DOI issue:
No. 303 (June 1925)
DOI article:[Studio-talk]
DOI Page / Citation link:https://doi.org/10.11588/diglit.21402#0352
MUNICH
BHHHEHHnHBHHIIIHHiH^BHHI
MAIN ENTRANCE TO THE VICTORIA
THEATRE, PFORZHEIM. ARCHITECT, LOR-
SCHEIDT ; SCULPTURE BY KNUT ANDERSON
to create his own mode of artistic expres-
sion, his own language, his own form, his
own style. A kind of austerity, which,
however, has also a great charm, speaks
out of his works like a voice from afar and
reminds us of his Swedish home. But
also the beauty and fantastic strangeness
of the Far East and its art takes hold of
him and flows into his work through portals
readily opened for its entrance. There is
further the Rococo style of Southern
Germany, which reaches its height in the
works of the Walloon, Francois de
Cuville, an artist working in Munich.
There is above all the Rococo music of
Mozart which enthrals and inspires Ander-
son and takes plastic shape in his graceful
creations. All these elements " pass the
personality by," they rank themselves
together and become under Anderson's
forming and creating hand a convincing
and original unity. Anderson takes up
his work with both hands and without
affectation. He is not one of those
theorising brooders whose several systems
and reflections and meditations prevent
them from ever creating anything new,
346
expressive of their artistic intentions. It
is true that Anderson has created some
plastic works which must be looked upon
as liberal, as absolute art, and these works
are not his worst. It is, however,
characteristic of Anderson's present stage
of development that he prefers to use his
great and peculiar ability in the service of
architecture, especially that of the decora-
tion of festive interiors. His is, therefore,
in the best sense of the word a decorative
plastic power, and what he creates can
and must be looked upon as practical art.
He wreaths his tectonics around with
creations which go straight to the heart
and make for cheerfulness and gaiety.
He makes a construction gayer, more free
and pleasing by showering upon it a
swarm of charming figures, seemingly
floating in the air. 0000
Anderson's success began some years
ago when he did the woodcarving for a
cigar-kiosk standing in the vestibule of
the main station at Munich. These very
characteristic and original creations drew
the attention of connoisseurs and lovers
of the fine arts to him. He soon received
BHHHEHHnHBHHIIIHHiH^BHHI
MAIN ENTRANCE TO THE VICTORIA
THEATRE, PFORZHEIM. ARCHITECT, LOR-
SCHEIDT ; SCULPTURE BY KNUT ANDERSON
to create his own mode of artistic expres-
sion, his own language, his own form, his
own style. A kind of austerity, which,
however, has also a great charm, speaks
out of his works like a voice from afar and
reminds us of his Swedish home. But
also the beauty and fantastic strangeness
of the Far East and its art takes hold of
him and flows into his work through portals
readily opened for its entrance. There is
further the Rococo style of Southern
Germany, which reaches its height in the
works of the Walloon, Francois de
Cuville, an artist working in Munich.
There is above all the Rococo music of
Mozart which enthrals and inspires Ander-
son and takes plastic shape in his graceful
creations. All these elements " pass the
personality by," they rank themselves
together and become under Anderson's
forming and creating hand a convincing
and original unity. Anderson takes up
his work with both hands and without
affectation. He is not one of those
theorising brooders whose several systems
and reflections and meditations prevent
them from ever creating anything new,
346
expressive of their artistic intentions. It
is true that Anderson has created some
plastic works which must be looked upon
as liberal, as absolute art, and these works
are not his worst. It is, however,
characteristic of Anderson's present stage
of development that he prefers to use his
great and peculiar ability in the service of
architecture, especially that of the decora-
tion of festive interiors. His is, therefore,
in the best sense of the word a decorative
plastic power, and what he creates can
and must be looked upon as practical art.
He wreaths his tectonics around with
creations which go straight to the heart
and make for cheerfulness and gaiety.
He makes a construction gayer, more free
and pleasing by showering upon it a
swarm of charming figures, seemingly
floating in the air. 0000
Anderson's success began some years
ago when he did the woodcarving for a
cigar-kiosk standing in the vestibule of
the main station at Munich. These very
characteristic and original creations drew
the attention of connoisseurs and lovers
of the fine arts to him. He soon received