DOI Heft:
No. 242 (May 1913)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.21160#0353
Studio- Talk
Samberger paints portraits in a manner exclusively
his own. Among the numerous works shown there
were to be seen some of his earliest efforts (heads
or figure compositions); and the spectator could
see how little by little he gained in confidence and
could trace the different influences the painter was
subject to on the road to that final mastery evinced
in his latest portraits.
Having been a student at the Munich Academy
of Fine Art under Lindenschmidt—this was about
1885—Samberger took on'strongly that tinge of
classicism which was then the fashion in the
Bavarian capital. Lenbach no doubt interested
the young painter by his sensitiveness of observa-
tion ; Rembrandt, too, must have often inspired
his visions, and from the originators of the im-
pressionist movement he received something of
their audacity of colouring. From 1887 onward
Samberger worked to please himself, taking
especially for his models
those who were near to him,
and the intimacies of whose
lives were well known and
familiar to him. Hence
arises the great charm of so
much of his work.
traits Samberger finds relaxation in giving free rein
to his imagination, in evoking the appearance of
some figure of mythology or history, in symbolising
some noble idea. His forte, however, is the
portraiture of men. He is unquestionably one
of the most distinguished among contemporary
painters. F. Gos.
VIENNA.—The picture Gipsy Women,
by Heinrich Gollob, reproduced on p.
332, was in the winter exhibition of the
Secession, a notice of which, with repro-
ductions of other prominent works shown therein,
appeared in the last number of The Studio.
BUDAPEST.—A collective exhibition of
the works of the late Lajos Bruck was
held a short time at the Royal Academy
in this city. These included paintings,
drawings and sketches, the motives being highly
In brief, the artist has
succeeded in conquering,
as it were, this life which
he observes and transcribes
upon his canvas, depicting
it with spontaneity, audacity
or delicacy, and always with
a masterly touch now in the
rendering of the features, or
in the just appreciation of
tone values, but all with
proper balance and due
significance. So he is Im-
pressionist even in his con-
ception, by the tendency of
his art which leads him to
depict the momentary
emotion, by the solidity of
his drawings which the
colour never breaks down,
but is for him, as it were,
the particular and signifi-
cant characteristic of the
instant.
Between painting por- portrait
33°
by leo samberger
Samberger paints portraits in a manner exclusively
his own. Among the numerous works shown there
were to be seen some of his earliest efforts (heads
or figure compositions); and the spectator could
see how little by little he gained in confidence and
could trace the different influences the painter was
subject to on the road to that final mastery evinced
in his latest portraits.
Having been a student at the Munich Academy
of Fine Art under Lindenschmidt—this was about
1885—Samberger took on'strongly that tinge of
classicism which was then the fashion in the
Bavarian capital. Lenbach no doubt interested
the young painter by his sensitiveness of observa-
tion ; Rembrandt, too, must have often inspired
his visions, and from the originators of the im-
pressionist movement he received something of
their audacity of colouring. From 1887 onward
Samberger worked to please himself, taking
especially for his models
those who were near to him,
and the intimacies of whose
lives were well known and
familiar to him. Hence
arises the great charm of so
much of his work.
traits Samberger finds relaxation in giving free rein
to his imagination, in evoking the appearance of
some figure of mythology or history, in symbolising
some noble idea. His forte, however, is the
portraiture of men. He is unquestionably one
of the most distinguished among contemporary
painters. F. Gos.
VIENNA.—The picture Gipsy Women,
by Heinrich Gollob, reproduced on p.
332, was in the winter exhibition of the
Secession, a notice of which, with repro-
ductions of other prominent works shown therein,
appeared in the last number of The Studio.
BUDAPEST.—A collective exhibition of
the works of the late Lajos Bruck was
held a short time at the Royal Academy
in this city. These included paintings,
drawings and sketches, the motives being highly
In brief, the artist has
succeeded in conquering,
as it were, this life which
he observes and transcribes
upon his canvas, depicting
it with spontaneity, audacity
or delicacy, and always with
a masterly touch now in the
rendering of the features, or
in the just appreciation of
tone values, but all with
proper balance and due
significance. So he is Im-
pressionist even in his con-
ception, by the tendency of
his art which leads him to
depict the momentary
emotion, by the solidity of
his drawings which the
colour never breaks down,
but is for him, as it were,
the particular and signifi-
cant characteristic of the
instant.
Between painting por- portrait
33°
by leo samberger