DOI Heft:
No. 197 (August, 1909)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.20967#0264
Studio-Talk
“THE clown” BY ARTHUR KAMPF
(Grosse Berliner Kunst- Ausstellung)
with its veracious types of Tyrolese peasants, is
impressive by its note of passionate resolution and
hopelessness, but the painter indulges in a strange
monotony of russet tones. A group of portrait
painters like Adams, Joanowitsch, Krauss, Schatten-
stein and Scharf, with
their charms of arrange-
ment and execution, and
the landscapes of Kas-
parides, von Poosch, and
Baschny are worth sing-
ling out. Among the
Dusseldorf artists Alex-
ander Bertrand stands
forth by a funeral scene
in a convent, in which
black dresses contrast
peculiarly with the sun-
light, the white and yellow
flowers and the deep blue
of the chapel background.
Josse Gossens proves
himself an effective deco-
rative painter somewhat
dry in tone, von Wille
and Liesegang are the
prominent landscapists,
and Schreuer arrests by
234
genre scenes, witty in colour and observation.
The Karlsruhe artists have arranged a single-
man show for the pride of German landscape
painters, Schonleber. He exhibits only discreetly
coloured drawings, but affords supreme enjoy-
ment. Lieber and von Volkmann help to aug-
ment the fame of their school for landscape.
Turning to this year’s display at the Seces-
sion, I regret to say that even the friend of
progress cannot leave it with a feeling of satis-
faction. On starting his study of the new offer-
ings of the artistic vanguard he is for some
time refreshed and interested by the variety
and originality of what is really good work.
But the further he proceeds, the more vexatious
becomes the intrusiveness of the experimenter
and the incapable. A selection which presents
many pieces that look really like artistic blas-
phemies, seems to make rather for retrogression
than true development.
Among the refreshing sights we encounter
xvorks by artists who are carrying on good
traditions as well as sympathetic modernists.
Prof. Max Liebermann’s interest in the life of
The Jewish Quarter in Amsterdam has not dimin-
ished, as the increased area of the canvas indicates,
but somehow, in spite of his convincing charac-
terisation of market-life we miss his electric pulse ;
and his impressionistic joy in effective colour-spots
“ DANAE ” {Berlin Secession) BY CARL STRATHMANN
“THE clown” BY ARTHUR KAMPF
(Grosse Berliner Kunst- Ausstellung)
with its veracious types of Tyrolese peasants, is
impressive by its note of passionate resolution and
hopelessness, but the painter indulges in a strange
monotony of russet tones. A group of portrait
painters like Adams, Joanowitsch, Krauss, Schatten-
stein and Scharf, with
their charms of arrange-
ment and execution, and
the landscapes of Kas-
parides, von Poosch, and
Baschny are worth sing-
ling out. Among the
Dusseldorf artists Alex-
ander Bertrand stands
forth by a funeral scene
in a convent, in which
black dresses contrast
peculiarly with the sun-
light, the white and yellow
flowers and the deep blue
of the chapel background.
Josse Gossens proves
himself an effective deco-
rative painter somewhat
dry in tone, von Wille
and Liesegang are the
prominent landscapists,
and Schreuer arrests by
234
genre scenes, witty in colour and observation.
The Karlsruhe artists have arranged a single-
man show for the pride of German landscape
painters, Schonleber. He exhibits only discreetly
coloured drawings, but affords supreme enjoy-
ment. Lieber and von Volkmann help to aug-
ment the fame of their school for landscape.
Turning to this year’s display at the Seces-
sion, I regret to say that even the friend of
progress cannot leave it with a feeling of satis-
faction. On starting his study of the new offer-
ings of the artistic vanguard he is for some
time refreshed and interested by the variety
and originality of what is really good work.
But the further he proceeds, the more vexatious
becomes the intrusiveness of the experimenter
and the incapable. A selection which presents
many pieces that look really like artistic blas-
phemies, seems to make rather for retrogression
than true development.
Among the refreshing sights we encounter
xvorks by artists who are carrying on good
traditions as well as sympathetic modernists.
Prof. Max Liebermann’s interest in the life of
The Jewish Quarter in Amsterdam has not dimin-
ished, as the increased area of the canvas indicates,
but somehow, in spite of his convincing charac-
terisation of market-life we miss his electric pulse ;
and his impressionistic joy in effective colour-spots
“ DANAE ” {Berlin Secession) BY CARL STRATHMANN