DOI issue:
No. 195 (June, 1909)
DOI article:Studio-talk
DOI Page / Citation link:https://doi.org/10.11588/diglit.20967#0097
Studio-Talk
“ GANYMEDE”
BY CARL MAX REBEL
museums, on this occasion only showed the posses-
sion of about two dozen members, and the delight-
ful collection considerably enhanced the interest of
the interval between the departing winter season
and the newly prepared annual summer exhibi-
tions. We were able here to enjoy the ennobled
truthfulness of Bruyn and Krigel, Morelse and
Terborch, as well as the delicate work of Nattier
and Rigaud, and the sombre beauties of Goya.
Hals and Rembrandt were represented by some
prominent examples of their various phases,
Rubens and Van Dyck by fine earlier portraits ;
and the grand spirit of the Renaissance spoke
through Raphael, Bronzino and Titian. Portraits
predominated in the exhibition, but some masterly
still-life pieces created a pleasant variety. The
increasing number of classical treasures in German
private possession is quite astonishing.
At the Keller and Reiner Salon recently Carl Max
Rebel again presented himself with a numerous col-
lection. For some years new works of this painter
have always been looked for with unusual interest
by some far-seeing collectors. He at one time gave
promise of a new Bocklin, and his stay in Italy
was considered a warrant for such realisations.
Since then he has always kept up his standard of
classical romanticism ; but his colouring seemed
to become rather monotonous with its green and
violet tints, and his figures as well as his landscapes
appeared dulled by pessimism. This year Rebel
seems to have grown freer. He is still the apostle
of austere beauty, the seer of classical visions in
fascinating solitude, but we feel a new joy in life
stirring in some pictures. Something unusual is
again revealed, but we have still to wait for a real
fulfilment. A series of female portraits is particularly
attractive by the selection of rare individualities
which though rendered in the noble Francia or
Bronzino style yet look like documents of the Ibsen
and Maeterlinck age. At the same galleries Leo
Samberger, the Munich portraitist, also filled a
whole room with his works. He gave his best in
strong and serious types, especially in prominent
male characters. There was also an exhibition of
the portrait-sculpture of Ferdinand Seeboeck,
75
“ GANYMEDE”
BY CARL MAX REBEL
museums, on this occasion only showed the posses-
sion of about two dozen members, and the delight-
ful collection considerably enhanced the interest of
the interval between the departing winter season
and the newly prepared annual summer exhibi-
tions. We were able here to enjoy the ennobled
truthfulness of Bruyn and Krigel, Morelse and
Terborch, as well as the delicate work of Nattier
and Rigaud, and the sombre beauties of Goya.
Hals and Rembrandt were represented by some
prominent examples of their various phases,
Rubens and Van Dyck by fine earlier portraits ;
and the grand spirit of the Renaissance spoke
through Raphael, Bronzino and Titian. Portraits
predominated in the exhibition, but some masterly
still-life pieces created a pleasant variety. The
increasing number of classical treasures in German
private possession is quite astonishing.
At the Keller and Reiner Salon recently Carl Max
Rebel again presented himself with a numerous col-
lection. For some years new works of this painter
have always been looked for with unusual interest
by some far-seeing collectors. He at one time gave
promise of a new Bocklin, and his stay in Italy
was considered a warrant for such realisations.
Since then he has always kept up his standard of
classical romanticism ; but his colouring seemed
to become rather monotonous with its green and
violet tints, and his figures as well as his landscapes
appeared dulled by pessimism. This year Rebel
seems to have grown freer. He is still the apostle
of austere beauty, the seer of classical visions in
fascinating solitude, but we feel a new joy in life
stirring in some pictures. Something unusual is
again revealed, but we have still to wait for a real
fulfilment. A series of female portraits is particularly
attractive by the selection of rare individualities
which though rendered in the noble Francia or
Bronzino style yet look like documents of the Ibsen
and Maeterlinck age. At the same galleries Leo
Samberger, the Munich portraitist, also filled a
whole room with his works. He gave his best in
strong and serious types, especially in prominent
male characters. There was also an exhibition of
the portrait-sculpture of Ferdinand Seeboeck,
75