Studio: international art (58.1913)

Studio-Talk

Femme surprise, Giovanella, etc. To this enumera-
tion must also be added certain portraits, very
graceful in technique and of a mastery which is
quite personal to this artist. Such are the por-
traits of the Princesse Murat, of the Duchesse de
Palmella, Mile, de Luynes, Mile. Gibson, Mme.
Pretet, Mile. Guillemet, Mme. Heriot, Mme. de
Lurcy, of the Comtesse de la Briche, of Mme. Claire
Lemaitre, an d of M. Roger Gouri de Vasselan.

Juana Romani-Carlesimo, mindful of all she
owes to her origin, has out of her private purse
founded a School of Drawing and endowed an
annual prize at Villetri in Italy, her birthplace,
where one "of the streets has been named after her.
May we not express the hope that this sympathetic
artist may find ever renewed interest in her
work and so continue to follow out her brilliant
destiny? L. H.

also prominent in figure compositions, whilst the
strangely modern classicist Zwintscher and the
sympathetic student of character Schulte im Hofe
and the expressive Stuck upheld their qualifications
in portraiture. Animal painting was well repre-
sented by such widely different exponents as
Frenzel and Ziigel, and modern interior genre
by A. von Brandis. The quiet charm of the
landscapes of Thoma and Schonleber was most
persuasive; decorativeness coupled with sympa-
thetic realism won admiration for Jacob, Bracht,
Dill, Langhammer, Kayser-Eichberg, and U.
Hiibner; while Klinger delighted the spectator
by his nobility of conception, and Hagemeister
by his interpretation of marine aspects. Older
academicians like Count Harrach and Meyerheim
corroborated the favourable impression of the
whole, and the modernists were characteristically
represented in Liebermanh, Corinth, Putz, Lepsius,

BERLIN. —The
twenty-fifth year
of the Emperor's
reign has been
celebrated at the Royal
Academy here by an ex-
hibition in which an effort
was made to represent con-
temporary German art of
the first order in all its
variety. Under the presi-
dency of the newly elected
Prof. Ludwig Manzel the
barriers dividing academi-
cism and secessionism were
discarded, and acknow-
ledged representatives of
the different modes of ex-
pression were enabled to
compete freely. Works
which had profited only
cautiously by impres-
sionism or expressionism
made the best showing.
Hugo Vogel was repre-
sented by a realistic genre
whose monumental size
helped to emphasise quali-
ties of dramatic fervour.
Claus Meyer, Haug,
Speyer, von Gebhardt,
Bantzer, Bartels, Mohr-

butter, and Dettmann were "desdemona" by juana romani

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