DOI issue:
No. 229 (May 1912)
DOI article:Studio-talk
DOI Page / Citation link: https://doi.org/10.11588/diglit.21156#0351
Studio-Talk
RELIEF FOR MUSIC PAVILION AT WIESBADEN
BY OTTO RICHTER
comparatively small number ot painters who are
entirely self-taught—self-taught, that is, as regards
instruction in technical methods, for of course
every true artist is in a sense self-taught. In the
case of this young painter, who is as yet not far in
his twenties, it was nature herself that beckoned
him to the pursuit of art. Until five years ago he
was following a commercial calling, but a sojourn
in the mountains revealed to him the beauties of
nature, and led him to relinquish a business career
and become a painter. His home for the past
four years has been the romantic forest region
between Bohemia and Bavaria, whence he gathers
a rich harvest of motifs for his paintings. His
landscapes have the quality denoted by the word
“Stimmung,” for which no exact equivalent is
available in English, but which signifies ap-
proximately the communication of a mood or
328
frame of mind. Herr Koeppel has exhibited in
various German towns and met with much success-
T. R.
Amongst all civilised nations, but especially
among those belonging to the Germanic race, it
frequently happens that when persons of talent
or genius are thwarted or restrained in the
pursuit of some cherished object, they persist all
the more in striving to attain that object in spite of
opposition, and perhaps, if one might venture to
say, because of it. They seem to devote them-
selves with greater zest and love to their metier
and by unremitting diligence and concentration
on the end they have in view, nearly always
attain to a position commanding respect. Such a
“self-made man” in the true sense of the word is
the Berlin sculptor Otto Richter, a brief notice of
whose earlier achievements appeared in this
magazine some few years ago, but whose pro-
“ AT THE CLOSE OF DAY.” BY OTTO RICHTER
RELIEF FOR MUSIC PAVILION AT WIESBADEN
BY OTTO RICHTER
comparatively small number ot painters who are
entirely self-taught—self-taught, that is, as regards
instruction in technical methods, for of course
every true artist is in a sense self-taught. In the
case of this young painter, who is as yet not far in
his twenties, it was nature herself that beckoned
him to the pursuit of art. Until five years ago he
was following a commercial calling, but a sojourn
in the mountains revealed to him the beauties of
nature, and led him to relinquish a business career
and become a painter. His home for the past
four years has been the romantic forest region
between Bohemia and Bavaria, whence he gathers
a rich harvest of motifs for his paintings. His
landscapes have the quality denoted by the word
“Stimmung,” for which no exact equivalent is
available in English, but which signifies ap-
proximately the communication of a mood or
328
frame of mind. Herr Koeppel has exhibited in
various German towns and met with much success-
T. R.
Amongst all civilised nations, but especially
among those belonging to the Germanic race, it
frequently happens that when persons of talent
or genius are thwarted or restrained in the
pursuit of some cherished object, they persist all
the more in striving to attain that object in spite of
opposition, and perhaps, if one might venture to
say, because of it. They seem to devote them-
selves with greater zest and love to their metier
and by unremitting diligence and concentration
on the end they have in view, nearly always
attain to a position commanding respect. Such a
“self-made man” in the true sense of the word is
the Berlin sculptor Otto Richter, a brief notice of
whose earlier achievements appeared in this
magazine some few years ago, but whose pro-
“ AT THE CLOSE OF DAY.” BY OTTO RICHTER