DOI issue:
Nr. 222 (September 1911)
DOI article:Studio-talk
DOI Page / Citation link: https://doi.org/10.11588/diglit.20973#0341
Studio- Talk
evidence of progress in pic-
torial quality and in the
diversity of technical methods
which this assemblage of
some two thousand works,
representing every conceiv-
able direction and tendency,
offers us.
Truth and heresy here
thrive on the same soil. A
painting of such mature crafts-
manship as Eduard von
Gebhardt's Austreibung aus
dem Tempel (The Expulsion
from the Temple), with its
evidence of such remarkable
attainments in draughtsman-
ship, of certitude in compo-
sition and the distribution of
masses, of delicate handling
of colour and such animation
in the striking portrayal 01
the event, refutes all the
dogmas and principles of our
modern and ultra-modern
method of painting. The
purely objective interest, re-
garded as of secondary
moment and inartistic by
that aesthetic school which
has had such a deep influence
on the art of to-day, has here
by the vivid manner in which
monument to the painter munkacsy in the kerepes cemetery, budapest. the SCene is presented aC-
by eduard TEi.cs quired such importance that
(See Budapest Studio- 7'alk, p. 318) 1
even those who regard the
its own jury and comprehensive separate exhibition. Biblical narrative itself with more or less indifference
Special cabinets have also been set apart for societies are impressed with the picture. In presence of such
belonging to other centres—Berlin, Diisseldorf, a work one becomes keenly conscious of the fact that
Baden, Frankfort, Hamburg, Weimar—an arrange- modern art has scarcely been successful in religious
ment which makes it easy to find one's bearings, painting and that he who has something to say to
- the many must not despise the material interest
If it is not the most striking personalities that are nor relinquish that quest of the beautiful which is
to be found here in friendly competition with one almost regarded with hatred by the modern school,
another, and if indeed not a little mediocre achieve- as well as a certain 'nobility of presentation. That
ment comes into view as we pass from room to these aims are quite compatible with present-day
room, yet the exhibition as a whole reflects the deep tendencies, which have in view an amplification
sincerity which characterises the efforts of our of the means of expression and technical perfection,
artists at the present day. One may willingly pass proof is furnished by many a painting in this
over the bold experiments in colour and the daring exhibition.
efforts to outdo a Van Gogh or Cezanne in which--
many an artist in our midst takes unabashed delight, One-halt of the entire space available has been
and may find a source of pleasure in the indubitable reserved by the Genossenschaft for the works or
320
evidence of progress in pic-
torial quality and in the
diversity of technical methods
which this assemblage of
some two thousand works,
representing every conceiv-
able direction and tendency,
offers us.
Truth and heresy here
thrive on the same soil. A
painting of such mature crafts-
manship as Eduard von
Gebhardt's Austreibung aus
dem Tempel (The Expulsion
from the Temple), with its
evidence of such remarkable
attainments in draughtsman-
ship, of certitude in compo-
sition and the distribution of
masses, of delicate handling
of colour and such animation
in the striking portrayal 01
the event, refutes all the
dogmas and principles of our
modern and ultra-modern
method of painting. The
purely objective interest, re-
garded as of secondary
moment and inartistic by
that aesthetic school which
has had such a deep influence
on the art of to-day, has here
by the vivid manner in which
monument to the painter munkacsy in the kerepes cemetery, budapest. the SCene is presented aC-
by eduard TEi.cs quired such importance that
(See Budapest Studio- 7'alk, p. 318) 1
even those who regard the
its own jury and comprehensive separate exhibition. Biblical narrative itself with more or less indifference
Special cabinets have also been set apart for societies are impressed with the picture. In presence of such
belonging to other centres—Berlin, Diisseldorf, a work one becomes keenly conscious of the fact that
Baden, Frankfort, Hamburg, Weimar—an arrange- modern art has scarcely been successful in religious
ment which makes it easy to find one's bearings, painting and that he who has something to say to
- the many must not despise the material interest
If it is not the most striking personalities that are nor relinquish that quest of the beautiful which is
to be found here in friendly competition with one almost regarded with hatred by the modern school,
another, and if indeed not a little mediocre achieve- as well as a certain 'nobility of presentation. That
ment comes into view as we pass from room to these aims are quite compatible with present-day
room, yet the exhibition as a whole reflects the deep tendencies, which have in view an amplification
sincerity which characterises the efforts of our of the means of expression and technical perfection,
artists at the present day. One may willingly pass proof is furnished by many a painting in this
over the bold experiments in colour and the daring exhibition.
efforts to outdo a Van Gogh or Cezanne in which--
many an artist in our midst takes unabashed delight, One-halt of the entire space available has been
and may find a source of pleasure in the indubitable reserved by the Genossenschaft for the works or
320