DOI Heft:
No. 227 (February 1912)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.21156#0080
Studio- Talk
bach towered as the triumphant genius. Foreigners
like Zorn, Israels, Muirhead Bone, Pennell, and
Zoir were much admired, and the leaders of this
artistic phalanx, Max Liebermann, Slevogt, and,
before all, Ludwig von Hofmann, in his naturalistic
classicism, maintained their prominence. Baluschek
was of commanding interest in a series of chalk
drawings from the industrial region, and Branden-
burg fascinated by expressive symbolism. Ulrich
and Heinrich Htibner remained the distinguished
delineators of the water region and the tasteful
interior, Ernst Oppler continued his refined im-
pressionism, Pottner charmed us with his woodcuts,
and Ph. Franck with his etched open-air scenes.
Illustrators of renown like the gracefully old-
fashioned Carl Walser and the elegant and witty
Prectorius were joined by Hans Meid, who, in
spite of inadequateness, occasionally recalls Callot
and Rubens. Beckmann gave proof alike of
strength and weakness, and some scenes from
the bull-ring showed the delicate and decorative
draughtsmanship of Willi Geiger. New names
like Weinzheimer and Huber reminded one of
Hodler, Hoberg of Liebermann, and Leyde and
W. Giese betrayed the study of Rembrandt.
Though many different techniques were in evidence
etching seemed to be the favoured form of expres-
sion. The sculpture section was an attraction, as
Rodin, Klinger, Tuaillon, Klimsch, Cauer, Kolbe,
Engelhardt, and A. Oppler sent prominent con-
tributions. The committee of the Secession
contemplates some special exhibitions of plastic
work in order to further individual art in this
domain. J. J.
MUNICH.—It is a very fortunate thing
that certain artists, specialising in some
particular subject of their graphic or
plastic art, write for us as it were a
history of mankind in its many different occupa-
tions and in its daily life. Thus we find the life
of the Middle Ages naively presented to us in the
backgrounds of those religious pictures with which,
of old, their churches were decorated; so too we
find their life in all its outward semblance mirrored
in the paintings of the Dutchpetit-maitres, or of their
own times in the exquisite productions of Watteau
or Lancret. The artist always becomes more
original in leaving the trodden paths and
describing what he sees and feels around him
and what he loves. If a Jean Fran§ois Millet
painted the peasants of the fields, Segantini has
revealed the life of the mountaineers, and H. B.
Wieland, though in a very different manner, carries
on and amplifies this theme, but in pictures more
concrete, and—may one say ?—perhaps more de-
bach towered as the triumphant genius. Foreigners
like Zorn, Israels, Muirhead Bone, Pennell, and
Zoir were much admired, and the leaders of this
artistic phalanx, Max Liebermann, Slevogt, and,
before all, Ludwig von Hofmann, in his naturalistic
classicism, maintained their prominence. Baluschek
was of commanding interest in a series of chalk
drawings from the industrial region, and Branden-
burg fascinated by expressive symbolism. Ulrich
and Heinrich Htibner remained the distinguished
delineators of the water region and the tasteful
interior, Ernst Oppler continued his refined im-
pressionism, Pottner charmed us with his woodcuts,
and Ph. Franck with his etched open-air scenes.
Illustrators of renown like the gracefully old-
fashioned Carl Walser and the elegant and witty
Prectorius were joined by Hans Meid, who, in
spite of inadequateness, occasionally recalls Callot
and Rubens. Beckmann gave proof alike of
strength and weakness, and some scenes from
the bull-ring showed the delicate and decorative
draughtsmanship of Willi Geiger. New names
like Weinzheimer and Huber reminded one of
Hodler, Hoberg of Liebermann, and Leyde and
W. Giese betrayed the study of Rembrandt.
Though many different techniques were in evidence
etching seemed to be the favoured form of expres-
sion. The sculpture section was an attraction, as
Rodin, Klinger, Tuaillon, Klimsch, Cauer, Kolbe,
Engelhardt, and A. Oppler sent prominent con-
tributions. The committee of the Secession
contemplates some special exhibitions of plastic
work in order to further individual art in this
domain. J. J.
MUNICH.—It is a very fortunate thing
that certain artists, specialising in some
particular subject of their graphic or
plastic art, write for us as it were a
history of mankind in its many different occupa-
tions and in its daily life. Thus we find the life
of the Middle Ages naively presented to us in the
backgrounds of those religious pictures with which,
of old, their churches were decorated; so too we
find their life in all its outward semblance mirrored
in the paintings of the Dutchpetit-maitres, or of their
own times in the exquisite productions of Watteau
or Lancret. The artist always becomes more
original in leaving the trodden paths and
describing what he sees and feels around him
and what he loves. If a Jean Fran§ois Millet
painted the peasants of the fields, Segantini has
revealed the life of the mountaineers, and H. B.
Wieland, though in a very different manner, carries
on and amplifies this theme, but in pictures more
concrete, and—may one say ?—perhaps more de-