DOI issue:
Nr. 207 (June 1910)
DOI article:Studio-talk
DOI Page / Citation link:https://doi.org/10.11588/diglit.20970#0090
Studio-Talk
GARDEN NEAR BREMEN
DESIGNED BY FR. GILDEMEISTER
be gentle, and then betrays the spell of English
influences. Music of the strongest sort came
from Otto Reiniger, who is carried off into some-
what plentiful sketch-work by his impetuous tem-
perament. But he has a master’s grasp over massy
clods and gurgling rivers, he loves the excited
moods of nature, the threatenings of the thunder-
storm and the gloomy hour. The posthumous col-
lection of Philipp Klein of Munich did not suggest
new opinions on this gifted realist, whose inspira-
tions were drawn from the intimacies of studio life
and from mondain experiences. J. J.
BREMEN.—I have already had occasion
to draw attention in these pages to the
movement that has been going on in
Germany among artists and architects
who, discontented with
the irrational, purposeless
system of landscape gar-
dening which for several
decades has been in vogue
in Germany and has gone
on degenerating, have
demanded that instead of
an orderless naturalism,
considerations of prac-
tical utility should govern
the planning of the gar-
den—that it should, in
fact, be designed as part of
an architectonic scheme.
In spite of the acrimo-
nious resistance of the
professional landscape
gardeners, these reformers
have, on the theoretical side of the question at all
events, won all along the line; but it cannot be
denied that so far as actual practice is concerned
we have not yet got much beyond the example set
by such men as Olbrich, Behrens, Liiuger, and a
few others.
The reproach made against the landscape gar-
den, that it is lacking in expression, empty, and
poor in floral beauty, is not without justification,
but it is a reproach that holds good even more in
the case of some of our new gardens designed on
architectural lines. Indeed, there seems to be an
increasing number of cases in which the bad taste
associated with an unbridled imitation of nature
has been replaced by an equally objectionable
accumulation of masonry and espalier walls in
DESIGNED BY FR. GILDEMEISTER
COTTAGE GARDEN ATBLANKENHAIN, THURINGIA.
68
GARDEN NEAR BREMEN
DESIGNED BY FR. GILDEMEISTER
be gentle, and then betrays the spell of English
influences. Music of the strongest sort came
from Otto Reiniger, who is carried off into some-
what plentiful sketch-work by his impetuous tem-
perament. But he has a master’s grasp over massy
clods and gurgling rivers, he loves the excited
moods of nature, the threatenings of the thunder-
storm and the gloomy hour. The posthumous col-
lection of Philipp Klein of Munich did not suggest
new opinions on this gifted realist, whose inspira-
tions were drawn from the intimacies of studio life
and from mondain experiences. J. J.
BREMEN.—I have already had occasion
to draw attention in these pages to the
movement that has been going on in
Germany among artists and architects
who, discontented with
the irrational, purposeless
system of landscape gar-
dening which for several
decades has been in vogue
in Germany and has gone
on degenerating, have
demanded that instead of
an orderless naturalism,
considerations of prac-
tical utility should govern
the planning of the gar-
den—that it should, in
fact, be designed as part of
an architectonic scheme.
In spite of the acrimo-
nious resistance of the
professional landscape
gardeners, these reformers
have, on the theoretical side of the question at all
events, won all along the line; but it cannot be
denied that so far as actual practice is concerned
we have not yet got much beyond the example set
by such men as Olbrich, Behrens, Liiuger, and a
few others.
The reproach made against the landscape gar-
den, that it is lacking in expression, empty, and
poor in floral beauty, is not without justification,
but it is a reproach that holds good even more in
the case of some of our new gardens designed on
architectural lines. Indeed, there seems to be an
increasing number of cases in which the bad taste
associated with an unbridled imitation of nature
has been replaced by an equally objectionable
accumulation of masonry and espalier walls in
DESIGNED BY FR. GILDEMEISTER
COTTAGE GARDEN ATBLANKENHAIN, THURINGIA.
68