DOI issue:
No. 205 (April, 1910)
DOI article:Studio-talk
DOI Page / Citation link:https://doi.org/10.11588/diglit.20969#0261
Studio-Talk
French State, marvellous tran-
scripts of designs by De Troy, and
portraits by Rigaud, Largillihre,
Boucher, Nattier, and Mignard,
represented the Barock style, the
theatrical pathos of the Louis
Quatorze era. Bewitching fetes
champHres by Watteau, Lancret,
Pater, and Fragonard characterised
the poetical charm and frivolity of
the Louis Quinze r'egime, and an
exquisite section of Chardins, some
Greuzes and Davids marked the
revival of nature and antique
rigidity of the Revolution epoch.
Each of these groups contained
marvels of technical refinement.
The Salon Cassirer has been
showing the fine private collection
of Eduard Behrens of Hamburg,
and has proved that international
art from the second half of last
century can well stand the test in
a gallery which is otherwise prefer-
ably dedicated to modern radical-
STUDY BY IRMA VON
on “ The Art Revival in Austria,” an account of
Austrian painting. A Hungarian by birth, Hevesi
settled in Vienna some thirty-five years ago.
A. S. L.
BERLIN.—The Royal Academy has been
offering Berlin an unusually attractive
feast in the collection of French works
of the eighteenth century which it
gathered together recently. We were thus enabled
to study the French rococo after having had a
chance to see the English two years ago in the
unforgotten British Old Master exhibition. The
visit of the distinguished society of Georgian days
was so impressive, and our knowledge of it so
slight, that the throng of the public continued
with augmenting fervour. We are better acquainted
with French art, and fascinating portraits play only
a secondary part in it, so that this year’s display
did not attract the same crowds of visitors. The
contradictory tendencies of the eventful eighteenth
century were clearly readable in the assembled
masterpieces. Gigantic gobelins belonging to the
236
ism. It was a real delight to meet
with exquisite work by Menzel,
Knaus, Defregger, Meyerheim,
DUCZYNSKA ’ 00 1 J ’
Achenbach, Pradilla, and some
Fontainebleau classics; but we
left with the conviction that our own time has
developed new ideals.
At Schulte’s we were interested by the robust
talent ot Walter Georgi, of Karlsruhe. This
whilom illustrator makes good use of his energetic
draughtsmanship, firm grasp of reality, and deco-
rative sense in portraiture and landscape. He is
at his best in rural and homely subjects, and
although his brush can also be delicate, elegance
loses somewhat under his handling. Hans Bohrdt
displayed his skill as a marine painter in a series
of water-colours executed during the summer
voyage of the German fleet in 1909. He is as
delightful in the mirroring of the stormy sea as
in that of her panoramic dreaminess under exotic
climes. We are glad to see the Berlin portrait-
painter, Heinrich Hellhoff, steadily rising. Several
male portraits of his at Schulte’s bore testimony to
his taste and grasp of character. He renders
individuality, and is not in danger of repetition.
Eduard Beyrer, of Munich, commanded attention
by bronze busts that brought out the intellectuality
French State, marvellous tran-
scripts of designs by De Troy, and
portraits by Rigaud, Largillihre,
Boucher, Nattier, and Mignard,
represented the Barock style, the
theatrical pathos of the Louis
Quatorze era. Bewitching fetes
champHres by Watteau, Lancret,
Pater, and Fragonard characterised
the poetical charm and frivolity of
the Louis Quinze r'egime, and an
exquisite section of Chardins, some
Greuzes and Davids marked the
revival of nature and antique
rigidity of the Revolution epoch.
Each of these groups contained
marvels of technical refinement.
The Salon Cassirer has been
showing the fine private collection
of Eduard Behrens of Hamburg,
and has proved that international
art from the second half of last
century can well stand the test in
a gallery which is otherwise prefer-
ably dedicated to modern radical-
STUDY BY IRMA VON
on “ The Art Revival in Austria,” an account of
Austrian painting. A Hungarian by birth, Hevesi
settled in Vienna some thirty-five years ago.
A. S. L.
BERLIN.—The Royal Academy has been
offering Berlin an unusually attractive
feast in the collection of French works
of the eighteenth century which it
gathered together recently. We were thus enabled
to study the French rococo after having had a
chance to see the English two years ago in the
unforgotten British Old Master exhibition. The
visit of the distinguished society of Georgian days
was so impressive, and our knowledge of it so
slight, that the throng of the public continued
with augmenting fervour. We are better acquainted
with French art, and fascinating portraits play only
a secondary part in it, so that this year’s display
did not attract the same crowds of visitors. The
contradictory tendencies of the eventful eighteenth
century were clearly readable in the assembled
masterpieces. Gigantic gobelins belonging to the
236
ism. It was a real delight to meet
with exquisite work by Menzel,
Knaus, Defregger, Meyerheim,
DUCZYNSKA ’ 00 1 J ’
Achenbach, Pradilla, and some
Fontainebleau classics; but we
left with the conviction that our own time has
developed new ideals.
At Schulte’s we were interested by the robust
talent ot Walter Georgi, of Karlsruhe. This
whilom illustrator makes good use of his energetic
draughtsmanship, firm grasp of reality, and deco-
rative sense in portraiture and landscape. He is
at his best in rural and homely subjects, and
although his brush can also be delicate, elegance
loses somewhat under his handling. Hans Bohrdt
displayed his skill as a marine painter in a series
of water-colours executed during the summer
voyage of the German fleet in 1909. He is as
delightful in the mirroring of the stormy sea as
in that of her panoramic dreaminess under exotic
climes. We are glad to see the Berlin portrait-
painter, Heinrich Hellhoff, steadily rising. Several
male portraits of his at Schulte’s bore testimony to
his taste and grasp of character. He renders
individuality, and is not in danger of repetition.
Eduard Beyrer, of Munich, commanded attention
by bronze busts that brought out the intellectuality