Studio: international art (51.1911)

Studio- Talk

“THE CHAUFFEUR”: MOTOR RACE TROPHY

testify to a firm draughts-
man’s hand, but suffer
from an unpleasant rud-
diness of tone and a too
close observance of
Lenbach and Stuck pre-
scriptions. Hans Heider
goes directly to nature,
to winterly mountains
and early spring tumults,
but we become more
aware of temperament
and skill than of the
emotional soul. Some
portraits of Walton are
exquisite colour - harmo-
nies and distinguished in
pose, but rather uninter-
esting as comments on
by paul oesten female individuality.

captured the very pulse of modern travelling
life. Oesten was bom in Berlin, and a pupil of
Reinhold Begas and Menzel. He won the Rome
prize during his studentship, and has carried
home deep impressions
from classical art.

Berlin is quite entitled now to claim recognition
as a centre of clever draughtsmen and illustrators.
The artists on the staff of “Jugend”and “Simplicissi-
mus” in Munich have initiated a renaissance in this

Several one-man shows
at Schulte’s have to be
noted. Karl Leipold is
a strange delineator of
waves and ships, harbour-
pieces, old mills, light-
houses and village nooks,
which he seems to see
through a magnifying
glass. He envelops such
subjects in a sphere of
colouristic beauty and
mystery until they are
transformed into phan-
tasmagorias. Turner is
evoked and so is Ziem,
but closer inspection re-
veals a neglect of the real
and causes dissatisfaction
by the recognition of
mannerism. Some of the
male and female portraits
of Egon Kossuth of Wies-
baden, impress one by
their originality and
psychologic insight. They

danaid fountain

164

BY PAUL OESTEN