DOI Heft:
No.233 (August 1912)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.21157#0264
Studio-Talk
such features are coupled in many instances with un-
loveliness of subj ect and inadequate drawing. Several
ambitious compositions ought to have met with a
rebuff from the jury, yet the striving after greater
importance of subject indicates a rise of level. The
president, Lovis Corinth, has painted a most original
still-life, a Hymn to Michael Angelo, which shows the
bust of the marble slave of this master surrounded
by an abundance of flowers. His predecessor, Prof.
Max Liebermann, has contributed a Corso on the
Monte Pincio, depicting society life in a flood of
Roman sunset, and a male portrait of trenchant
directness in spite of dull colour.
In landscape we can enjoy the placidity and
geniality of Thoma and the resolute crudeness and
restlessness of younger men like Theo von Brock-
husen and Waldemar Rosier. Max Beckmann gains
laurels with his Portrait of a Young Man, one of
the finest contributions in this show, and one
distinguished by natural elegance of pose and by a
personal colourism in which rusty red and slate-
grey sound peculiar melodies. Hans Meid has
mastered the slender voluptuousness of a dying
Lucretia, and Max Neumann has given proof of
decorative and colour qualities, but not of good
figure-drawing, in his Shipwreck. Brandenburg
exercises mystic fascination with his Christ appear-
ing to his Disciples, but derogates his spiritualism
by a peculiar choice of abnormal types. An in-
dividualistic Pre-Raphaelite like Klaus Richter
deserves respect for the intellectuality of his
Madonna and the expressiveness of his colour, in
spite of modest size.
In portraiture Van Gogh’s sad-looking Arlesienne
interests chiefly by its queer decorativeness and daring
colour. Leibl and Alt are delightful in their unpre-
tentious nobility, and Count Kalckreuth’s female
portrait wins favour by its simplicity. Bernhard
Pankok has sent the full-figure picture of the white-
haired Edmund Siemens. He is somewhat forced in
posing, but his virile brush does not fail to grasp
characteristics, and seems to evolve plastic form of
slow growth out of the paint. Genre of the old
episode style has quite vanished from the Seces-
sion’s walls; the artists only vie in naturalism,
often seasoned by a flavour of socialism. The
healthy influence of modernism is best exemplified
in Ulrich Hiibner. He has an eye for effective
HARBOUR IN SPRING
242
(Berlin Secession)
BY ULRTCH HUBNER
such features are coupled in many instances with un-
loveliness of subj ect and inadequate drawing. Several
ambitious compositions ought to have met with a
rebuff from the jury, yet the striving after greater
importance of subject indicates a rise of level. The
president, Lovis Corinth, has painted a most original
still-life, a Hymn to Michael Angelo, which shows the
bust of the marble slave of this master surrounded
by an abundance of flowers. His predecessor, Prof.
Max Liebermann, has contributed a Corso on the
Monte Pincio, depicting society life in a flood of
Roman sunset, and a male portrait of trenchant
directness in spite of dull colour.
In landscape we can enjoy the placidity and
geniality of Thoma and the resolute crudeness and
restlessness of younger men like Theo von Brock-
husen and Waldemar Rosier. Max Beckmann gains
laurels with his Portrait of a Young Man, one of
the finest contributions in this show, and one
distinguished by natural elegance of pose and by a
personal colourism in which rusty red and slate-
grey sound peculiar melodies. Hans Meid has
mastered the slender voluptuousness of a dying
Lucretia, and Max Neumann has given proof of
decorative and colour qualities, but not of good
figure-drawing, in his Shipwreck. Brandenburg
exercises mystic fascination with his Christ appear-
ing to his Disciples, but derogates his spiritualism
by a peculiar choice of abnormal types. An in-
dividualistic Pre-Raphaelite like Klaus Richter
deserves respect for the intellectuality of his
Madonna and the expressiveness of his colour, in
spite of modest size.
In portraiture Van Gogh’s sad-looking Arlesienne
interests chiefly by its queer decorativeness and daring
colour. Leibl and Alt are delightful in their unpre-
tentious nobility, and Count Kalckreuth’s female
portrait wins favour by its simplicity. Bernhard
Pankok has sent the full-figure picture of the white-
haired Edmund Siemens. He is somewhat forced in
posing, but his virile brush does not fail to grasp
characteristics, and seems to evolve plastic form of
slow growth out of the paint. Genre of the old
episode style has quite vanished from the Seces-
sion’s walls; the artists only vie in naturalism,
often seasoned by a flavour of socialism. The
healthy influence of modernism is best exemplified
in Ulrich Hiibner. He has an eye for effective
HARBOUR IN SPRING
242
(Berlin Secession)
BY ULRTCH HUBNER