DOI Heft:
No. 202 (January, 1910)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.20968#0339
Studio-Talk
"MORNING GLORIES BY MARY B. BARNARD
the interest, the clever drawing of the head being The Gebhardt Exhibition afforded an approxi-
slightly discounted by the oblique line of the gable mately complete survey of the life work of our
beyond. J- T. greatest religious painter. He began in 1863 with
Christ entering Jerusalem, and since 1900 some
BERLIN.—Two German painters who of his subjects are Christ walking on the Sea,
belong to the older generation have been The Sermon on the Mount, Moses striking the Rock,
honoured by comprehensive exhibitions and The Prodigal Son. From the very beginning
on the occasion of their seventieth birth- he has faithfully followed the ways of the old
days. Eduard von Gebhardt was to be studied German masters, never attempting to study the
at Schulte's, and Hans Thoma in Fritz Gurlitt's real Oriental milieu, because it was not to him
Salon. Both artists have produced real national an essential part of sacred events. There is an
art, Gebhardt with a loving eye for the Holbein aspect of naivete about his Saviour, his Moses,
age, Rembrandt and Leys, and Thoma with an his hosts of people, who look like real provincial
extra tenderness for Bocklin. Yet both masters Germans clad in Renaissance apparel, but his
are so racially national in their strange mixture of feeling is always so sincere and intense that
manliness and childlike simplicity, of elevation and he disarms objections. With all his conserva-
sobriety, that this may have somewhat hindered tivism of subject he has been a progressive
their international classicality. The dramatic technician. Deep and quiet local tonalities have
pulse is strong in Gebhardt, and has increased become differentiated until the half tone, not
rather than slackened with advancing age. Thoma quite to the advantage of his art, is now dominant,
has unalterably remained the lyrist. His master-hand is best visible in the numerous
317
"MORNING GLORIES BY MARY B. BARNARD
the interest, the clever drawing of the head being The Gebhardt Exhibition afforded an approxi-
slightly discounted by the oblique line of the gable mately complete survey of the life work of our
beyond. J- T. greatest religious painter. He began in 1863 with
Christ entering Jerusalem, and since 1900 some
BERLIN.—Two German painters who of his subjects are Christ walking on the Sea,
belong to the older generation have been The Sermon on the Mount, Moses striking the Rock,
honoured by comprehensive exhibitions and The Prodigal Son. From the very beginning
on the occasion of their seventieth birth- he has faithfully followed the ways of the old
days. Eduard von Gebhardt was to be studied German masters, never attempting to study the
at Schulte's, and Hans Thoma in Fritz Gurlitt's real Oriental milieu, because it was not to him
Salon. Both artists have produced real national an essential part of sacred events. There is an
art, Gebhardt with a loving eye for the Holbein aspect of naivete about his Saviour, his Moses,
age, Rembrandt and Leys, and Thoma with an his hosts of people, who look like real provincial
extra tenderness for Bocklin. Yet both masters Germans clad in Renaissance apparel, but his
are so racially national in their strange mixture of feeling is always so sincere and intense that
manliness and childlike simplicity, of elevation and he disarms objections. With all his conserva-
sobriety, that this may have somewhat hindered tivism of subject he has been a progressive
their international classicality. The dramatic technician. Deep and quiet local tonalities have
pulse is strong in Gebhardt, and has increased become differentiated until the half tone, not
rather than slackened with advancing age. Thoma quite to the advantage of his art, is now dominant,
has unalterably remained the lyrist. His master-hand is best visible in the numerous
317