DOI Heft:
No. 228 (March 1912)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.21156#0170
Studio-Talk
greatest qualities as a painter are perhaps the more
manifest in his studies, which are often endowed
with a verve, a freshness, and a picturesque power
deserving of the highest praise. G. B.
MUNICH.—The statistics relating to the
export of German works of fine art to
foreign countries in recent years have
given rise to considerable uneasi-
ness. It is stated that simultaneously with a
steady decline in the export of works by living
German artists the importation of works by foreign
artists into Germany has been increasing so much
that the value of these now exceeds that of the ex-
ported works by nearly ^400,000. With the object
of furthering the interests of German art in foreign
countries, especially in view of the fact that the
ranks of those who practise art for a livelihood
have swollen enormously in the last few years, the
Gesellschaft fiir Deutsche Kunst im Ausland
(Society for German Art in Foreign Countries),
which was founded in 1908, has been taking
energetic steps to secure an adequate representa-
tion of German work in foreign exhibitions.
Bavarian artists have hitherto held aloof from
this society, which has its headquarters in Berlin,
but lately three important Munich societies, the
Allgemeine Deutsche Kiinstlergenossenschaft, the
Munich Secession, and the Kunstverein Miinchen,
have decided to join. Particular attention is being
paid to the American market, especially in view of
the signal success of German art at recent South
American exhibitions. T. R.
BE RLIN.—The Kiinstlerhaus has honoured
some of its Nestors by a show of their
important paintings. Ernst Hildebrand
stood foremost as monumental com-
poser, and in spite of some academical tributes his
Tullia still impressed one as a dramatic coup
de force which has hardly been equalled by
modern successes. He, as well as Angeli, Ziegler,
and Knopp, has once more won admiration for dis-
tinguished portraiture. Albert Hertel, the land-
scapist, maintained a high standard in some water-
colour aspects of Italian scenery, which claimed
attention for melodious colouring and atmospheric
characterisation. It was delightful to see Herrmann
Hirzel again. He offered a quantity of etchings
and plant studies, tests of his deep love for the
intimate beauties of nature. These he renders in
pure line etching with Japanese minuteness, re-
vealing a wealth of grace and beauty from the
meadow and village flora of Germanyandfrom Italian
park scenery. The spirit of adoration enables the
sympathetic Swiss artist, who has again become a
“ HORSES ”
FROM AN OIL PAINTING 1!Y PROF. OTTO BACIIE
149
greatest qualities as a painter are perhaps the more
manifest in his studies, which are often endowed
with a verve, a freshness, and a picturesque power
deserving of the highest praise. G. B.
MUNICH.—The statistics relating to the
export of German works of fine art to
foreign countries in recent years have
given rise to considerable uneasi-
ness. It is stated that simultaneously with a
steady decline in the export of works by living
German artists the importation of works by foreign
artists into Germany has been increasing so much
that the value of these now exceeds that of the ex-
ported works by nearly ^400,000. With the object
of furthering the interests of German art in foreign
countries, especially in view of the fact that the
ranks of those who practise art for a livelihood
have swollen enormously in the last few years, the
Gesellschaft fiir Deutsche Kunst im Ausland
(Society for German Art in Foreign Countries),
which was founded in 1908, has been taking
energetic steps to secure an adequate representa-
tion of German work in foreign exhibitions.
Bavarian artists have hitherto held aloof from
this society, which has its headquarters in Berlin,
but lately three important Munich societies, the
Allgemeine Deutsche Kiinstlergenossenschaft, the
Munich Secession, and the Kunstverein Miinchen,
have decided to join. Particular attention is being
paid to the American market, especially in view of
the signal success of German art at recent South
American exhibitions. T. R.
BE RLIN.—The Kiinstlerhaus has honoured
some of its Nestors by a show of their
important paintings. Ernst Hildebrand
stood foremost as monumental com-
poser, and in spite of some academical tributes his
Tullia still impressed one as a dramatic coup
de force which has hardly been equalled by
modern successes. He, as well as Angeli, Ziegler,
and Knopp, has once more won admiration for dis-
tinguished portraiture. Albert Hertel, the land-
scapist, maintained a high standard in some water-
colour aspects of Italian scenery, which claimed
attention for melodious colouring and atmospheric
characterisation. It was delightful to see Herrmann
Hirzel again. He offered a quantity of etchings
and plant studies, tests of his deep love for the
intimate beauties of nature. These he renders in
pure line etching with Japanese minuteness, re-
vealing a wealth of grace and beauty from the
meadow and village flora of Germanyandfrom Italian
park scenery. The spirit of adoration enables the
sympathetic Swiss artist, who has again become a
“ HORSES ”
FROM AN OIL PAINTING 1!Y PROF. OTTO BACIIE
149