DOI Heft:
No. 234 (September 1912)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.21157#0343
Studio-Talk
conclusive proof of the erroneousness of the idea
that the new combination is a spent force.
J- T.
BRUNN, MORAVIA.—The exhibition of
works by the members of the Society
of German-Moravian Artists lately held
in the new Art Gallery proved of varied
interest. For the first time the decorative arts
were included, an innovation which it is to be
hoped will be repeated. Among the exhibits was
a reception-room designed by Gottfried Czermak,
a young architect and designer who shows much
inventive fancy and pos-
sesses good decorative
taste. The pictorial artists
belonging to the society
are men of all creeds
Among them is Ludwig
Wieden, who showed a
capital portrait of Baron
von Bleyleben and some
«enre pictures of distinc
tive quality. His study
of A Hungarian Gipsy
Woman, here reproduced,
is a veracious rendering
of this type of humanity
Hugo Baar, the painter
of Moravian scenes, con-
tributed pictures painted
in his delicate, refined
style—soft snow masses
transcribed straight from
Nature at a temperature
scarcely above zero. From
his hand we shall see no
new works, for death has
snatched him away just in
the finest period of his
development, at the early
age of thirty-nine. Hugo
Charlemont showed some
flower-paintings of refined
tone and colour; Anton
Nowak pictures of ancient
architecture found in
unknown corners of Bo
hernia, charmingly por-
trayed; and Gustav Bohm
some imaginative water-
colour drawings of old
courtyards, and an ad-
mirable portrait of a
lady. Carl M. Thuma, who passes his life in
the flat land of Moravia, and whose works are
but rarely to be seen outside Briinn, was repre-
sented by two pictures—one depicting the hot
midday sun when a glow of heat is spread over the
lowland; the other A Spring Flood, here reproduced,
in which desolation is everywhere around. Johann
Viktor Kramer sent a delightful picture of the
Narenta Bridge, Mostar, in which he has caught the
very spirit and atmosphere of this fine old city, with
its time-worn architecture, exquisite colouring and
foliage. Interesting pictures were also contributed by
Adolf Kaufmann, Viktor Bohm, and Alfred Milan,
“A HUNGARIAN GIPSY WOMAN” BY LUDWIG WIEDEN
(Deutsch-Mahrische Kiinstler, Briinn)
321
conclusive proof of the erroneousness of the idea
that the new combination is a spent force.
J- T.
BRUNN, MORAVIA.—The exhibition of
works by the members of the Society
of German-Moravian Artists lately held
in the new Art Gallery proved of varied
interest. For the first time the decorative arts
were included, an innovation which it is to be
hoped will be repeated. Among the exhibits was
a reception-room designed by Gottfried Czermak,
a young architect and designer who shows much
inventive fancy and pos-
sesses good decorative
taste. The pictorial artists
belonging to the society
are men of all creeds
Among them is Ludwig
Wieden, who showed a
capital portrait of Baron
von Bleyleben and some
«enre pictures of distinc
tive quality. His study
of A Hungarian Gipsy
Woman, here reproduced,
is a veracious rendering
of this type of humanity
Hugo Baar, the painter
of Moravian scenes, con-
tributed pictures painted
in his delicate, refined
style—soft snow masses
transcribed straight from
Nature at a temperature
scarcely above zero. From
his hand we shall see no
new works, for death has
snatched him away just in
the finest period of his
development, at the early
age of thirty-nine. Hugo
Charlemont showed some
flower-paintings of refined
tone and colour; Anton
Nowak pictures of ancient
architecture found in
unknown corners of Bo
hernia, charmingly por-
trayed; and Gustav Bohm
some imaginative water-
colour drawings of old
courtyards, and an ad-
mirable portrait of a
lady. Carl M. Thuma, who passes his life in
the flat land of Moravia, and whose works are
but rarely to be seen outside Briinn, was repre-
sented by two pictures—one depicting the hot
midday sun when a glow of heat is spread over the
lowland; the other A Spring Flood, here reproduced,
in which desolation is everywhere around. Johann
Viktor Kramer sent a delightful picture of the
Narenta Bridge, Mostar, in which he has caught the
very spirit and atmosphere of this fine old city, with
its time-worn architecture, exquisite colouring and
foliage. Interesting pictures were also contributed by
Adolf Kaufmann, Viktor Bohm, and Alfred Milan,
“A HUNGARIAN GIPSY WOMAN” BY LUDWIG WIEDEN
(Deutsch-Mahrische Kiinstler, Briinn)
321