DOI Heft:
No. 197 (August, 1909)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.20967#0260
Studio-Talk
‘AN EXHIBITION OF MUSCLE
(Grosse Berliner Kunst- Ausstellung)
within him and those dictated by nature and
lofty ideals. The very type of his Ve?ius sums
up his artistic character. She is delicate and rigid,
impressing more by soul and intellect than by
physical charms. Zwintscher’s colouring is some-
what dull, but latterly he has operated cleverly
with Velasquez’s contrasting colours. His painting
The Academician is a case in point. Its perpen-
dicularity cannot be pleasing, but the
originality of its conception and the
mastery of execution compel closer study.
fine, and he can attain
fascination by a mastery of
gradation. Franz Hoff-
mann-Fallersleben is the
most sympathetic Tenderer
of landscape in Northern
and Central Germany.
Whether he settles down
to paint woodland, heath
or moor, poetry weaves its
charms round finely-mir-
rored details. He loves
retreats where myth or
history have their abode,
whence weather-beaten
altars or moss grown seats
whisper tales from long ago.
Carl Vinnen, the Worp-
swede master, is success-
fully striking out a new line in a series of sea and
harvest pictures, full of the life of surge and foam.
In a series of scenes from real life, Rene' Reinicke,
the renowned Munich illustrator, commends him-
self as an artist whose colourism equals his wit
and psychology. Old Saxon-history time has found
a monumental and effective delineator in Otto
Markus, who does not possess elevating powers
BY OSMAR SCHINDLER
Hans Unger, from Dresden, arrests atten-
tion by the beautiful austerity of his female
type, which makes us seek for the mys-
teries of Psyche behind majestic com-
posure. In him we have another seeker
after beauty, but with this classicality a
mondaine element intermingles. Otto H.
Engel is strengthening his position as one
of the favourite Berlin masters by sym-
pathetic and solidly executed paintings.
He is the realist who draws fresh strength
from favourite haunts on the Frisian coast,
with their lingering traces of local peasant-
culture. His excellent portrait of the
painter Franz Stassen, which, in its straight
lineaments, mirrors so luckily the art-
character of the sitter, is quite deserving
of its place among our best portraiture.
Ludwig Dettmann, the naturalist, with
a strong bent for the emotional, has
fathomed the technicalities of impression-
ism. His observation of sunlight is very
230
“still life” by anderley moller
(Grosse Berliner Kunst-Ausstellung)
‘AN EXHIBITION OF MUSCLE
(Grosse Berliner Kunst- Ausstellung)
within him and those dictated by nature and
lofty ideals. The very type of his Ve?ius sums
up his artistic character. She is delicate and rigid,
impressing more by soul and intellect than by
physical charms. Zwintscher’s colouring is some-
what dull, but latterly he has operated cleverly
with Velasquez’s contrasting colours. His painting
The Academician is a case in point. Its perpen-
dicularity cannot be pleasing, but the
originality of its conception and the
mastery of execution compel closer study.
fine, and he can attain
fascination by a mastery of
gradation. Franz Hoff-
mann-Fallersleben is the
most sympathetic Tenderer
of landscape in Northern
and Central Germany.
Whether he settles down
to paint woodland, heath
or moor, poetry weaves its
charms round finely-mir-
rored details. He loves
retreats where myth or
history have their abode,
whence weather-beaten
altars or moss grown seats
whisper tales from long ago.
Carl Vinnen, the Worp-
swede master, is success-
fully striking out a new line in a series of sea and
harvest pictures, full of the life of surge and foam.
In a series of scenes from real life, Rene' Reinicke,
the renowned Munich illustrator, commends him-
self as an artist whose colourism equals his wit
and psychology. Old Saxon-history time has found
a monumental and effective delineator in Otto
Markus, who does not possess elevating powers
BY OSMAR SCHINDLER
Hans Unger, from Dresden, arrests atten-
tion by the beautiful austerity of his female
type, which makes us seek for the mys-
teries of Psyche behind majestic com-
posure. In him we have another seeker
after beauty, but with this classicality a
mondaine element intermingles. Otto H.
Engel is strengthening his position as one
of the favourite Berlin masters by sym-
pathetic and solidly executed paintings.
He is the realist who draws fresh strength
from favourite haunts on the Frisian coast,
with their lingering traces of local peasant-
culture. His excellent portrait of the
painter Franz Stassen, which, in its straight
lineaments, mirrors so luckily the art-
character of the sitter, is quite deserving
of its place among our best portraiture.
Ludwig Dettmann, the naturalist, with
a strong bent for the emotional, has
fathomed the technicalities of impression-
ism. His observation of sunlight is very
230
“still life” by anderley moller
(Grosse Berliner Kunst-Ausstellung)