DOI Heft:
No. 206 (May, 1910)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.20969#0344
Studio-Talk
touch in Nana and a series of female pastel
portraits.
At Fritz Gurlitt’s interest was aroused by a
collection of the “ Scholle,” a Munich group of
artists who are all vigorous but somewhat daring
technicians with a rather intrepid sympathy for the
female nude. Leo Putz carried off the greatest
success with his graceful group of ballet girls,
Behind the Scenes. Adolph Miinzer again con-
vinced of decorative talent in paintings of some-
what decadent carriage, and Reinhold Max Eichler
commanded attention by youthful freshness and
refined tonalities. It was interesting to see Carlo
Bocklin turning away from his great father’s
heritage and seeking personal utterance in delicate
aspects of Florentine landscape. In the drawings
of Max Mayrshofer, grace is coupled with vigour.
However impressionistic his jostling crowds, his
nudes, grotesques and landscapes appear, a closer
study always reveals extraordinary assiduity.
Messrs. Amsler and Ruthardt were very for-
tunate in securing an array of unique old master
drawings from the Lanna Collection for exhibition
before their dispersal in the Stuttgart Gutekunst
auction. It was a rare treat to trace the varying
register of pencil expressions from Pisanello to Del
Sarto, from Clouet to Watteau, to see charming
leaves from the hands of Diirer, Belotto, Rembrandt
and Chodowiecki. _
Professor Hugo Vogel, whose new wall-pictures
for Hamburg met with such universal applause,
has executed the large painting Prometheus for
the Hall of Industry in the German division of the
Brussels World Exhibition. It is a very impressive
work, not only by the grandeur of the landscape
frame, but also by the creditable interpretation of a
powerful myth. Although the decorative intention
is clearly visible, the principal stress is laid on
character, and nowhere is the idealising Kaulbach
period recalled. _ J. J.
The Keller and Reiner Salon has removed to
a new house in the Potsdamer Strasse, and in the
sumptuously and tastefully arranged showrooms and
galleries Berlin is enriched with a first-class estab-
lishment for exhibitions of high and applied art.
This firm, which fifteen years ago was largely
instrumental in propagating the Van der Velde
style, now has Professor Bruno Schmitz for its
3J9
touch in Nana and a series of female pastel
portraits.
At Fritz Gurlitt’s interest was aroused by a
collection of the “ Scholle,” a Munich group of
artists who are all vigorous but somewhat daring
technicians with a rather intrepid sympathy for the
female nude. Leo Putz carried off the greatest
success with his graceful group of ballet girls,
Behind the Scenes. Adolph Miinzer again con-
vinced of decorative talent in paintings of some-
what decadent carriage, and Reinhold Max Eichler
commanded attention by youthful freshness and
refined tonalities. It was interesting to see Carlo
Bocklin turning away from his great father’s
heritage and seeking personal utterance in delicate
aspects of Florentine landscape. In the drawings
of Max Mayrshofer, grace is coupled with vigour.
However impressionistic his jostling crowds, his
nudes, grotesques and landscapes appear, a closer
study always reveals extraordinary assiduity.
Messrs. Amsler and Ruthardt were very for-
tunate in securing an array of unique old master
drawings from the Lanna Collection for exhibition
before their dispersal in the Stuttgart Gutekunst
auction. It was a rare treat to trace the varying
register of pencil expressions from Pisanello to Del
Sarto, from Clouet to Watteau, to see charming
leaves from the hands of Diirer, Belotto, Rembrandt
and Chodowiecki. _
Professor Hugo Vogel, whose new wall-pictures
for Hamburg met with such universal applause,
has executed the large painting Prometheus for
the Hall of Industry in the German division of the
Brussels World Exhibition. It is a very impressive
work, not only by the grandeur of the landscape
frame, but also by the creditable interpretation of a
powerful myth. Although the decorative intention
is clearly visible, the principal stress is laid on
character, and nowhere is the idealising Kaulbach
period recalled. _ J. J.
The Keller and Reiner Salon has removed to
a new house in the Potsdamer Strasse, and in the
sumptuously and tastefully arranged showrooms and
galleries Berlin is enriched with a first-class estab-
lishment for exhibitions of high and applied art.
This firm, which fifteen years ago was largely
instrumental in propagating the Van der Velde
style, now has Professor Bruno Schmitz for its
3J9