DOI Heft:
No. 226 (January 1912)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.21155#0351
Studio- Talk
water-colours. Oskar Stossel, a very promising in his childhood he showed an unmistakable bent
etcher, contributed some very strong specimens of and a love of painting. Fate, however, with its not
his work. A. S. L. unusual irony, imposed obstacles which forbade
the following of a profession so dubiously profit-
BUDAPEST.—The Hungarian tempera- able as that of painting. Architecture provided a
ment—intense, nervous, and emotional, safe compromise, and M. Kosztolanyi entered the
with its great love of rhythm—more Budapest Polytechnic as a student of that subject,
often expresses itself in music than He continued his studies at Munich, where he
through the medium of the plastic arts. The great was able to devote some time to studying the art
painters of Hungarian origin may easily be of painting under Hollosy. His student days over,
numbered; which fact makes more remarkable the he set up as an architect in Munich with some
work of Gyula Kann-Kosztolanyi, who is before success. He also taught in the School of Archi-
everything a painter—and at the same time one tecture at Holzminden -in Germany. Despite his
of the most interesting exponents of the vigorous increasing success as an architect he remained true
and significant methods of the Modern School of to his initial love of painting, which he practised
painting. . with great assiduity whenever possible. Later on
he took up his residence in Budapest, where' he
In one respect, the problem of M. Kann- became an architect of standing, having a con-
Kosztolanyi's career was solved at an early age, for siderable and beneficial influence on contemporary
architecture in Austria and
Hungary. His two volumes
of architectural drawings,
published by Schroll in
Vienna, attracted attention
and crowned his reputa-
tion. Success followed;
and at last he was able to
pursue the dictates of his
nature and to achieve his
long - cherished ambition.
From that moment he gave
himself wholly to painting,
which he has studied and
worked at, at different
periods, in Paris, Munich,
Holland, Belgium, and
Italy.
M. Kosztolanyi's work,
which is unhappily but
little known in England,
expresses a vigorous, force-
ful personality. He paints
nature out-of-doors,
directly, at first-hand, and
in the manner as seems to
him, being a genuine artist,
best able to convey his
intentions. He never
paints according to the
dull recipes which Schools
of Painting inflict on one
generation after another,
1 the curiosity shop " (water-colour) (See p. 326) by, hans novak eating into and blighting
329
water-colours. Oskar Stossel, a very promising in his childhood he showed an unmistakable bent
etcher, contributed some very strong specimens of and a love of painting. Fate, however, with its not
his work. A. S. L. unusual irony, imposed obstacles which forbade
the following of a profession so dubiously profit-
BUDAPEST.—The Hungarian tempera- able as that of painting. Architecture provided a
ment—intense, nervous, and emotional, safe compromise, and M. Kosztolanyi entered the
with its great love of rhythm—more Budapest Polytechnic as a student of that subject,
often expresses itself in music than He continued his studies at Munich, where he
through the medium of the plastic arts. The great was able to devote some time to studying the art
painters of Hungarian origin may easily be of painting under Hollosy. His student days over,
numbered; which fact makes more remarkable the he set up as an architect in Munich with some
work of Gyula Kann-Kosztolanyi, who is before success. He also taught in the School of Archi-
everything a painter—and at the same time one tecture at Holzminden -in Germany. Despite his
of the most interesting exponents of the vigorous increasing success as an architect he remained true
and significant methods of the Modern School of to his initial love of painting, which he practised
painting. . with great assiduity whenever possible. Later on
he took up his residence in Budapest, where' he
In one respect, the problem of M. Kann- became an architect of standing, having a con-
Kosztolanyi's career was solved at an early age, for siderable and beneficial influence on contemporary
architecture in Austria and
Hungary. His two volumes
of architectural drawings,
published by Schroll in
Vienna, attracted attention
and crowned his reputa-
tion. Success followed;
and at last he was able to
pursue the dictates of his
nature and to achieve his
long - cherished ambition.
From that moment he gave
himself wholly to painting,
which he has studied and
worked at, at different
periods, in Paris, Munich,
Holland, Belgium, and
Italy.
M. Kosztolanyi's work,
which is unhappily but
little known in England,
expresses a vigorous, force-
ful personality. He paints
nature out-of-doors,
directly, at first-hand, and
in the manner as seems to
him, being a genuine artist,
best able to convey his
intentions. He never
paints according to the
dull recipes which Schools
of Painting inflict on one
generation after another,
1 the curiosity shop " (water-colour) (See p. 326) by, hans novak eating into and blighting
329