DOI issue:
No. 227 (February 1912)
DOI article:Studio-talk
DOI Page / Citation link: https://doi.org/10.11588/diglit.21156#0085
Studio-Talk
for he in no way attempts to depict his motives as
the Japanese would have depicted them. His
colouring is fine, and he is moreover an excellent
draughtsman. Otto Herschel is a colourist pure
and simple. His work bears the charm of
unconventionality, is poetic in expression, and
delicate in manipulation. He works almost en-
tirely in oils and it is a marvel how the artist can
render with such apparent ease those refined,
translucent tones, so characteristic of his work.
Carlos Grethe is an artist of quite another genre,
his work being distinguished by its breadth and
strength of treatment. He loves the sea and every-
thing pertaining to it, but particularly fishermen
engaged in fishing or bringing home their hauls.
He is gifted with a fine feeling for decorative effect.
Adolf Zoff loves the silent movement of the
water, most of the pictures exhibited being motives
from the Dutch canals. He, too, is a sound artist.
There were fewer portraits than usual. Paul
Joanowitch contributed some of high merit, in-
cluding one of the venerable Kaiser Franz Josef,
who granted the artist sittings for this work.
Apart from its great interest as being the latest
portrait of the Kaiser the picture has its own
peculiar merits, for Joanowitch is an excellent
portraitist, though his work is seldom to be seen at
the exhibitions. Of the other portraitists it must
suffice to mention the names of Victor Scharf,
Nicolaus Schattenstein, W. V. Krausz, Arthur von
Ferraris, Oscar Glatz, H. Rauchinger, Lazar Krestin,
Anton Gregoritsch, Marie Rosenthal-Hatschek, and
David Kohn, whose forte lies in depicting the
Jewish character, of which he is a fine exponent.
In landscape and kindred subjects the exhibition
was, as usual, strong. Oswald Grill sent some
charming studies of meadows in full bloom, atmo-
spheric and strong in treatment, Hans Larwin a
village procession in which the peasants in their
national garb are admirably depicted, Othmar
Ruzicka, a peasant interior done in his own highly
characteristic way. F. Brunner’s bits of village
architecture, old buildings, and ploughed fields are
always welcome. He translates them into poetic
for he in no way attempts to depict his motives as
the Japanese would have depicted them. His
colouring is fine, and he is moreover an excellent
draughtsman. Otto Herschel is a colourist pure
and simple. His work bears the charm of
unconventionality, is poetic in expression, and
delicate in manipulation. He works almost en-
tirely in oils and it is a marvel how the artist can
render with such apparent ease those refined,
translucent tones, so characteristic of his work.
Carlos Grethe is an artist of quite another genre,
his work being distinguished by its breadth and
strength of treatment. He loves the sea and every-
thing pertaining to it, but particularly fishermen
engaged in fishing or bringing home their hauls.
He is gifted with a fine feeling for decorative effect.
Adolf Zoff loves the silent movement of the
water, most of the pictures exhibited being motives
from the Dutch canals. He, too, is a sound artist.
There were fewer portraits than usual. Paul
Joanowitch contributed some of high merit, in-
cluding one of the venerable Kaiser Franz Josef,
who granted the artist sittings for this work.
Apart from its great interest as being the latest
portrait of the Kaiser the picture has its own
peculiar merits, for Joanowitch is an excellent
portraitist, though his work is seldom to be seen at
the exhibitions. Of the other portraitists it must
suffice to mention the names of Victor Scharf,
Nicolaus Schattenstein, W. V. Krausz, Arthur von
Ferraris, Oscar Glatz, H. Rauchinger, Lazar Krestin,
Anton Gregoritsch, Marie Rosenthal-Hatschek, and
David Kohn, whose forte lies in depicting the
Jewish character, of which he is a fine exponent.
In landscape and kindred subjects the exhibition
was, as usual, strong. Oswald Grill sent some
charming studies of meadows in full bloom, atmo-
spheric and strong in treatment, Hans Larwin a
village procession in which the peasants in their
national garb are admirably depicted, Othmar
Ruzicka, a peasant interior done in his own highly
characteristic way. F. Brunner’s bits of village
architecture, old buildings, and ploughed fields are
always welcome. He translates them into poetic