. He has just now accom-

At Keller and Reiner’s Salon
the works of Professor Paul Peterich
at once commanded attention. A
careful study of the antique, especi-
ally of the pre-Phidias time, is his
distinguishing feature, but sternness
is coupled with grace. His statue
of Beauty, a female nude, is quite
deserving of its name, but the treat-
ment of the hair in the archaic
style does not seem favourable for
the rendering of such fluffy masses.

In the Cassirer Salon Professor
Max Liebermann showed the last
results of his labour, some portraits
of his usual strength and sobriety,
a quantity of views from the sum-
mer-beach in Noordroyk, and
drawings and etchings from Dutch
life. He remains faithful to im-
pressionism, and is capturing the
very life of brightest atmosphere
326

“ PILGRIMS :

(drawing) BY SERGE KOROVIN

(See Moscow Studio-Talk, p. J