DOI Heft:
Nr. 222 (September 1911)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.20973#0333
Studio-Talk
curious to note how almost all the lithographs From nis earliest work, including several plates
were figure subjects and all the etchings scenery), executed in Belgium, down to his most recent work,
Conspicuous also were Joseph PennelPs titanic which is a series of Italian etchings from Milan,
New York buildings with creeping little humanity Brescia, Verona, Padua, and Venice, he has shown
at their base. Other notable work was contributed a varied temperament, becoming stronger in ex-
by Mary Creighton, E. A. Hope, W. Shackleton, pression of line and mass until he has developed a
Ethel Gabain, John Copley (who seems to be keen, sensitive, painter-like quality giving light and
influenced by the French), and Spencer Pryse. vibration by the simple means of pure line, at the
But above all must be mentioned the few litho- same time defining and appreciating the distinction
graphs by Charles Conder, which for sheer poetry between the quality of etching and that of painting,
and decoration were the finest things in the room. In his Italian and his later Paris series of etchings
- the line is firmer and more simple in technique,
The foreign section was as distinguished as the and the biting of the plate shows a greater variety
English. Goya and Gavarni were represented of delicacy, giving a convincingly stronger effect
by splendid examples. Fantin-Latour, Carriere, and enhancing the quality of light and atmosphere
Anquetin, Manet, Millet, stood out among the which is so often not taken sufficiently into con-
Frenchmen ; and among the Germans S. von sideration in the art of etching.
Gravesande, Max Liebermann, and
Heinrich Wolff have the true instinct
for lithography. There were also
several coloured lithographs (T. R.
Way's and Helleu's, for instance) :
but these seem on the whole to lack
the poetry and mystery which make
a good lithograph unique among
works of art. F. W. H.
PARIS.—Maurice Victor
Achener, of whose work as
an etcher and wood-en-
graver some examples are
here given, was born in Mulhouse,
Alsace, in 1881, of parents who were
originally French but after the war
of 1871 became German subjects.
He received his education in Stras-
burg, where also he began his art
education at the age of seventeen,
in the Decorative Art School under
the instruction of Jordan Daubner.
In the spring of 1901, going to
Munich, he entered the Royal
Academy of Art, where he joined
the classes of Peter Halm and L.
V. Loefftz, and then five years later
he again made another change and
came to Paris to pursue his studies
in the Academie Julian, under Jean
Paul Laurens, in whose atelier he
remained for more than two years.
M. Achener has exhibited in Munich
and Berlin, and in Paris his work is
seen yearly at the Salon of the wood-engraving illustrating the alsatian legend of »th*>-
Societe Nationale. dolinde." hy m. V. achener
curious to note how almost all the lithographs From nis earliest work, including several plates
were figure subjects and all the etchings scenery), executed in Belgium, down to his most recent work,
Conspicuous also were Joseph PennelPs titanic which is a series of Italian etchings from Milan,
New York buildings with creeping little humanity Brescia, Verona, Padua, and Venice, he has shown
at their base. Other notable work was contributed a varied temperament, becoming stronger in ex-
by Mary Creighton, E. A. Hope, W. Shackleton, pression of line and mass until he has developed a
Ethel Gabain, John Copley (who seems to be keen, sensitive, painter-like quality giving light and
influenced by the French), and Spencer Pryse. vibration by the simple means of pure line, at the
But above all must be mentioned the few litho- same time defining and appreciating the distinction
graphs by Charles Conder, which for sheer poetry between the quality of etching and that of painting,
and decoration were the finest things in the room. In his Italian and his later Paris series of etchings
- the line is firmer and more simple in technique,
The foreign section was as distinguished as the and the biting of the plate shows a greater variety
English. Goya and Gavarni were represented of delicacy, giving a convincingly stronger effect
by splendid examples. Fantin-Latour, Carriere, and enhancing the quality of light and atmosphere
Anquetin, Manet, Millet, stood out among the which is so often not taken sufficiently into con-
Frenchmen ; and among the Germans S. von sideration in the art of etching.
Gravesande, Max Liebermann, and
Heinrich Wolff have the true instinct
for lithography. There were also
several coloured lithographs (T. R.
Way's and Helleu's, for instance) :
but these seem on the whole to lack
the poetry and mystery which make
a good lithograph unique among
works of art. F. W. H.
PARIS.—Maurice Victor
Achener, of whose work as
an etcher and wood-en-
graver some examples are
here given, was born in Mulhouse,
Alsace, in 1881, of parents who were
originally French but after the war
of 1871 became German subjects.
He received his education in Stras-
burg, where also he began his art
education at the age of seventeen,
in the Decorative Art School under
the instruction of Jordan Daubner.
In the spring of 1901, going to
Munich, he entered the Royal
Academy of Art, where he joined
the classes of Peter Halm and L.
V. Loefftz, and then five years later
he again made another change and
came to Paris to pursue his studies
in the Academie Julian, under Jean
Paul Laurens, in whose atelier he
remained for more than two years.
M. Achener has exhibited in Munich
and Berlin, and in Paris his work is
seen yearly at the Salon of the wood-engraving illustrating the alsatian legend of »th*>-
Societe Nationale. dolinde." hy m. V. achener