DOI issue:
No. 240 (March 1913)
DOI article:Studio-talk
DOI Page / Citation link:https://doi.org/10.11588/diglit.21160#0168
Studio-Talk
himself with every branch of painting and graphic in his treatment. Many of his best pictures hang
art, and who, if he was in no way a genius, in public galleries in Vienna, Berlin, Munich,
still was an artist of parts, though he was, in a Hungary, and elsewhere. As a fresco painter he
manner, forgotten. Some of his pictures are of was still more important, his work in this direction
distinctive merit, particularly so his portraits, being monumental. His finest efforts in this
which have both charm and grace. It was Josef medium are to be seen in the Austrian Academy
Hasselwander who over sixty years ago designed of Science in Athens, whose architect was Hansen,
the statues which once ornamented the Elizabeth in Vienna, and other cities of Austria and Hungary.
Bridge but now line the path to the Rathhaus. At -
that date there were few sculptors of note, and For the rest, the Winter Exhibition at the
statuary work was usually done by working masons Kiinstlerhaus bore the usual aspect. There were
—" Handwerker " they were called. some interesting portraits, notably one by Victor
- Scharf of a lady gowned in brown-gold, a highly
Carl Rahl was a much more important man. decorative portrait of a lady by Schattenstein, a
He was the revolutionist of those days in the portrait of a girl by W. V. Krausz, very simply
teaching of art. He spent many years in Rome treated and very effective, a remarkable one of a
and Venice, and discovered the old method of gentleman by Rauchinger, in which the brush has
painting on a white lustrous background even been very cleverly handled and the features
before the same discovery was made by Holman capitally interpreted, and an equally interesting
Hunt and Millais. Recalled to Vienna to become portrait of Count Alfred Salm by John Quincy
teacher at the Academy he
soon showed himself at
enmity with the ancient
method of instruction then
practised, with the result
that he received his conge,
together with two other pro-
fessors who were of his
tenets, though a few years
later, just a short time before
his death, he was newly ap-
pointed. The effect of his
dismissal was startling, for
all his students left en bloc
and joined the private
classes which Rahl had
started. His fame as a
teacher was so great that
students from all parts
flocked to him, particularly
from Hungary, among those
who came from that country
being Lotz, Moritz Than,
and for a time Munkacsy.
Many of the leading Vien-
nese were also his pupils—
Eisenmenger, Hoffman the
landscape painter, Bitterlich,
Romako, George A. Mayer,
who became his biographer,
and others. Rahl was, in
his day, a portraitist of some
note, strong and virile in rv gustav bohm'
' b "the red feather by ^u:>'av """'"j
his methods and original (Kmstlergenossenschaft, Vienna)
145
himself with every branch of painting and graphic in his treatment. Many of his best pictures hang
art, and who, if he was in no way a genius, in public galleries in Vienna, Berlin, Munich,
still was an artist of parts, though he was, in a Hungary, and elsewhere. As a fresco painter he
manner, forgotten. Some of his pictures are of was still more important, his work in this direction
distinctive merit, particularly so his portraits, being monumental. His finest efforts in this
which have both charm and grace. It was Josef medium are to be seen in the Austrian Academy
Hasselwander who over sixty years ago designed of Science in Athens, whose architect was Hansen,
the statues which once ornamented the Elizabeth in Vienna, and other cities of Austria and Hungary.
Bridge but now line the path to the Rathhaus. At -
that date there were few sculptors of note, and For the rest, the Winter Exhibition at the
statuary work was usually done by working masons Kiinstlerhaus bore the usual aspect. There were
—" Handwerker " they were called. some interesting portraits, notably one by Victor
- Scharf of a lady gowned in brown-gold, a highly
Carl Rahl was a much more important man. decorative portrait of a lady by Schattenstein, a
He was the revolutionist of those days in the portrait of a girl by W. V. Krausz, very simply
teaching of art. He spent many years in Rome treated and very effective, a remarkable one of a
and Venice, and discovered the old method of gentleman by Rauchinger, in which the brush has
painting on a white lustrous background even been very cleverly handled and the features
before the same discovery was made by Holman capitally interpreted, and an equally interesting
Hunt and Millais. Recalled to Vienna to become portrait of Count Alfred Salm by John Quincy
teacher at the Academy he
soon showed himself at
enmity with the ancient
method of instruction then
practised, with the result
that he received his conge,
together with two other pro-
fessors who were of his
tenets, though a few years
later, just a short time before
his death, he was newly ap-
pointed. The effect of his
dismissal was startling, for
all his students left en bloc
and joined the private
classes which Rahl had
started. His fame as a
teacher was so great that
students from all parts
flocked to him, particularly
from Hungary, among those
who came from that country
being Lotz, Moritz Than,
and for a time Munkacsy.
Many of the leading Vien-
nese were also his pupils—
Eisenmenger, Hoffman the
landscape painter, Bitterlich,
Romako, George A. Mayer,
who became his biographer,
and others. Rahl was, in
his day, a portraitist of some
note, strong and virile in rv gustav bohm'
' b "the red feather by ^u:>'av """'"j
his methods and original (Kmstlergenossenschaft, Vienna)
145