DOI Heft:
No. 226 (January 1912)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.21155#0358
Studio-Talk
'loading wood: autumn" (See The Hague Sttidio-Talk, i>. 133) by willem hamel
BERLIN.—The Print-Department of the
Royal Museums has been having an ex-
hibition of Adolf von Menzel's early work
and of its new acquisitions. The litho"
graphs, wood-engravings and etchings of Menzel
revealed not only the born master-technician, but
also the penetrating observer, the artist of fantasy,
spirit and originality. Once more one had occasion
to regret the early death of the eminent portrait
painter-etcher, Karl Stauffer of Berne. Otto
Greiner's heads and figure-subjects drawn on stone
with the pen displayed his pre-eminent qualities of
precision and form, and Schmutzler stood out
conspicuously with his grand portrait-etchings.
Professor Heinrich Wolf impressed one by the
psychological discernment shown in his figures
and groups drawn direct from life on the plate, and
a perfect masterpiece of life-breathing portraiture
was to be seen in Professor Ernst Forberg's com-
plete figure etching of the painter Eduard von
Gebhardt. Also Leibl, Stuck, Klinger, Trubner,
Schulte im Hofe, Olde, Orlik, Count Kalkreuth,
336
Kopping, Seidel, Liebermann, Kate Kollwitz and
Julie Wolfthorn contributed interesting items to
the exhibition.
At Schulte's Philip Laszl6 has been giving proot
of his great activity as a portrait painter. He keeps
to the safe path of decorative indoor portraiture,
and as his brush with all its tendency towards
amiability is also a fine delineator of character and
his colour-sense highly cultivated, success in his
case has been the reward of merit. Heinrich
Vogeler, the esteemed leader of the little Worps-
wede community, and a poetical and charming
etcher, showed at these galleries a somewhat crude
and uncultivated face as a painter. He occasionally
displays an attractive realism, but the elements or
rusticity and asstheticism, the imaginative and the
naturalistic mind are not yet satisfactorily fused.
Endeavours towards a final expression were also
visible in the studies and paintings of Wilhelm
Gallhof and Linde-Walter, who have adopted
Parisian methods. It was therefore pleasant to see
'loading wood: autumn" (See The Hague Sttidio-Talk, i>. 133) by willem hamel
BERLIN.—The Print-Department of the
Royal Museums has been having an ex-
hibition of Adolf von Menzel's early work
and of its new acquisitions. The litho"
graphs, wood-engravings and etchings of Menzel
revealed not only the born master-technician, but
also the penetrating observer, the artist of fantasy,
spirit and originality. Once more one had occasion
to regret the early death of the eminent portrait
painter-etcher, Karl Stauffer of Berne. Otto
Greiner's heads and figure-subjects drawn on stone
with the pen displayed his pre-eminent qualities of
precision and form, and Schmutzler stood out
conspicuously with his grand portrait-etchings.
Professor Heinrich Wolf impressed one by the
psychological discernment shown in his figures
and groups drawn direct from life on the plate, and
a perfect masterpiece of life-breathing portraiture
was to be seen in Professor Ernst Forberg's com-
plete figure etching of the painter Eduard von
Gebhardt. Also Leibl, Stuck, Klinger, Trubner,
Schulte im Hofe, Olde, Orlik, Count Kalkreuth,
336
Kopping, Seidel, Liebermann, Kate Kollwitz and
Julie Wolfthorn contributed interesting items to
the exhibition.
At Schulte's Philip Laszl6 has been giving proot
of his great activity as a portrait painter. He keeps
to the safe path of decorative indoor portraiture,
and as his brush with all its tendency towards
amiability is also a fine delineator of character and
his colour-sense highly cultivated, success in his
case has been the reward of merit. Heinrich
Vogeler, the esteemed leader of the little Worps-
wede community, and a poetical and charming
etcher, showed at these galleries a somewhat crude
and uncultivated face as a painter. He occasionally
displays an attractive realism, but the elements or
rusticity and asstheticism, the imaginative and the
naturalistic mind are not yet satisfactorily fused.
Endeavours towards a final expression were also
visible in the studies and paintings of Wilhelm
Gallhof and Linde-Walter, who have adopted
Parisian methods. It was therefore pleasant to see