Studio: international art (59.1913)

Studio-Talk

and mountain scenery. Dalmatia likewise offers
much to the true artist, with its ancient towns and
cities half buried between the sea and rock, and
many of the pictures shown are from this part.
Kaufmann, Otto Herschel, and Gustav Bohm have
sent charming bits of Flemish scenery.

Among the artists who have contributed various
landscapes and genre pictures, I must not omit to
name Hans Larwin, whose Zigeuner is a capable
rendering of gipsy life, which he ^understands in-
timately. His Wiener Stadtratsitzung forms an
interesting document of Vienna’s history, for it
contains some twenty portraits of the Town Council
and the late Dr. Lueger, each well studied and the
whole being grouped in a most interesting manner.
Other historical pictures are by Julius Schmid, Alex-
ander Goltz and Ludwig Koch. Joanowitch’s richly-
toned biblical picture Wahrlich, dieser ist Gottes
Sohn gewesen is inspired with deep religious feeling.

The Secession exhibition contains somewhat less
than two hundred works including the sculpture, and
hardly anything which one could wish elsewhere.
Here also some change has been made in the
arrangement by addition
of two circular entrances,
one at each end of the ex-
hibition, intended as ante-
rooms to music-rooms.

Both contain frescoes, the
one to the right by Otto
Friedrich, that to the left
by Harlfinger and Grom-
Rottmayer jointly. Otto
Friedrich calls his Rhythm
Zyklus and it may well be
counted to the artist’s
finest achievements. Harl-
finger’s compositions have
a largeness and depth of
feeling, which, if not alto-
gether wanting in those by
Grom-Rottmayer, still are
not so evident, and this
inequality of calibre is
discernible in their joint
work. They are both
talented artists, however,
and are advancing year by
year._

Prof. Jettmar’s large

figural compositions, The “nude study” (Secession, Vienna) by Friedrich konig

7i

Towers of Defiance and Fighting Amazons, must be
reckoned among the best of this master’s works
with their deep-toned orchestrations, their monu-
mental breadth and their fullness of tonality.
The large picture Night by Ernst Stohr—a
monumental female figure clad in diaphanous blue
drapery—fails somewhat in depth of conception,
but his Alte Wocheiner Madchentracht, a girl in
her village garb, is exceedingly beautiful in its re-
finement of colour. Rosa Frankfurt, a young artist
who has studied in Vienna and in Paris, exhibits
here for the first time. Her Bucklige Frau, a poor
hunchbacked woman, shows her a careful and
sympathetic student of human nature. Ludwig
Wieden’s studies of gipsies reveal this artist in
a new light. He understands his subjects, knows
their ways, their rich colouring and artistic garb
appeal to his artistic nature. Friedrich Konig’s
female nude study is treated with great indi-
viduality and refinement. Hubert Lanzinger,
one of Prof. Delug’s most promising students,
contributes an interesting Pieta ; and there are also
some characteristic figure pictures by Oswald Roux,
Oswald von Krobshofer, Hans Tichy and Franz
Weineck, among others.