DOI issue:
Nr. 246 (September 1913)
DOI article:Studio-talk
DOI Page / Citation link: https://doi.org/10.11588/diglit.21159#0327
Studio-Talk
TRIPTYCH IN ST. STEPHEN’S CHURCH, NEWTOWN ROW, BIRMINGHAM. DESIGNED BY W. H. BIDLAKE, M.A., ARCHITECT.
THE FOUR PANELS PAINTED IN FRESCO BY F. W. DAVIES, R.I.
( See Birmingham Studio- Talk, p. 306)
BERLIN.—The Grosse Berliner Kunstaus-
stellung promised this year to be a
“ Jubilee ” display, and failure to meet the
natural expectations aroused by the use
of this term has led to a disappointment. A Jubilee
undertaking ought to have culled the very best fruits
from the art production of the last twenty-five years,
and while giving due prominence to representative
names should have called attention to rising talent.
As it is, the exhibition serves as a demonstration of
the high state of our architecture, but offers an
insufficient valuation of our flourishing graphic arts
and sculpture, and a somewhat indifferent charac-
terisation of German painting. Yet no accusation
of bias can be raised, since Secessionists as well as
Academicians have been invited. The selection of
such artists as Stuck and Schonleber for “ one-
man ” shows is rather puzzling. Franz von Stuck,
with his erotic gloom and Roman modernity, is, in
spite of his eminent abilities, no proper central
figure for a Jubilee exhibition, and the space set
apart for the amiable Schonleber appears too large
for his quiet appeals.
The best contributions to the exhibition are to
be found in the retrospective section, where Prussia
and the various German cities exhibit. Anton von
Werner proves the magnet of the exhibition with
an exact and distinguished historical oeuvre abound-
ing in excellent portraiture, while a miniature master-
piece of realism is Menzel’s Gasteiti Procession.
Skarbina is well represented by a decorative
nocturne with a political motive, and national
differences are cleverly contrasted in Kampf’s
episode from the Napoleonic war period. All
the technical charms of the old Dutch interior
painters are to be enjoyed in Claus Meyer’s work.
Klein-Chevalier revels in a rich palette, and Seces-
sionism arrests attention in a cabaret duo by Leo von
Konig. One can follow the course of development
from idealising realism to resolute naturalism in the
animal pictures of Meyerheim, Friese, Frenzel, and
3°7
TRIPTYCH IN ST. STEPHEN’S CHURCH, NEWTOWN ROW, BIRMINGHAM. DESIGNED BY W. H. BIDLAKE, M.A., ARCHITECT.
THE FOUR PANELS PAINTED IN FRESCO BY F. W. DAVIES, R.I.
( See Birmingham Studio- Talk, p. 306)
BERLIN.—The Grosse Berliner Kunstaus-
stellung promised this year to be a
“ Jubilee ” display, and failure to meet the
natural expectations aroused by the use
of this term has led to a disappointment. A Jubilee
undertaking ought to have culled the very best fruits
from the art production of the last twenty-five years,
and while giving due prominence to representative
names should have called attention to rising talent.
As it is, the exhibition serves as a demonstration of
the high state of our architecture, but offers an
insufficient valuation of our flourishing graphic arts
and sculpture, and a somewhat indifferent charac-
terisation of German painting. Yet no accusation
of bias can be raised, since Secessionists as well as
Academicians have been invited. The selection of
such artists as Stuck and Schonleber for “ one-
man ” shows is rather puzzling. Franz von Stuck,
with his erotic gloom and Roman modernity, is, in
spite of his eminent abilities, no proper central
figure for a Jubilee exhibition, and the space set
apart for the amiable Schonleber appears too large
for his quiet appeals.
The best contributions to the exhibition are to
be found in the retrospective section, where Prussia
and the various German cities exhibit. Anton von
Werner proves the magnet of the exhibition with
an exact and distinguished historical oeuvre abound-
ing in excellent portraiture, while a miniature master-
piece of realism is Menzel’s Gasteiti Procession.
Skarbina is well represented by a decorative
nocturne with a political motive, and national
differences are cleverly contrasted in Kampf’s
episode from the Napoleonic war period. All
the technical charms of the old Dutch interior
painters are to be enjoyed in Claus Meyer’s work.
Klein-Chevalier revels in a rich palette, and Seces-
sionism arrests attention in a cabaret duo by Leo von
Konig. One can follow the course of development
from idealising realism to resolute naturalism in the
animal pictures of Meyerheim, Friese, Frenzel, and
3°7