DOI issue:
Nr. 207 (June 1910)
DOI article:Studio-talk
DOI Page / Citation link:https://doi.org/10.11588/diglit.20970#0088
Studio- Talk
himself well acquainted with the treasures of the
past, but his personal inventiveness is so rich and
his study of nature so thorough that he impresses
the stamp of individuality on all he does. His
discipline in the goldsmiths’ craft has taught him
the sense for delicate shapes and the love for
decorations with precious stones and enamels.
Like a real Renaissance master he combines the
functions of sculptor and painter, and knows how to
operate gracefully with the human figure.
Margarete Rabes has a special fondness for
drawing animals, and some of her studies reveal a
decidedly humorous bent, as for instance that of
two Marabous conning The Studio (p. 65). In
many of her drawings she makes use of the air-brush
to produce gradations of tone.
Hans Joachim Pagels of Ltibeck,
a pupil of Professors Brausewetter
and Breuer in the Berlin Royal
Academy, has for some years past
attracted much attention as a sculptor.
His bust of the hunchbacked painter
Dippe was acquired by the National
Gallery. He has not only distin-
guished himself in different portrait-
busts as a character-reader of quite
unusual power, but some of his
monumental creations are also strik-
ing. The influence of the antique,
which he came in touch with during
a considerable stay in Italy, is
apparent in the strong group of
Wrestlers, and Meunier’s is trace-
able in his Labourer s Mother and
The Miners Widoiv. The artistic
personality of the young sculptor is
so vivid and impressionable, that a
certain degree of adaptation is only
natural, but at the same time his
personal endowments are such that
he bids fair to develop into one of
our best sculptors. His great gift is
a rapidly grasping eye and a rare
memory. Nature is always made
the basis of his work, but when at
work the sight of the model is almost
a disturbance. These qualities seem
to fit him particularly for portrait-
sculpture. His heads of interesting
men and children are wonderful
transcripts. He has also a sense for
humour, which at times approaches
66
the grotesque, and a particular understanding for
the awakening individuality in the child.
In the Salon Schulte a number of various land-
scape painters received us with an orchestra that
intonated with gentlest touches, and gradually rose
to passionate music. Soft voices came from
Wilhelm Steinhausen, whom the May blossoms in
the meadows, the evening glow on the pond, and
the rain-cloud over the hill-top inspire with heart-
felt elegies. Wynford Dewhurst, the English
impressionist, also tunes his gamut delicately, but
the doctrines of pointillism and pleinairism are apt
somewhat to confuse his mind. The notes gained in
steadiness when we studied the pictures of Richard
von Poschinger. He is capable of displaying
energy when the character of his subjects requires
it, and then resembles Dutch masters, and he can
“THE BOY JESUS” BY HANS JOACHIM PAGELS
himself well acquainted with the treasures of the
past, but his personal inventiveness is so rich and
his study of nature so thorough that he impresses
the stamp of individuality on all he does. His
discipline in the goldsmiths’ craft has taught him
the sense for delicate shapes and the love for
decorations with precious stones and enamels.
Like a real Renaissance master he combines the
functions of sculptor and painter, and knows how to
operate gracefully with the human figure.
Margarete Rabes has a special fondness for
drawing animals, and some of her studies reveal a
decidedly humorous bent, as for instance that of
two Marabous conning The Studio (p. 65). In
many of her drawings she makes use of the air-brush
to produce gradations of tone.
Hans Joachim Pagels of Ltibeck,
a pupil of Professors Brausewetter
and Breuer in the Berlin Royal
Academy, has for some years past
attracted much attention as a sculptor.
His bust of the hunchbacked painter
Dippe was acquired by the National
Gallery. He has not only distin-
guished himself in different portrait-
busts as a character-reader of quite
unusual power, but some of his
monumental creations are also strik-
ing. The influence of the antique,
which he came in touch with during
a considerable stay in Italy, is
apparent in the strong group of
Wrestlers, and Meunier’s is trace-
able in his Labourer s Mother and
The Miners Widoiv. The artistic
personality of the young sculptor is
so vivid and impressionable, that a
certain degree of adaptation is only
natural, but at the same time his
personal endowments are such that
he bids fair to develop into one of
our best sculptors. His great gift is
a rapidly grasping eye and a rare
memory. Nature is always made
the basis of his work, but when at
work the sight of the model is almost
a disturbance. These qualities seem
to fit him particularly for portrait-
sculpture. His heads of interesting
men and children are wonderful
transcripts. He has also a sense for
humour, which at times approaches
66
the grotesque, and a particular understanding for
the awakening individuality in the child.
In the Salon Schulte a number of various land-
scape painters received us with an orchestra that
intonated with gentlest touches, and gradually rose
to passionate music. Soft voices came from
Wilhelm Steinhausen, whom the May blossoms in
the meadows, the evening glow on the pond, and
the rain-cloud over the hill-top inspire with heart-
felt elegies. Wynford Dewhurst, the English
impressionist, also tunes his gamut delicately, but
the doctrines of pointillism and pleinairism are apt
somewhat to confuse his mind. The notes gained in
steadiness when we studied the pictures of Richard
von Poschinger. He is capable of displaying
energy when the character of his subjects requires
it, and then resembles Dutch masters, and he can
“THE BOY JESUS” BY HANS JOACHIM PAGELS