DOI Heft:
Nr. 222 (September 1911)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.20973#0348
Studio- Talk
sive collection of French " expressionists" like
Manguin, Picasso, Puy, Vlamingk, and Marquet.
We noted everywhere a subserviency to the dogma
that technical cleverness is more important than
conscientious labour and that higher artistic
responsibilities in the choice of elevating ideas
are a matter of indifference. The craving for
modern expression is the cause of all this experi-
menting, and we can only hope that the new style
which will have assimilated all the advantages
of this transition-spirit may soon rise forth from
chaos.
Very few exhibits were dedicated "aux morts."
Some Uhde paintings did homage to the memory
of this prominent master and exemplified the
development of his style. Several Daumiers
fascinated by dramatic pulse, largeness of expressive
form and romantic element in feeling and colour.
Among the living, Max Liebermann has reduced
the complexities of nature to a kind of monumental
simplicity in a vital self-portrait of cool tonality.
Corinth's pronounced technical ability and fine
colour-sense suffer from a fa presto method and
exaggeration of form which is especially hurtful to
portraiture. He distinguished himself once more
as the master painter of the female nude in these
surroundings. Slevogt is more graceful but quite
as rapid. He can delight by freshness of value
and living line, but his comprehensive show
revealed the impressionist's cleverness as much
as the portraitist's insufficiency. The continued
progress of the two brothers Hiibner was attested
—Ulrich as a painter of water-side town aspects,
and Heinrich as a refined painter of interiors.
Von Habermann was again a pictorial potency,
and although a certain grotesqueness clings to his
female model, his brush and palette are capable of
producing old-master sureness and nobility.
Hans Thoma again maintained his superiority
as a landscapist. His bronze-toned Late Summer,
a work full of pathos, recalled Courbet, while] In
the Forest, with its bright blue sky, breathed the joy
" ST. PAULI, HAMBURG "
BY ULRICH HUBNKR
327
sive collection of French " expressionists" like
Manguin, Picasso, Puy, Vlamingk, and Marquet.
We noted everywhere a subserviency to the dogma
that technical cleverness is more important than
conscientious labour and that higher artistic
responsibilities in the choice of elevating ideas
are a matter of indifference. The craving for
modern expression is the cause of all this experi-
menting, and we can only hope that the new style
which will have assimilated all the advantages
of this transition-spirit may soon rise forth from
chaos.
Very few exhibits were dedicated "aux morts."
Some Uhde paintings did homage to the memory
of this prominent master and exemplified the
development of his style. Several Daumiers
fascinated by dramatic pulse, largeness of expressive
form and romantic element in feeling and colour.
Among the living, Max Liebermann has reduced
the complexities of nature to a kind of monumental
simplicity in a vital self-portrait of cool tonality.
Corinth's pronounced technical ability and fine
colour-sense suffer from a fa presto method and
exaggeration of form which is especially hurtful to
portraiture. He distinguished himself once more
as the master painter of the female nude in these
surroundings. Slevogt is more graceful but quite
as rapid. He can delight by freshness of value
and living line, but his comprehensive show
revealed the impressionist's cleverness as much
as the portraitist's insufficiency. The continued
progress of the two brothers Hiibner was attested
—Ulrich as a painter of water-side town aspects,
and Heinrich as a refined painter of interiors.
Von Habermann was again a pictorial potency,
and although a certain grotesqueness clings to his
female model, his brush and palette are capable of
producing old-master sureness and nobility.
Hans Thoma again maintained his superiority
as a landscapist. His bronze-toned Late Summer,
a work full of pathos, recalled Courbet, while] In
the Forest, with its bright blue sky, breathed the joy
" ST. PAULI, HAMBURG "
BY ULRICH HUBNKR
327