DOI issue:
No. 199 (October, 1909)
DOI article:Studio-talk
DOI Page / Citation link:https://doi.org/10.11588/diglit.20968#0093
Studio-Talk
to Konigsberg, to take up the post of instructor of
the painting and life class at the Academy of
Art, the title of professor being conferred on him in
the succeeding year. He has been the recipient
of numerous medals; at Berlin in 1895 ne was
awarded the small gold medal; at Paris in 1900
he was again awarded a medal, and at Dresden
in 1905 he received the gold plaquette. E. K.
DRESDEN.—Of Hans Unger it has been
said, uncharitably, that he shows us
another face every time he displays
new work. At his last show held at
Arnold's Galleries some
few months ago, there
was possibly a change to
record, but the change
was certainly to some-
thing very beautiful,
something of sufficient
inherent worth to make us
forget comparisons and
discard reminiscences.
disposition of lights and shadows, those knacks
which make work appear as if it had been taken
on the wing—knacks that may give a delightful
touch of actuality and life to the drawing of an
illustrator, but which are out of place in a painting
that ought still to appeal to generations long after
any " actuality " that an artist possibly can embody
in his painting has become stale and a past issue.
The coloration is warm and generous, but of a
tempered though genuine gaiety. Its quondam
boisterous obtrusiveness has vanished. We now
feel the beauty of Unger's coloration of our own
accord; no excessive accentuation tries to force it
Unger's art seems to
me to have undergone a
process of clarification.
Once upon a time a
certain garish coloration
made it unsympathetic.
The fact that the tricks
of the trade, an extreme
cleverness of handling
and technical skill, were
too plainly in evidence,
made it seem flashy.
One was led to suspect
the sincerity of the author.
Now, however, it seems
to me convincing, in
spite of the circumstance
that all of the produce
is not yet quite homo-
geneous, and that a trait
here and there occasion-
ally recalls to mind the
picture of a brother-artist.
The modelling of the
flesh is now very beautiful
and simple. There are
no touches of ephemeral
observation. Unger has
learned to eschew, in the
posing as well as in the "mother and child" by hans unger
7i
to Konigsberg, to take up the post of instructor of
the painting and life class at the Academy of
Art, the title of professor being conferred on him in
the succeeding year. He has been the recipient
of numerous medals; at Berlin in 1895 ne was
awarded the small gold medal; at Paris in 1900
he was again awarded a medal, and at Dresden
in 1905 he received the gold plaquette. E. K.
DRESDEN.—Of Hans Unger it has been
said, uncharitably, that he shows us
another face every time he displays
new work. At his last show held at
Arnold's Galleries some
few months ago, there
was possibly a change to
record, but the change
was certainly to some-
thing very beautiful,
something of sufficient
inherent worth to make us
forget comparisons and
discard reminiscences.
disposition of lights and shadows, those knacks
which make work appear as if it had been taken
on the wing—knacks that may give a delightful
touch of actuality and life to the drawing of an
illustrator, but which are out of place in a painting
that ought still to appeal to generations long after
any " actuality " that an artist possibly can embody
in his painting has become stale and a past issue.
The coloration is warm and generous, but of a
tempered though genuine gaiety. Its quondam
boisterous obtrusiveness has vanished. We now
feel the beauty of Unger's coloration of our own
accord; no excessive accentuation tries to force it
Unger's art seems to
me to have undergone a
process of clarification.
Once upon a time a
certain garish coloration
made it unsympathetic.
The fact that the tricks
of the trade, an extreme
cleverness of handling
and technical skill, were
too plainly in evidence,
made it seem flashy.
One was led to suspect
the sincerity of the author.
Now, however, it seems
to me convincing, in
spite of the circumstance
that all of the produce
is not yet quite homo-
geneous, and that a trait
here and there occasion-
ally recalls to mind the
picture of a brother-artist.
The modelling of the
flesh is now very beautiful
and simple. There are
no touches of ephemeral
observation. Unger has
learned to eschew, in the
posing as well as in the "mother and child" by hans unger
7i