DOI Heft:
No. 198 (September, 1908)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.20967#0356
Studio-Talk
“the old reservoir”
paintings in tempera, so
employed was water, have
wardness of the exhibition
halls has been well over-
come by the Dresden
architect, Martin Pietzsch,
who has laid out and
decorated a surprisingly
pleasant series of rooms,
where ordinarily—unless
special efforts of this kind
are made—badly lighted
and ungainly shaped halls
are the plague of exhibi-
tion committees.
BY PROF. FRANZ HEIN
long as the medium
been hung. The awk-
work in which the
nique proceeds clearly on
water or body colour
lines, vie in spirit, con-
ception and general char-
acter with the work of
the painter in oils. These
are the paintings — can-
vases I had almost said
—which are enclosed in
heavy frames with no
mount intervening be-
tween frame and picture,
and the large important
works of Von Bartels,
Herrmann, Skarbina, J.
Ufer and others are cer-
tainly marvels of skill.
It is surprising how close
they can come to the
effects of the painter in
oils. In the end, however,
one likes to revert to the
specific character of water-
colour or pastel, its delicacy, its fleeting touches,
Work on a large scale,
work that in its thorough
finish and general aspect
competes directly with
the art of the painter in
oils, occupies the main
hall with its recesses.
There are tempera pic-
tures, such as a Self-
portrait, by J. Mogk, and
Among the Pistrian Hills,
by Dora Hitz, which can-
not be distinguished from
oil paintings, and there
are many other pictures
which, though their tech-
322
“rapunzel” by h. lefler and j. urban
{By permission of Messrs. Gerlach (Sr5 Wiedling, Vienna)
“the old reservoir”
paintings in tempera, so
employed was water, have
wardness of the exhibition
halls has been well over-
come by the Dresden
architect, Martin Pietzsch,
who has laid out and
decorated a surprisingly
pleasant series of rooms,
where ordinarily—unless
special efforts of this kind
are made—badly lighted
and ungainly shaped halls
are the plague of exhibi-
tion committees.
BY PROF. FRANZ HEIN
long as the medium
been hung. The awk-
work in which the
nique proceeds clearly on
water or body colour
lines, vie in spirit, con-
ception and general char-
acter with the work of
the painter in oils. These
are the paintings — can-
vases I had almost said
—which are enclosed in
heavy frames with no
mount intervening be-
tween frame and picture,
and the large important
works of Von Bartels,
Herrmann, Skarbina, J.
Ufer and others are cer-
tainly marvels of skill.
It is surprising how close
they can come to the
effects of the painter in
oils. In the end, however,
one likes to revert to the
specific character of water-
colour or pastel, its delicacy, its fleeting touches,
Work on a large scale,
work that in its thorough
finish and general aspect
competes directly with
the art of the painter in
oils, occupies the main
hall with its recesses.
There are tempera pic-
tures, such as a Self-
portrait, by J. Mogk, and
Among the Pistrian Hills,
by Dora Hitz, which can-
not be distinguished from
oil paintings, and there
are many other pictures
which, though their tech-
322
“rapunzel” by h. lefler and j. urban
{By permission of Messrs. Gerlach (Sr5 Wiedling, Vienna)