Studio: international art (57.1913)

Studio-Talk

ever truthfully he records, it is no meticulous
topography that he presents to us; we remain
aware of the working of an almost romantic mind.

Fritz Gurlitt’s Salon has again claimed attention
for Wilhelm Triibner, and a number of portraits,
landscapes, mythological and religious subjects,
testified to this master’s many-sidedness. A new
feature of these rooms is an artistically arranged
cabinet of prints placed
under the management
of Herr Wolfgang
Gurlitt. Original prints
by Leibl and Lieber-
mann, Munch, Matisse>
and Pechstein, point
to a broad policy.

The Salon Paul
Cassirer recently in-
augurated a consider-
ably enlarged gallery
with a kind of retro-
spective exhibition. All
the artists who have
enjoyed the favour of
this firm since its foun-
dation were represented
among them, the lead-
ing impressionists and
neo-impressionists, Van
Gogh and Cezanne, and
also living artists like
Liebermann, Corinth,

Slevogt, U. Hiibner,

Beckmann, Brock-
husen, W. Rosier, Gaul,
and Barlach. The
presence of Corot,

Gericault, Delacroix,

Courbet, Menzel, Leibl,
and Triibner pointed to

a compromise which can only be greeted as whole-
some in these days of ultra-radicalism.

J- J-

BUDAPEST.—The exhibition at the Buda-
pest Academy last spring was of less than
usual interest owing to its being over-
crowded with works which, however com-
mendable as the efforts of students, fell far below the
standard expected from an important society like
this. That there is much movement in art in
Hungary was everywhere apparent, but it was equally
33°

apparent that though high ideals are being searched
for, these have not yet been realised in any palpable
form. More thought ought to be shown in the
general arrangement of the exhibits; there should
be less crowding, and above all there should be far
fewer pictures hung. If, however, close search was
necessary to find the really good work, how refresh-
ing it was when found ! Take, for instance, a land-
scape by Baron Mednyansky pregnant with medita-
tive feeling, or the fine
animal drawings and
portraits by Oszkar
Glatz; here no parad"
ing of originality, no
undue striving after
effect was to be dis-
cerned. The portraits
by Caesar Kunwald
likewise showed sim-
plicity of treatment and
right restraint. His
Interior Portrait, here
reproduced, conveys an
idea of his methods,
but a refreshing feature
of his work is that he
never repeats himself.
The landscapes by
Robert Nadler and Ede
Aladar Illes were of
much interest, and how
full of life and energy
were those Hungarian
scenes of village life
which Miksa Bruck
delights to paint! Prof.
Benczur sent some
flower-paintings full of
fragrance and of a fine

STUDY OF A HEAD

(Budapest Academy)

BY JANOS PASZTOR

coloration. From
Gyula Conrad there
were some fine paint-
ings of ancient towns particularly happy in the
treatment of the architecture and water; romantic
scenes from Andor Dudits; still-life subjects by J.
Pentelei Molnar and Jozsef Manyai; from L. Kesdi-
Kovacs wood scenes in which this artist showed his
predilection for old copper and silver beeches, which
are always well placed in their right setting and
admirably rendered. Bela Ivanyi-Griinwald’s village
scenes betrayed his love for those strong colour-
effects which Hungary offers in such abundance, and
some good work was shown by Ferenczy, Istvan
Zador, Rezso Kiss, Laszlo Tatz (a young artist of