DOI Heft:
Nr. 246 (September 1913)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.21159#0328
Studio-Talk
Ziigel in landscapes by Hertel. Salzmann, Jacob,
Vinnen, and Olde ; in portraits by Count Harrach,
Angeli, Stauffer-Bern, Gussow, Vogel, Meyn, and
Burger.
The diversity of German painting is best dis-
played in the collections representing the chief
towns, which form the oasis of this show. Munich,
in spite of much modernity, at once proclaims
itself the home of the broad and decorative indoor
method which prefers local colour. Here Carl
von Marr has won especial honour with his Youth
of JVain; Grober furnishes a vivacious scene from
the life of gay art students; Exter’s peasants look
somewhat hard in tonality; Piittner’s rather trivial
soldiers refresh the eye by pleasing colour, and
a lady’s portrait by Leo Putz is remarkable for
directness and distinction. Friedrich Stahl again
cleverly satirises early Renaissance masters. Tech-
nical exquisiteness can be enjoyed in the work of
Leibl and Thor, and psychological acumen marks
that of the portrait painter Samberger. From G.
Schuster-Woldan as well as Geffcken and Hengeler
come interesting items, and among the landscapists
Urban and Becker are to be noted. In the Dresden
group, where conservatism as well as progres-
sivism are leading principles, Klinger arouses deep
feeling by the tragic simplicity of his austere Pieta,
and R. Muller’s Nun impresses the beholder by the
pathos of youthful resignation. Zwintscher, Unger,
and Liihrig are well represented, and Kuehl, Bant-
zer, and Dorsch are all in evidence as characteristic
exponents of the modem spirit. In the Karlsruhe
section the predominance of sound realism ennobled
by delicacy of feeling gives dignity to this group,
in which Schonleber, Thoma, Boehme, Baisch,
Bergmann, Volkmann, F. Keller, Volz, Fehr, and
Schmid-Reutte form a victorious phalanx. The
Weimar section shows the ascendency of realism
over academicism. Here Fritz Mackensen has
achieved success with the solemn moorland types of
his Divine Service. Melchers, Thedy, and Hagen
are not effectively represented, and arcadians like
L. von. Hofmann and Hoger do not figure to
advantage. The keynote of the Stuttgart contribu-
tion is a modernity showing the naturalistic instinct
‘ ‘ LYRICAL POETRY
308
( Grosse Berliner Kunstcuisstellung)
BY CONSTANTIN STARCK
Ziigel in landscapes by Hertel. Salzmann, Jacob,
Vinnen, and Olde ; in portraits by Count Harrach,
Angeli, Stauffer-Bern, Gussow, Vogel, Meyn, and
Burger.
The diversity of German painting is best dis-
played in the collections representing the chief
towns, which form the oasis of this show. Munich,
in spite of much modernity, at once proclaims
itself the home of the broad and decorative indoor
method which prefers local colour. Here Carl
von Marr has won especial honour with his Youth
of JVain; Grober furnishes a vivacious scene from
the life of gay art students; Exter’s peasants look
somewhat hard in tonality; Piittner’s rather trivial
soldiers refresh the eye by pleasing colour, and
a lady’s portrait by Leo Putz is remarkable for
directness and distinction. Friedrich Stahl again
cleverly satirises early Renaissance masters. Tech-
nical exquisiteness can be enjoyed in the work of
Leibl and Thor, and psychological acumen marks
that of the portrait painter Samberger. From G.
Schuster-Woldan as well as Geffcken and Hengeler
come interesting items, and among the landscapists
Urban and Becker are to be noted. In the Dresden
group, where conservatism as well as progres-
sivism are leading principles, Klinger arouses deep
feeling by the tragic simplicity of his austere Pieta,
and R. Muller’s Nun impresses the beholder by the
pathos of youthful resignation. Zwintscher, Unger,
and Liihrig are well represented, and Kuehl, Bant-
zer, and Dorsch are all in evidence as characteristic
exponents of the modem spirit. In the Karlsruhe
section the predominance of sound realism ennobled
by delicacy of feeling gives dignity to this group,
in which Schonleber, Thoma, Boehme, Baisch,
Bergmann, Volkmann, F. Keller, Volz, Fehr, and
Schmid-Reutte form a victorious phalanx. The
Weimar section shows the ascendency of realism
over academicism. Here Fritz Mackensen has
achieved success with the solemn moorland types of
his Divine Service. Melchers, Thedy, and Hagen
are not effectively represented, and arcadians like
L. von. Hofmann and Hoger do not figure to
advantage. The keynote of the Stuttgart contribu-
tion is a modernity showing the naturalistic instinct
‘ ‘ LYRICAL POETRY
308
( Grosse Berliner Kunstcuisstellung)
BY CONSTANTIN STARCK