DOI Heft:
No. 198 (September, 1908)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.20967#0355
Studio-Talk
a marriage medal and several others, has contri-
buted one which serves as a title or emblem for
the series. Some years ago Bosselt won the first
prize in a competition for a baptismal medal,
organised by the Kultusministerium of Prussia.
One could have wished that Prof. Hermann Hahn
had been represented in the series by further
examples besides his Lenbach medal—for instance,
the plaquettes dedicated to the architects Alfred
Messel and Stadtbaumeister Hoffmann. The late
Franz Christ, of Munich, in addition to an admirable
Schiller medal, contributes to the series a plaquette
dedicated to Winter Sport; the obverse, showing
the goddess of winter riding on a polar bear, is
admirable, but the reverse betrays a leaning to
that affectation and sweetness of manner which the
later Munich school are so fond of, but which is
not, on that account, any the more appropriate to
the essential character of the medal. Hugo Kauf-
mann’s medals are among those which show a
laudable endeavour to emphasize those points
which express clearly the purpose of the medal
without recourse to supplementary means. It is
a pity his beautiful Goethe medal is not in the
series. Prof. Heinrich Wadere, of Munich, is
represented by a confirmation token and marriage
and ordination medals, in which the chief point of
interest is the reverse, the obverse, representing
biblical figures, being somewhat too academic in
treatment, though it must be acknowledged that
herein he had not an altogether free hand.
In the work of the artists above-mentioned there
is traceable the influence of the French medallists,
from whom something has undoubtedly been
learnt by the Germans, especially in regard to the
technique of bronze casting and machine reduction.
Two artists, however, have to be named who are
not to be classed in this category—Georg Romer
(Florence) and Max Dasio (Munich), whose par-
ticularly expressive technique either recalls —
Dasio’s especially—the coins and engraved gems of
the Greeks and Romans or follows a wholly inde-
pendent line. Both these artists are endeavouring
to revive the old steel die process. If that could
be done it would be a good thing, and no doubt
collectors would pay especial attention to examples
produced by this method. H. E. K.
DRESDEN. — The Grosse Aquarell-
Ausstellung in the Academy Building
on the terrace is a good deal more
comprehensive than its name—Water-
colour Exhibition—would imply. In fact, no colour-
technique has been ruled out except pure oils.
Water colours, body colours, pastels and even
“THE ELBE AT DRESDEN” BY WILHELM CLAUS
321
a marriage medal and several others, has contri-
buted one which serves as a title or emblem for
the series. Some years ago Bosselt won the first
prize in a competition for a baptismal medal,
organised by the Kultusministerium of Prussia.
One could have wished that Prof. Hermann Hahn
had been represented in the series by further
examples besides his Lenbach medal—for instance,
the plaquettes dedicated to the architects Alfred
Messel and Stadtbaumeister Hoffmann. The late
Franz Christ, of Munich, in addition to an admirable
Schiller medal, contributes to the series a plaquette
dedicated to Winter Sport; the obverse, showing
the goddess of winter riding on a polar bear, is
admirable, but the reverse betrays a leaning to
that affectation and sweetness of manner which the
later Munich school are so fond of, but which is
not, on that account, any the more appropriate to
the essential character of the medal. Hugo Kauf-
mann’s medals are among those which show a
laudable endeavour to emphasize those points
which express clearly the purpose of the medal
without recourse to supplementary means. It is
a pity his beautiful Goethe medal is not in the
series. Prof. Heinrich Wadere, of Munich, is
represented by a confirmation token and marriage
and ordination medals, in which the chief point of
interest is the reverse, the obverse, representing
biblical figures, being somewhat too academic in
treatment, though it must be acknowledged that
herein he had not an altogether free hand.
In the work of the artists above-mentioned there
is traceable the influence of the French medallists,
from whom something has undoubtedly been
learnt by the Germans, especially in regard to the
technique of bronze casting and machine reduction.
Two artists, however, have to be named who are
not to be classed in this category—Georg Romer
(Florence) and Max Dasio (Munich), whose par-
ticularly expressive technique either recalls —
Dasio’s especially—the coins and engraved gems of
the Greeks and Romans or follows a wholly inde-
pendent line. Both these artists are endeavouring
to revive the old steel die process. If that could
be done it would be a good thing, and no doubt
collectors would pay especial attention to examples
produced by this method. H. E. K.
DRESDEN. — The Grosse Aquarell-
Ausstellung in the Academy Building
on the terrace is a good deal more
comprehensive than its name—Water-
colour Exhibition—would imply. In fact, no colour-
technique has been ruled out except pure oils.
Water colours, body colours, pastels and even
“THE ELBE AT DRESDEN” BY WILHELM CLAUS
321