DOI Heft:
Nr. 222 (September 1911)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.20973#0342
Studio-Talk
its own members, and it should be noted that this
section of the exhibition, in spite of a great variety
of temperament and talent, testifies to the unity
and cohesion of the Munich school of painting
with its old traditions, although the individual
artists pursue their aims in many different ways
and with no less diversity of means. Four large
memorial exhibitions consecrated to deceased
members, Alois Erdtelt, Christian M. Baer, Franz
Pernat, and Ludwig Willroider, whose earliest
works date back to the closing decades of the
nineteenth century, afford a welcome opportunity
of gauging the immense influence of pleinairism on
the progress of painting in recent times. Some
at any rate among the new pictures at this exhibi-
tion also recall the same period, as does for
instance Laupheimer's Monk, by the admirable
treatment of light and shade in the painting of the
monastery interior and the way in which the gaze
is directed through the window to the sunlit court-
yard without. In the same category is to be
reckoned Carl Leopold Voss's pleasant little
Biedermeyer picture, The Friends, which witnesses
to a high degree of executive ability and in colour
treatment displays a rare taste. The careful
working out of the theme down to the smallest
detail and the freshness of the colour-scheme
enhance the impression of genial intimacy imparted
by this picture, which is free alike from anything
savouring of the commonplace and from theatrical
pose or old-maidish affectation.
Some of the older and well-known members of
the Genossenschaft, whose earliest achievements
take one back to the period when genre painting
was the chief occupation of the Munich School
were represented either not at all or only feebly
such as Defregger and Griitzner; and the special
cabinet of F. A. von Kaulbach, which has come to
be looked upon almost as a traditional feature of
these exhibitions, was also missing, the artist being
represented only by one of his portraits of the
Prince Regent. Many other portraits of the Prince
are present on this occasion, but special attention
is due to one in particular—that of Prof. Walter
Firle, who has once more shown himself to be par
excellence a painter of character. In this powerful
achievement he has concentrated all the light on
THE FRIENDS
BY CARL LEOPOLD VOSS
321
its own members, and it should be noted that this
section of the exhibition, in spite of a great variety
of temperament and talent, testifies to the unity
and cohesion of the Munich school of painting
with its old traditions, although the individual
artists pursue their aims in many different ways
and with no less diversity of means. Four large
memorial exhibitions consecrated to deceased
members, Alois Erdtelt, Christian M. Baer, Franz
Pernat, and Ludwig Willroider, whose earliest
works date back to the closing decades of the
nineteenth century, afford a welcome opportunity
of gauging the immense influence of pleinairism on
the progress of painting in recent times. Some
at any rate among the new pictures at this exhibi-
tion also recall the same period, as does for
instance Laupheimer's Monk, by the admirable
treatment of light and shade in the painting of the
monastery interior and the way in which the gaze
is directed through the window to the sunlit court-
yard without. In the same category is to be
reckoned Carl Leopold Voss's pleasant little
Biedermeyer picture, The Friends, which witnesses
to a high degree of executive ability and in colour
treatment displays a rare taste. The careful
working out of the theme down to the smallest
detail and the freshness of the colour-scheme
enhance the impression of genial intimacy imparted
by this picture, which is free alike from anything
savouring of the commonplace and from theatrical
pose or old-maidish affectation.
Some of the older and well-known members of
the Genossenschaft, whose earliest achievements
take one back to the period when genre painting
was the chief occupation of the Munich School
were represented either not at all or only feebly
such as Defregger and Griitzner; and the special
cabinet of F. A. von Kaulbach, which has come to
be looked upon almost as a traditional feature of
these exhibitions, was also missing, the artist being
represented only by one of his portraits of the
Prince Regent. Many other portraits of the Prince
are present on this occasion, but special attention
is due to one in particular—that of Prof. Walter
Firle, who has once more shown himself to be par
excellence a painter of character. In this powerful
achievement he has concentrated all the light on
THE FRIENDS
BY CARL LEOPOLD VOSS
321