DOI issue:
No. 241 (April 1913)
DOI article:Studio-talk
DOI Page / Citation link:https://doi.org/10.11588/diglit.21160#0262
Studio- Talk
im" d
THE GARDEN CITY OF FROHNAU : HOUSES ON THE FRANZISKANER WF.G
children have not been forgotten in the ground-
plan, a strip of ground being apportioned
symmetrically into sections for a pleasure garden,
for fruit, roses, and a play-court. Another design
by Barth for a country house in Liibeck provided
for the first time a domain for the protection of birds.
A higher level of garden-art was also recognisable
in pleasant pergolas, gates, garden-houses, and
furniture. From the care and taste displayed in
the preparation of this exhibition, one could not
help being convinced that the modern German
garden is meant to be a real home for human
beings and plants alike.
The Kunstlerhaus has paid awell-deserved tribute
to the excellence of Eugen Bracht's methods of
teaching by arranging a show restricted to pictures
by his pupils. In it the wisdom of individualistic
guidance became evident, for there were paintings
in the spirit of melancholy grandeur and careful or
impressionistic interpretations of Nature. Only a
teacher of versatile endowments and one whose
tenets exclude triviality and narrowness could have
had a share in the production of such a bounteous
harvest. An imposing group of prominent artists
such as G. Frenzel, Ludwig Dettmann, Carl Lang-
hammer, Kayser-Eichberg, H. Hartig, Hans Licht,
Modersohn, Feldmann, Lejeune, Schlichting,
Wendel, Mackowsky, Uth, Ter Hell, Haensch,
and Kolbe co-operated to do homage to their
master. Landscapes predominated, but nudes,
genres, interiors and still-life subjects figured in
the show.
Paul Cassirer is an incomparable impresario
for the artists of his predilection, and he is
now seriously promoting the reputation of Max
Beckmann. A large exhibition has recently been
arranged in his Salon and a monograph issued as
an introduction to the art of this rising artist, who
has neglected no form of expression. Monumental
religious and mythological subjects with a Signorelli
note, landscapes in the Salvator Rosa mood, life-
size portrait groups like scenes from the modern
239
im" d
THE GARDEN CITY OF FROHNAU : HOUSES ON THE FRANZISKANER WF.G
children have not been forgotten in the ground-
plan, a strip of ground being apportioned
symmetrically into sections for a pleasure garden,
for fruit, roses, and a play-court. Another design
by Barth for a country house in Liibeck provided
for the first time a domain for the protection of birds.
A higher level of garden-art was also recognisable
in pleasant pergolas, gates, garden-houses, and
furniture. From the care and taste displayed in
the preparation of this exhibition, one could not
help being convinced that the modern German
garden is meant to be a real home for human
beings and plants alike.
The Kunstlerhaus has paid awell-deserved tribute
to the excellence of Eugen Bracht's methods of
teaching by arranging a show restricted to pictures
by his pupils. In it the wisdom of individualistic
guidance became evident, for there were paintings
in the spirit of melancholy grandeur and careful or
impressionistic interpretations of Nature. Only a
teacher of versatile endowments and one whose
tenets exclude triviality and narrowness could have
had a share in the production of such a bounteous
harvest. An imposing group of prominent artists
such as G. Frenzel, Ludwig Dettmann, Carl Lang-
hammer, Kayser-Eichberg, H. Hartig, Hans Licht,
Modersohn, Feldmann, Lejeune, Schlichting,
Wendel, Mackowsky, Uth, Ter Hell, Haensch,
and Kolbe co-operated to do homage to their
master. Landscapes predominated, but nudes,
genres, interiors and still-life subjects figured in
the show.
Paul Cassirer is an incomparable impresario
for the artists of his predilection, and he is
now seriously promoting the reputation of Max
Beckmann. A large exhibition has recently been
arranged in his Salon and a monograph issued as
an introduction to the art of this rising artist, who
has neglected no form of expression. Monumental
religious and mythological subjects with a Signorelli
note, landscapes in the Salvator Rosa mood, life-
size portrait groups like scenes from the modern
239