DOI Heft:
No. 239 (February 1913)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.21160#0097
Studio- Talk
Triibner and Kalkreuth, as well as the popular discerned. It could be seen that impressionism
illustrators Thony, Gulbransson, and T. T. Heine, had left its mark on the technique of the gifted
The general impression left by the entire display W. Giese and imparted a decorative quality to
was one of refreshing vivacity, but closer inspection the realistic wood-cuts of Heine Rath ; also
aroused longings for less arduous progressivism. that it had enabled Sterl to grasp the move-
Any one who regards precise draughtsmanship as ments of the toiling worker and W. Geiger to
the basis of any method of expression could not summarise bull-fights in a kind of graceful short-
help feeling that what was gained in breadth was hand, while it lent charm to the romanticism of
lost in depth. This became clear also in presence Hans Meid in his Don Juan cycle, and certainly
of works by L. Corinth and U. Hiibner. Careful proved useful to others, such as P. Paeschke with
execution was conspicuous in Baluschek's treat- his natural tendency to over-conscientiousness, E.
ment of motifs drawn from poor neighbourhoods Oppler, W. Rosier and Paul Bach. A welcome
and in Brandenburg's queer and fantastic figures, feature of the display was the inclusion of drawings
The illustrations with which Markus Behmer has by sculptors, such as Gaul, Kolbe, Lehmbruck,
accompanied the exotic caprices of Voltaire were and Hoettger, in which the diversity of their
marked by precision and gracefulness, and psycho- graphic expression was manifest,
logic finesse characterised Emil Orlik's etched por- -
traits. One was curiously reminded of Ostade and Casper's Salon has been removed to a larger and
Diirer in Klaus Richter's miniature water-colours very appropriate home, and the new domicile has
with all the glowing tonalities of old Limoges been inaugurated with an adequate collection of
enamels. Barlach proved the genuineness of his well-selected oil-paintings and drawings by artists
talent for sculpture by drawings in which the same of various countries and of acknowledged repute,
plastic energy and primitive character could be The graphic section was exceedingly good, and
"the rialto bridge " (Berlin Secession) from a drawing by paul paeschke
74
Triibner and Kalkreuth, as well as the popular discerned. It could be seen that impressionism
illustrators Thony, Gulbransson, and T. T. Heine, had left its mark on the technique of the gifted
The general impression left by the entire display W. Giese and imparted a decorative quality to
was one of refreshing vivacity, but closer inspection the realistic wood-cuts of Heine Rath ; also
aroused longings for less arduous progressivism. that it had enabled Sterl to grasp the move-
Any one who regards precise draughtsmanship as ments of the toiling worker and W. Geiger to
the basis of any method of expression could not summarise bull-fights in a kind of graceful short-
help feeling that what was gained in breadth was hand, while it lent charm to the romanticism of
lost in depth. This became clear also in presence Hans Meid in his Don Juan cycle, and certainly
of works by L. Corinth and U. Hiibner. Careful proved useful to others, such as P. Paeschke with
execution was conspicuous in Baluschek's treat- his natural tendency to over-conscientiousness, E.
ment of motifs drawn from poor neighbourhoods Oppler, W. Rosier and Paul Bach. A welcome
and in Brandenburg's queer and fantastic figures, feature of the display was the inclusion of drawings
The illustrations with which Markus Behmer has by sculptors, such as Gaul, Kolbe, Lehmbruck,
accompanied the exotic caprices of Voltaire were and Hoettger, in which the diversity of their
marked by precision and gracefulness, and psycho- graphic expression was manifest,
logic finesse characterised Emil Orlik's etched por- -
traits. One was curiously reminded of Ostade and Casper's Salon has been removed to a larger and
Diirer in Klaus Richter's miniature water-colours very appropriate home, and the new domicile has
with all the glowing tonalities of old Limoges been inaugurated with an adequate collection of
enamels. Barlach proved the genuineness of his well-selected oil-paintings and drawings by artists
talent for sculpture by drawings in which the same of various countries and of acknowledged repute,
plastic energy and primitive character could be The graphic section was exceedingly good, and
"the rialto bridge " (Berlin Secession) from a drawing by paul paeschke
74