Studio: international art (55.1912)

Studio-Talk

pupil, Carl Hessmert, follows up earlier successes
by astonishing fertility. There is quality in his
autumnal trees, peasant homes, and rivers; his
nature lives, but the pathetic emotion and visionary
grandeur of his teacher are not in him.

BERLIN.—The Schulte Salon
introduced the Venetian painter
Italico Brass to the Berlin
public in December. We were
interested in noisy streets, markets, cafes,
and beach scenes of the lagoon city, felt
sea-gusts and noted the restless play of
lights on rich colours. Wilhelm Claudius
of Dresden sent some quiet and deep-
felt landscapes and an excellent figure-
painting, Musicians, in which the
energetic fiddlers and blowers on their
garlanded stage stand out with all the
verity of real life from the reddish atmo-
sphere of their surroundings. Bracht’s

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“MOTHER AND CHILD. DESIGNED BV
KLABLENA FOR THE ROYAL BERLIN PORCE-
LAIN MANUFACTORY

ficent Scottish landscape; Desire Lucas, a dexterous
manipulator of chiaroscuro; and the
decorators such as Mile, de Felice, Jean
Dunand, Emile Decoeur, Eugene Feuil-
latre, and Henri Rapin. H. F.

The Royal Berlin Porcelain Manufactory has
been displaying much activity since Prof. Schmuz-
Baudis became its head. He had been successful
before assuming the directorship in developing a
“ sharp-fire ” section for the practice of his personal
style, under-glaze painting, and had created new
forms and decorations, besides training valuable
collaborators. After his election as director he at
once fulfilled obligations towards tradition. He
studied the great wealth of rococo, empire, and
Biedermeier patterns so thoroughly that he was
not only able to reproduce them in their original
perfection, but also to adapt old beauties to modern
demands. Largeness of shape and quietness of
outline are cultivated to-day and particular refine-
ment decides the selection of colours. Under-
glaze painting has become much in vogue for
plates and vases on which poetical landscapes or
architectural motifs are painted. Also the technique
of the brush-relief, the pate-sur-pate process,
ornaments in enamel and coloured copper glazes,
particularly Chinese red, as well as crystal glazes
and lustres distinguish the new productions. The
Berlin Manufactory still makes a great feature
of its figures and its sculptors are not only ex-
pected to look into the life of the day and to
practise portraiture, but also to study animals and
to infuse the modern spirit into antique art. Lively

“THE DONKEY-CART.DESIGNED BY HIMMELSTOSS FOR THE
ROYAL BERLIN PORCELAIN MANUFACTORY