DOI Heft:
No. 197 (August, 1909)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.20967#0262
Studio-Talk
“ friederburg zu manderscheid ” (Grosse Berliner Kunst-Ausstellung) by prof, eugen bracht
such colouristic distinction that the sensationalist
is sunk in the artist. Skarbina is at home
among rococo witcheries, Mohrbutter and Pfuhle
penetrate into the mysteries of psychic events, and
Stroher understands how to spiritualise the female
nude. Osmar Schindler, whose Mocking of Christ
is the best religious contribution of the exhibition,
is a sure reader of interesting male characters, and
C. Messerschmidt betrays astonishing talent as the
depicter of a jolly Biedermeier picnic, There are
not wanting new achievements from the gifted
hand of Herbert Arnold, who has this time drawn
inspiration from the Schwalm, that queer peasant
conclave in Hessen. Hughitt Halliday dwells with
the muses, and her vision is original but rather
earthly. Marie Eickhof - Reitzenstein envelops
women of the Aman-Jean style in a Leonardesque
atmosphere, and Ludmilla von Flesch-Brunningen
lavishes pictorial distinction on the subject of
female self-admiration. Richard Nitsch is the
painstaking Tenderer of the picturesqueness of the
Silesian Peasant Woman, and his patient art does
not neglect human features. Hamacher mirrors
powerfully and delicately the mariners and their
element, and Klein-Chevalier and Muller-Miinster
successfully carry out kindred subjects. Otto
Seeck has finely observed the play of light in a
workshop of busy tailors. H. Looschen and
Anderley Moller secure attention by charming
still life works.
The rooms of the three Munich groups,
Kiinstler Cfenossenscbaft, Luitpold Gruppe, and
Kunstlerbund Baiern, look so similar that differ-
ences of tendency are quite effaced. If we name
the portraits of Raffael and Georg Schuster-Woldan,
Wirnhier and Papperitz, landscapes by von
Petersen, Kaiser, Sieck, Marr’s effective Lux
Tenebris, Grassel’s ducks and Herrmann-Allgau’s
nuts—we have almost exhausted the list of meri-
torious works. Vienna occupies us somewhat
longer. Egger-Lienz’s large Death-dance of 1809,
232
“ friederburg zu manderscheid ” (Grosse Berliner Kunst-Ausstellung) by prof, eugen bracht
such colouristic distinction that the sensationalist
is sunk in the artist. Skarbina is at home
among rococo witcheries, Mohrbutter and Pfuhle
penetrate into the mysteries of psychic events, and
Stroher understands how to spiritualise the female
nude. Osmar Schindler, whose Mocking of Christ
is the best religious contribution of the exhibition,
is a sure reader of interesting male characters, and
C. Messerschmidt betrays astonishing talent as the
depicter of a jolly Biedermeier picnic, There are
not wanting new achievements from the gifted
hand of Herbert Arnold, who has this time drawn
inspiration from the Schwalm, that queer peasant
conclave in Hessen. Hughitt Halliday dwells with
the muses, and her vision is original but rather
earthly. Marie Eickhof - Reitzenstein envelops
women of the Aman-Jean style in a Leonardesque
atmosphere, and Ludmilla von Flesch-Brunningen
lavishes pictorial distinction on the subject of
female self-admiration. Richard Nitsch is the
painstaking Tenderer of the picturesqueness of the
Silesian Peasant Woman, and his patient art does
not neglect human features. Hamacher mirrors
powerfully and delicately the mariners and their
element, and Klein-Chevalier and Muller-Miinster
successfully carry out kindred subjects. Otto
Seeck has finely observed the play of light in a
workshop of busy tailors. H. Looschen and
Anderley Moller secure attention by charming
still life works.
The rooms of the three Munich groups,
Kiinstler Cfenossenscbaft, Luitpold Gruppe, and
Kunstlerbund Baiern, look so similar that differ-
ences of tendency are quite effaced. If we name
the portraits of Raffael and Georg Schuster-Woldan,
Wirnhier and Papperitz, landscapes by von
Petersen, Kaiser, Sieck, Marr’s effective Lux
Tenebris, Grassel’s ducks and Herrmann-Allgau’s
nuts—we have almost exhausted the list of meri-
torious works. Vienna occupies us somewhat
longer. Egger-Lienz’s large Death-dance of 1809,
232