DOI Heft:
No. 239 (February 1913)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.21160#0096
Studio-Talk
demands of modernism
and yet an old masterly
ripeness pervades his work.
Another of the exhibitions
held recently at Schulte's
was that of pictures by
Erich Erler, the autodidact
from the Engadine, who
surrounded us with the
dazzling world of Alpine
snow solitudes in which
only the ultramarines of the
shades and the gentian
blues introduced strong
local colour.
The winter exhibition of
the Berlin Secession was de-
voted to the Graphic Arts,
" Russian ballet (soheherazade)." original etching by ernst oi'pler which were represented
on a comprehensive scale.
Karl Schuch show referred to in last month's notes, Daumier, Menzel, and Millet served as examples of
as both painters were close friends and members great old art, and present-day mastery was exempli-
of the Leibl and Triibner circle. Hagemeister fied in works by Larsson, Zorn, Forain, Liebermann,
commenced as a worthy
pupil of the heroic Friedrich
Preller, but it was the
friendship with Schuch and
Triibner that awakened his
pictorial sense. In com-
pany with them he studied
Hals and Rembrandt in
their own country, and a
sojourn with Schuch in
Venice aroused in him the
passion for tone. While
studying in Paris he became
interested in Manet and his
methods. Landscape has
always been the source of
his inspiration, but he has
also done much animal
painting. Of animals in
their wild state he has no
little experience, for besides
being a painter he is a keen
sportsman. His colour has
often the richness and sap-
piness of the Dutch masters
and the perfume of the
Barbizon men, but he has
always striven to be a de-
voted servant of Nature.
He responds to all the "mid-day heat" (Schulte's Salon, Berlin) by erich erler
73
demands of modernism
and yet an old masterly
ripeness pervades his work.
Another of the exhibitions
held recently at Schulte's
was that of pictures by
Erich Erler, the autodidact
from the Engadine, who
surrounded us with the
dazzling world of Alpine
snow solitudes in which
only the ultramarines of the
shades and the gentian
blues introduced strong
local colour.
The winter exhibition of
the Berlin Secession was de-
voted to the Graphic Arts,
" Russian ballet (soheherazade)." original etching by ernst oi'pler which were represented
on a comprehensive scale.
Karl Schuch show referred to in last month's notes, Daumier, Menzel, and Millet served as examples of
as both painters were close friends and members great old art, and present-day mastery was exempli-
of the Leibl and Triibner circle. Hagemeister fied in works by Larsson, Zorn, Forain, Liebermann,
commenced as a worthy
pupil of the heroic Friedrich
Preller, but it was the
friendship with Schuch and
Triibner that awakened his
pictorial sense. In com-
pany with them he studied
Hals and Rembrandt in
their own country, and a
sojourn with Schuch in
Venice aroused in him the
passion for tone. While
studying in Paris he became
interested in Manet and his
methods. Landscape has
always been the source of
his inspiration, but he has
also done much animal
painting. Of animals in
their wild state he has no
little experience, for besides
being a painter he is a keen
sportsman. His colour has
often the richness and sap-
piness of the Dutch masters
and the perfume of the
Barbizon men, but he has
always striven to be a de-
voted servant of Nature.
He responds to all the "mid-day heat" (Schulte's Salon, Berlin) by erich erler
73