DOI issue:
No. 249 (December 1913)
DOI article:Studio-talk
DOI Page / Citation link:https://doi.org/10.11588/diglit.21208#0256
Studio-Talk
Berlin contingent comprises numerous well-known
artists, such as Emil Orlik, Carl Langhammer, Carl
Kayser-Eichberg, Leo von Konig, Max Slevogt,
Louis Tuaillon, Hans Baluschek, and Lovis Corinth,
and the eminent jurist, Justizrat- Gerhard; while
among the representatives of other centres are
Gari Melchers, Ludwig von Hoffmann (Weimar),
Eugen Bracht, Gustav Schonleber, Wilhelm
Triibner, Robert Sterl, and Hans von Volkmann.
DARMSTADT.—Bernhard Hoetger oc-
cupies a leading place among the
sculptors of Germany not only on
account of the numerous works he has
created in marble, bronze, and other materials, but
also because of the various decorative objects
in majolica which have added so much to his
reputation. Like so many of his confreres, he was
234
“DIANA” (MAJOLICA) BY BERNHARD HOETGER
EDMUND GOMANSKY
a craftsman before becoming an arts-man, and is
not only a master in the moulding of forms and of
the material in which they are to be executed, but
also in the designing of them. It was, in fact,
his technical knowledge, as well as his rare gifts as
an artist, which led the Grand Duke of Hesse to
call him to Darmstadt as Professor. Hoetger won
his first laurels in Paris, where he practised for
seven years; but even before going there the young
sculptor had gained recognition in Dresden, Berlin,
Cologne, and other German towns for his realistic
rendering of street types. He was then at the
beginning of his career, and his artistic output has
in the meantime assumed a very different character.
At the Dtisseldorf exhibition in 1903 two female
busts which the sculptor exhibited revealed him in
a new and quite original light as a decorative artist
gifted with fine visionary power and remarkable
individuality in the treatment of surfaces and
the distribution of masses. Assyrian and ancient
Egyptian sculpture have their place in his artistic
development, but to these influences he has added
his own personal note, so that his -works have a
place of their own in modern sculpture. He has
lately devoted much of his skill to the manipulation
of the material and the moulding of the designs for
his majolica figures. These were first exhibited
at the Sonderbund exhibition in Cologne last
year, where they evoked much praise. In this
“CRESTED CRANE” (BRONZE)
BY
Berlin contingent comprises numerous well-known
artists, such as Emil Orlik, Carl Langhammer, Carl
Kayser-Eichberg, Leo von Konig, Max Slevogt,
Louis Tuaillon, Hans Baluschek, and Lovis Corinth,
and the eminent jurist, Justizrat- Gerhard; while
among the representatives of other centres are
Gari Melchers, Ludwig von Hoffmann (Weimar),
Eugen Bracht, Gustav Schonleber, Wilhelm
Triibner, Robert Sterl, and Hans von Volkmann.
DARMSTADT.—Bernhard Hoetger oc-
cupies a leading place among the
sculptors of Germany not only on
account of the numerous works he has
created in marble, bronze, and other materials, but
also because of the various decorative objects
in majolica which have added so much to his
reputation. Like so many of his confreres, he was
234
“DIANA” (MAJOLICA) BY BERNHARD HOETGER
EDMUND GOMANSKY
a craftsman before becoming an arts-man, and is
not only a master in the moulding of forms and of
the material in which they are to be executed, but
also in the designing of them. It was, in fact,
his technical knowledge, as well as his rare gifts as
an artist, which led the Grand Duke of Hesse to
call him to Darmstadt as Professor. Hoetger won
his first laurels in Paris, where he practised for
seven years; but even before going there the young
sculptor had gained recognition in Dresden, Berlin,
Cologne, and other German towns for his realistic
rendering of street types. He was then at the
beginning of his career, and his artistic output has
in the meantime assumed a very different character.
At the Dtisseldorf exhibition in 1903 two female
busts which the sculptor exhibited revealed him in
a new and quite original light as a decorative artist
gifted with fine visionary power and remarkable
individuality in the treatment of surfaces and
the distribution of masses. Assyrian and ancient
Egyptian sculpture have their place in his artistic
development, but to these influences he has added
his own personal note, so that his -works have a
place of their own in modern sculpture. He has
lately devoted much of his skill to the manipulation
of the material and the moulding of the designs for
his majolica figures. These were first exhibited
at the Sonderbund exhibition in Cologne last
year, where they evoked much praise. In this
“CRESTED CRANE” (BRONZE)
BY