DOI Heft:
No. 229 (May 1912)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.21156#0347
Studio-Talk
PILLOW-LACE D’OYLEY BY LENI MATTHAEI
such as Dora Hitz, Julie Wolfthorn, Cornelia
Paczka, Ottilie Roderstein, Hedwig Weiss, Frieda
Menshausen, Marie von Eickhof- Reitzenstein,
and Clara Arnheim maintained their positions.
Eugenie Piloty introduced herself as a sure wielder
of the brush, and Hildegard von Mach as an
interesting psychologist. Manet was recognisable
in Malgonia Stern, Kate Schaller-Haerlin, and
Emilie von Hallavanya. Marie Slavona was natural
and fresh, Charlotte Otzen refined, Paula Geiger
von Blankenburg serious, Clara von Beringe strong
and delicate, and Anna Costenoble and Agnes von
Biilow convincingly energetic. Pathetic feeling
marked the duo of Charlotte Behrendt, Linda
Kogel was expressive in line and colour, Erna
Hoppe showed a striving for the naturalism of
Millet, and Adele von Finck continued her over-
sensitive aestheticism. The landscapes of Luise
Begas-Parmentier, Hanna Mehls, and Eva Stort
joy in simplified design and strong
colour, in reminiscences of peasant art,
was a general feature.
mtm
The Art Gallery offered about three
hundred exhibits, including plastic and
graphic works. As a rigorous policy of
sifting was pursued by the jury, the
total display was to be regarded as a
representation of Germany’s artistic
female ilite. The average quality was
good, but a particularly favourable im-
pression was made this time by the
talent of Ida Stroever, who gained
honours in the line of monumental composition.
Symbolism was nowhere else discernible; the
German women artists of
to-day here showed them-
selves very decided
realists, portraiture and
the naturalistic genre being
their preferred tasks. A
few only had rendered
their subjects under the
spell of poetic emotion.
Sabine Reike’s group of
happy young girls engaged
in winter sport attracted
sympathy, and this suc-
cess was deserved on
account of the naturalness
of form and the buoyant
temperament evinced.
Women artists of renown,
324
PILLOW-LACE
BY LENI MATTHAEI
were particularly enjoyable. Some still-life and
flower pieces by Elise Hedinger, Emmi Rose,
PILLOW-LACE FAN
(See kage 327 )
BY LENI MATTHAEI
PILLOW-LACE D’OYLEY BY LENI MATTHAEI
such as Dora Hitz, Julie Wolfthorn, Cornelia
Paczka, Ottilie Roderstein, Hedwig Weiss, Frieda
Menshausen, Marie von Eickhof- Reitzenstein,
and Clara Arnheim maintained their positions.
Eugenie Piloty introduced herself as a sure wielder
of the brush, and Hildegard von Mach as an
interesting psychologist. Manet was recognisable
in Malgonia Stern, Kate Schaller-Haerlin, and
Emilie von Hallavanya. Marie Slavona was natural
and fresh, Charlotte Otzen refined, Paula Geiger
von Blankenburg serious, Clara von Beringe strong
and delicate, and Anna Costenoble and Agnes von
Biilow convincingly energetic. Pathetic feeling
marked the duo of Charlotte Behrendt, Linda
Kogel was expressive in line and colour, Erna
Hoppe showed a striving for the naturalism of
Millet, and Adele von Finck continued her over-
sensitive aestheticism. The landscapes of Luise
Begas-Parmentier, Hanna Mehls, and Eva Stort
joy in simplified design and strong
colour, in reminiscences of peasant art,
was a general feature.
mtm
The Art Gallery offered about three
hundred exhibits, including plastic and
graphic works. As a rigorous policy of
sifting was pursued by the jury, the
total display was to be regarded as a
representation of Germany’s artistic
female ilite. The average quality was
good, but a particularly favourable im-
pression was made this time by the
talent of Ida Stroever, who gained
honours in the line of monumental composition.
Symbolism was nowhere else discernible; the
German women artists of
to-day here showed them-
selves very decided
realists, portraiture and
the naturalistic genre being
their preferred tasks. A
few only had rendered
their subjects under the
spell of poetic emotion.
Sabine Reike’s group of
happy young girls engaged
in winter sport attracted
sympathy, and this suc-
cess was deserved on
account of the naturalness
of form and the buoyant
temperament evinced.
Women artists of renown,
324
PILLOW-LACE
BY LENI MATTHAEI
were particularly enjoyable. Some still-life and
flower pieces by Elise Hedinger, Emmi Rose,
PILLOW-LACE FAN
(See kage 327 )
BY LENI MATTHAEI