Studio: international art (53.1911)

To begin with the last-named, a beautiful marble
group of two nude female figures in an attitude of
contemplation, gazing upwards, deserves mention.
It is Max Klinger's latest endeavour to bring
" thought and life into stone," to concentrate the
expression to a degree of intensity rarely en-
countered in German plastic art; Klinger con-
trives by a secret of his own to bring the material
beyond its " materialism," to transform marble into
music. The rhythm, indeed, of his most recent
work is most remarkable. The young sculptor
Ludwig Cauer, of Wilmersdorf, showed the bronze
figure of a spear-bearer, for which he was awarded
the Villa Romana prize for sculptors, entitling to
one year's study at Florence. Mathew Molitor
of Leipzig was also represented by the bronze figure
of a man standing upright with a spear in hand, a
work showing great power of plastic expression and
balance of weight. A fine marble bust of Lessing
by Karl Seffner (Leipzig), and a bronze mask of

Wilhelm Triibner, the painter, by Bruno Elkan,
deserve comment. A fine portrait bust of a child
in yellow-toned marble by Martha Bauer (Berlin)
and a relief entitled Die Beichte (Confession) by
Reinbold Carl (Leipzig) attracted attention. The
latter shows in low relief a priest listening to the
confessions of a young woman kneeling, whose head
is touched by the compassionate kiss of an angel.

The graphic section, though not large, contained
some attractive items. Otto Greiner's Natur was
much admired, Bruno Heroux's book-plates, some
good etchings by Albrecht Leistner (Leipzig), and
Alois Kolb (illustrations to Henric Ibsen's " Kron-
pratendent," and a composition called Lindtvurm),
some fantastic dry-points by Paul Biirck—a series
of Totentdnze (Death dances)—and some landscape
etchings by Richard Bossert, are worthy of closer
inspection than space permits here. A young lady
of uncommon talent, Hela Peters, of Leipzig,

"the train" (one of a set of etchings entitled " moderne totentanze") by paul burck

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