DOI issue:
No. 241 (April 1913)
DOI article:Studio-talk
DOI Page / Citation link:https://doi.org/10.11588/diglit.21160#0268
Studio- Talk
style, and who in spite of the fact that he has not
yet " found" himself, displays certain qualities
which are unmistakably personal—particularly in
regard to tone; Walter Fraenkel, whose picture,
Weisse Rosen, was admirably treated and of highly
decorative effect; Egon Schiele, an artist of decided
talent, with a delightful sense of colour. Gottardo
Segantani is following in the footsteps of his
renowned father and sees, as it were, through those
wonderful eyes ; he is not free in his thoughts or
in expression, but he has youth on his side and may
expand. Alberto Stringa's mountain-pictures were
very interesting and showed freedom in brush-work.
Franz Gelbenegger has critical taste as an artist and
a fine sense of colour; of the works he exhibited
two were noticeable for their good qualities,
Sievering and A Flowery Pasture. Robert Eckert's
study of the roofs of village houses at Pollensa-
Mallorca, with distant hills as a background, was
fresh and sunny, the perspective well-drawn and
the composition excellent. Julius Wegerer's Late
Autumn was delightful in its soft brown tones, and
his snowscapes showed fine atmospheric qualities.
Friedrich von Radler's treatment of flowers is often
somewhat too heavy, though decorative they are
wanting that subtle gradation of tone which such
subjects demand. Edmund Rothansl's In the Shade
of the Forest showed him to be a keen and sympa-
thetic observer of nature.
Josef Kellner in his Valley of the Thaya, here
reproduced, proved himself an artist of distinctive
"THE ANGEL OF LIFE" BY EINAR JONSSON
merit, his colour especially being charming.
Heinrich Gollob, another artist of note, was well
represented. Hans and Leo Frank, twin brothers,
are both gifted, each in his special way ; both have
feeling for colour, and are moreover admirable
draughtsmen. Hans Frank's strength lies in his
landscapes, while Leo excels in still-life and figure
subjects. Both are excellent black-and-white artists
as well as painters. _
Portraiture was represented by contributions
from Lili Schiiller, who is no newcomer at the
Secession; Wilhelm Thony, whose portraits have
much character though his colouring is somewhat
smudgy; Stefi Gartenberg, Elsa Schwarz, Else May,
Alberto Stringa, Samuel Abramovitz, Georg
Jilovsky, Robin C. Andersen, Leopold Gottlieb,
whose so-called " Herrenportrats " appeared to be
studies of men of abnormal types ; Helene Stein,
who has an excellent feeling for colour; and
Leonhard Schuller. In the section of graphic art
apart from the brothers Frank, Norbertine Roth
must be specially mentioned, her forte being
animals, her drawing of which is excellent; and M.
Jakimowicz also merits notice for his mystic symbolic
pictures. Very little sculpture was shown; Marino
M. Lucy, known to readers of this magazine as an
etcher of talent, here made his appearance as a
sculptor of feeling. A. S. L.
COPENHAGEN.—The Icelandic sculp-
tor, Einar Jonsson, is a heretic amongst
Scandinavian artists. His creations are
of so uncommon a character, so en-
tirely the product of his own individuality, that the
"THE ANGEL OF THE NATIVITY "
BY EINAR JONSSON
245
style, and who in spite of the fact that he has not
yet " found" himself, displays certain qualities
which are unmistakably personal—particularly in
regard to tone; Walter Fraenkel, whose picture,
Weisse Rosen, was admirably treated and of highly
decorative effect; Egon Schiele, an artist of decided
talent, with a delightful sense of colour. Gottardo
Segantani is following in the footsteps of his
renowned father and sees, as it were, through those
wonderful eyes ; he is not free in his thoughts or
in expression, but he has youth on his side and may
expand. Alberto Stringa's mountain-pictures were
very interesting and showed freedom in brush-work.
Franz Gelbenegger has critical taste as an artist and
a fine sense of colour; of the works he exhibited
two were noticeable for their good qualities,
Sievering and A Flowery Pasture. Robert Eckert's
study of the roofs of village houses at Pollensa-
Mallorca, with distant hills as a background, was
fresh and sunny, the perspective well-drawn and
the composition excellent. Julius Wegerer's Late
Autumn was delightful in its soft brown tones, and
his snowscapes showed fine atmospheric qualities.
Friedrich von Radler's treatment of flowers is often
somewhat too heavy, though decorative they are
wanting that subtle gradation of tone which such
subjects demand. Edmund Rothansl's In the Shade
of the Forest showed him to be a keen and sympa-
thetic observer of nature.
Josef Kellner in his Valley of the Thaya, here
reproduced, proved himself an artist of distinctive
"THE ANGEL OF LIFE" BY EINAR JONSSON
merit, his colour especially being charming.
Heinrich Gollob, another artist of note, was well
represented. Hans and Leo Frank, twin brothers,
are both gifted, each in his special way ; both have
feeling for colour, and are moreover admirable
draughtsmen. Hans Frank's strength lies in his
landscapes, while Leo excels in still-life and figure
subjects. Both are excellent black-and-white artists
as well as painters. _
Portraiture was represented by contributions
from Lili Schiiller, who is no newcomer at the
Secession; Wilhelm Thony, whose portraits have
much character though his colouring is somewhat
smudgy; Stefi Gartenberg, Elsa Schwarz, Else May,
Alberto Stringa, Samuel Abramovitz, Georg
Jilovsky, Robin C. Andersen, Leopold Gottlieb,
whose so-called " Herrenportrats " appeared to be
studies of men of abnormal types ; Helene Stein,
who has an excellent feeling for colour; and
Leonhard Schuller. In the section of graphic art
apart from the brothers Frank, Norbertine Roth
must be specially mentioned, her forte being
animals, her drawing of which is excellent; and M.
Jakimowicz also merits notice for his mystic symbolic
pictures. Very little sculpture was shown; Marino
M. Lucy, known to readers of this magazine as an
etcher of talent, here made his appearance as a
sculptor of feeling. A. S. L.
COPENHAGEN.—The Icelandic sculp-
tor, Einar Jonsson, is a heretic amongst
Scandinavian artists. His creations are
of so uncommon a character, so en-
tirely the product of his own individuality, that the
"THE ANGEL OF THE NATIVITY "
BY EINAR JONSSON
245