DOI Heft:
No. 249 (December 1913)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.21208#0254
Studio-Talk
Among recent exhibitions at the Schulte Salon the
posthumous display of Karl Haider’s works at once
aroused sympathy for an art which was practised
with persistence and reserve. In portraits, land-
scapes, and genre subjects, this painter carried on
the old German tradition manifested in Holbein
and later in Defregger and Leibl. Hans Thoma
again proved his authority as a landscapist in some
large Black Forest pictures of superior merit. The
wide sweep of his vision, his consummate search
for realistic veracity and a sensitive recognition of
emotional beauties have deservedly given him a
unique position. He also showed himself to be a
colourist of distinction and a capable painter of
children. The winter and summer pictures of Max
Clarenbach evoked sympathy by their quietude, but
in spite of a fine study of air and light they imparted
an impression of monotony. A reserved sense of
colour was also a feature of the pictures of Wilhelm
Hambiichen, whose large canvas Near Diisseldorf
favourably sums up the best gifts of this painter.
Mohrbutter and Mosson excelled as flower-painters,
and the impressionistic temperament which now
strives for expressionism was discernible in a series
of Italian pictures by Philipp Franck, who con-
vinced of a strong colour-sense and solid draughts-
manship, though on the whole his energetic methods
appeared more appropriate for the designer in
applied arts. Joseph Oppenheimer’s adhesion to
modern methods was evinced in his portraits and
excerpts from everyday life, but it was clear that his
nervous verve was controlled by a refined taste.
He strives for the richest gamut of pigment, and an
endeavour to differentiate colour has now become
his chief aim. The importance of this task cannot
be overrated when it is a question of rendering
effects of sunlight in the open air, but it must be
practised with discretion in interior painting. Karl
Strathmann aroused interest as a clever draughts-
man and decorative composer whose figure-subjects
and fantastic landscapes with their strong tonalities
and embroideries of pointillistic colour present a
curious mixture of pathos and caricature.
In the Cassirer Salon the renown of the animal
painter Karl Steffeck was revived by a display which
demonstrated the refined and clever brushwork of
this teacher of Max Liebermann and many others of
our leading painters here. Some animal pictures,
portraits, and landscapes of real distinction bore
witness to the high standard of our art about the
middle of last century. In Fritz Gurlitt’s galleries,
“near dusseldorf'’
( Schulte’s Salon, Berlin )
BY WILHELM HAMBUCHEN
23 2
Among recent exhibitions at the Schulte Salon the
posthumous display of Karl Haider’s works at once
aroused sympathy for an art which was practised
with persistence and reserve. In portraits, land-
scapes, and genre subjects, this painter carried on
the old German tradition manifested in Holbein
and later in Defregger and Leibl. Hans Thoma
again proved his authority as a landscapist in some
large Black Forest pictures of superior merit. The
wide sweep of his vision, his consummate search
for realistic veracity and a sensitive recognition of
emotional beauties have deservedly given him a
unique position. He also showed himself to be a
colourist of distinction and a capable painter of
children. The winter and summer pictures of Max
Clarenbach evoked sympathy by their quietude, but
in spite of a fine study of air and light they imparted
an impression of monotony. A reserved sense of
colour was also a feature of the pictures of Wilhelm
Hambiichen, whose large canvas Near Diisseldorf
favourably sums up the best gifts of this painter.
Mohrbutter and Mosson excelled as flower-painters,
and the impressionistic temperament which now
strives for expressionism was discernible in a series
of Italian pictures by Philipp Franck, who con-
vinced of a strong colour-sense and solid draughts-
manship, though on the whole his energetic methods
appeared more appropriate for the designer in
applied arts. Joseph Oppenheimer’s adhesion to
modern methods was evinced in his portraits and
excerpts from everyday life, but it was clear that his
nervous verve was controlled by a refined taste.
He strives for the richest gamut of pigment, and an
endeavour to differentiate colour has now become
his chief aim. The importance of this task cannot
be overrated when it is a question of rendering
effects of sunlight in the open air, but it must be
practised with discretion in interior painting. Karl
Strathmann aroused interest as a clever draughts-
man and decorative composer whose figure-subjects
and fantastic landscapes with their strong tonalities
and embroideries of pointillistic colour present a
curious mixture of pathos and caricature.
In the Cassirer Salon the renown of the animal
painter Karl Steffeck was revived by a display which
demonstrated the refined and clever brushwork of
this teacher of Max Liebermann and many others of
our leading painters here. Some animal pictures,
portraits, and landscapes of real distinction bore
witness to the high standard of our art about the
middle of last century. In Fritz Gurlitt’s galleries,
“near dusseldorf'’
( Schulte’s Salon, Berlin )
BY WILHELM HAMBUCHEN
23 2