DOI Heft:
No. 197 (August, 1909)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.20967#0265
Studio-Talk
“the JEWISH QUARTER in Amsterdam” {Berlin Secession) by prof, max liebermann
has made him over accentuate subordinate objects.
Lovis Corinth is again ambitious to hold a
prominent position as the painter of feminine
nudity, and his Bathsheba deserves laurels for
sheer animalism. Professor Max Slevogt’s Lady
in Yellow looks crude in spite of good placing
and modelling. Hans Baluschek perseveres in
his representation of gutter life and the pro-
letariat, but we must not overlook the socialist’s
aim in this merciless mirroring of reality. If a
sculptor like Fritz Klimsch has found a recep-
tion within the Areopagus of the Secession it
clearly means that seekers for beauty are also in
demand here. Two colossal statues, Reposing
Youth and Reposing Maiden, remind us for the
moment of the Michael Angelo Medici figures, yet
they look of modern descent in spite of all simpli-
fication of line. A special Walter Leistikow room
does homage to the much lamented founder of the
Secession, and it is a pleasure to linger among
these confessions of a true poet, from which deco-
rative charm and spiritual depth are never absent.
Painters who incline towards old methods are to
be met with in several instances. Hans Thoma
represents nationality in the worthiest style, and
melodiousness of tone and conscientiousness of
execution testify that love is the fountain-head
of all his art. Carl Strathmann practices finish
with pre-Raphaelitic patience, but this virtue has
a curious accompaniment in a sarcastic turn.
The voice of the artist, however, is more distinct
this year than that of the caricaturist. Count
Kalkreuth’s works always command esteem, but
it seems a pity that this aristocrat prefers a certain
bourgeois stamp Several new portraits by Jan
Veth again recommend the subtle draughtsman
whose colouring only lacks some full-bloodedness.
An interesting acquaintance is the Swedish portrait-
painter, Ernst Josephson, whose qualities are best
summed up in his Portrait of the Journalist
Renholm, a masterpiece in naturalness of character-
isation. Uhde is still fascinated by the sun, but too
close an observation of his reflections and flicker-
ings has led the artist to an indefiniteness of form
which arouses longings for the perfect fusions in his
grey-air period. _
Some staunch followers of the Secession con-
tribute favourably to this exhibition. Ernst Oppler
235
“the JEWISH QUARTER in Amsterdam” {Berlin Secession) by prof, max liebermann
has made him over accentuate subordinate objects.
Lovis Corinth is again ambitious to hold a
prominent position as the painter of feminine
nudity, and his Bathsheba deserves laurels for
sheer animalism. Professor Max Slevogt’s Lady
in Yellow looks crude in spite of good placing
and modelling. Hans Baluschek perseveres in
his representation of gutter life and the pro-
letariat, but we must not overlook the socialist’s
aim in this merciless mirroring of reality. If a
sculptor like Fritz Klimsch has found a recep-
tion within the Areopagus of the Secession it
clearly means that seekers for beauty are also in
demand here. Two colossal statues, Reposing
Youth and Reposing Maiden, remind us for the
moment of the Michael Angelo Medici figures, yet
they look of modern descent in spite of all simpli-
fication of line. A special Walter Leistikow room
does homage to the much lamented founder of the
Secession, and it is a pleasure to linger among
these confessions of a true poet, from which deco-
rative charm and spiritual depth are never absent.
Painters who incline towards old methods are to
be met with in several instances. Hans Thoma
represents nationality in the worthiest style, and
melodiousness of tone and conscientiousness of
execution testify that love is the fountain-head
of all his art. Carl Strathmann practices finish
with pre-Raphaelitic patience, but this virtue has
a curious accompaniment in a sarcastic turn.
The voice of the artist, however, is more distinct
this year than that of the caricaturist. Count
Kalkreuth’s works always command esteem, but
it seems a pity that this aristocrat prefers a certain
bourgeois stamp Several new portraits by Jan
Veth again recommend the subtle draughtsman
whose colouring only lacks some full-bloodedness.
An interesting acquaintance is the Swedish portrait-
painter, Ernst Josephson, whose qualities are best
summed up in his Portrait of the Journalist
Renholm, a masterpiece in naturalness of character-
isation. Uhde is still fascinated by the sun, but too
close an observation of his reflections and flicker-
ings has led the artist to an indefiniteness of form
which arouses longings for the perfect fusions in his
grey-air period. _
Some staunch followers of the Secession con-
tribute favourably to this exhibition. Ernst Oppler
235