DOI Heft:
No. 206 (May, 1910)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.20969#0343
Studio-Talk
has been called from Munich to Berlin to execute
the wall pictures for the great hall in Parliament,
has exhibited there the latest fruits of his sedu-
lous activity, including several portraits and some
romantic figure compositions. This distinguished
artist is one of the solitary idealists at the present
day who paint under the pure stimulus of beauty.
He selects his models very carefully, and his types
would have enraptured Titian and Leonardo. The
portraits are infused with subtle emotions, and
his fancies and curiosity find expression in very
original conceptions. Chaste nudity in Southern
landscape is his favourite motij ; the goddess, the
madonna, the modern lady with mysterious yearn-
ings, and occasionally the mondaine look at us
with enigmatic eyes. The painter’s brush seems
rather too prone to dull mediums, and this melan-
choly toning derogates from his merits; but the
memento vivere is audibly sounded in some of his
very latest accomplishments. Otto Heichert paints
actuality, but though his temperament reaps success
in scenes and single figures pulsating with life,
his hand does not convince of a perfect com-
mand over technical difficulties. We were grateful
for a thorough insight into the delightful art of
Boutet de Monvel. His Life of Jeanne d’Arc
is not quite convincing in its presentation of the
heroine, but fascinates by the statement of martial
encounters and historical appurtenances. His
many other water-colours showed the refined
draughtsman, and in particular a child-portrayer
whose grace, good humour and decorative charm
are evident in all he does. In the portrait-busts of
prominent thinkers by Alfonso Canciani, vigorous
characterisation is attained by an austere empha-
sizing of structure, whilst W. von Scharfenberg
seemed to strive for intimate individualisation in
his heads.
In Cassirer’s Salon an artistic event of first order
lately was the exhibition of about thirty Edouard
Manets from the Pellerin Collection in Paris. We
were here able to study a mastery which equals
that of Hals and Velasquez in the portrait of the
Engraver Desboutin, and the Breakfast Table,
and to enjoy a delicious fragrance of tone and
has been called from Munich to Berlin to execute
the wall pictures for the great hall in Parliament,
has exhibited there the latest fruits of his sedu-
lous activity, including several portraits and some
romantic figure compositions. This distinguished
artist is one of the solitary idealists at the present
day who paint under the pure stimulus of beauty.
He selects his models very carefully, and his types
would have enraptured Titian and Leonardo. The
portraits are infused with subtle emotions, and
his fancies and curiosity find expression in very
original conceptions. Chaste nudity in Southern
landscape is his favourite motij ; the goddess, the
madonna, the modern lady with mysterious yearn-
ings, and occasionally the mondaine look at us
with enigmatic eyes. The painter’s brush seems
rather too prone to dull mediums, and this melan-
choly toning derogates from his merits; but the
memento vivere is audibly sounded in some of his
very latest accomplishments. Otto Heichert paints
actuality, but though his temperament reaps success
in scenes and single figures pulsating with life,
his hand does not convince of a perfect com-
mand over technical difficulties. We were grateful
for a thorough insight into the delightful art of
Boutet de Monvel. His Life of Jeanne d’Arc
is not quite convincing in its presentation of the
heroine, but fascinates by the statement of martial
encounters and historical appurtenances. His
many other water-colours showed the refined
draughtsman, and in particular a child-portrayer
whose grace, good humour and decorative charm
are evident in all he does. In the portrait-busts of
prominent thinkers by Alfonso Canciani, vigorous
characterisation is attained by an austere empha-
sizing of structure, whilst W. von Scharfenberg
seemed to strive for intimate individualisation in
his heads.
In Cassirer’s Salon an artistic event of first order
lately was the exhibition of about thirty Edouard
Manets from the Pellerin Collection in Paris. We
were here able to study a mastery which equals
that of Hals and Velasquez in the portrait of the
Engraver Desboutin, and the Breakfast Table,
and to enjoy a delicious fragrance of tone and