DOI Heft:
No. 389 (August 1925)
DOI Artikel:[Studio-talk]
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.21403#0131
BERLIN
"knights of the grail "
by theodor baierl
BERLIN.—There was considerable ac-
tivity in the art world at the beginning
of this summer. The Academy, the
Grosse Berliner Kunstausstellung and the
Verein Berliner Kunstler had arranged
comprehensive shows. A decentralising
tendency seems to rule, which makes it
difficult to keep track of the shows, and
prevents desirable co-operation. It is
perhaps as well that the pronounced
radicals of the November Group should
stand by themselves, but the disseverance
of the other groups is regrettable. Yet
they are at one in their resistance to
revolutionary art. The Academy, under
the leadership of Professor Max Lieber-
mann, still evinced strong progressivism,
although limitations had been made. A
single show was prepared for the Munich
Neue Secession, and also one for Hans
Thoma. It seems a consequence of hard
times that important monumental works
are nowhere visible, but the shows are
not barren of achievement, and the con-
tinuance of general productivity is aston-
ishing. Space was still granted to un-
flinching naturalism. Liebermann, Cor-
inth and Slevogt had nothing prominent
to show. Arthur Kampf was remarkable
for female figures, and Otto Engel, U.
Hubner, Franz Hoffmann-Fallersleben,
Orlik, Hagemeister, Clarenbach contribu-
ted each in his customary manner. a
As a new talent who had already
attracted attention in the exhibition of
the Young Rhineland Artists by passionate
temperament, grotesque vision and lumin-
ous colour-harmonies, Gert Wollheim pre-
sented himself. Paul Ploutke achieved
some good nudes, and again followed
the line of the naif old German masters.
Willy Jaeckel, who has accustomed us to
cosmic grandeur, showed largeness of
outline in female nudes. Georg Walter
Rossner sent a fine study of vibrating
water-atmosphere round swelling forms,
and Carl Hofer was tastefully expression-
istic in colour, but had again transformed
faces into masks. Ernst Fritsch's Bathers
combined realism and dreamland, and
Birkle was weird and merciless in compo-
sitions of technical excellence. Imre Goth
produced literary interest by a heroine of
the cafe-house, and a similar effect was
attained by Felix Mesek's strangely toned
Expostulation, a a a 0
The attractions of the Grosse Berliner
Kunstausstellung are several one-man
shows. A room for our greatest religious
painter, Eduard von Gebhardt, recapitu-
lates his superior qualities in revivifying
"colt" (bronze), by
karl heynen-dumont
125
"knights of the grail "
by theodor baierl
BERLIN.—There was considerable ac-
tivity in the art world at the beginning
of this summer. The Academy, the
Grosse Berliner Kunstausstellung and the
Verein Berliner Kunstler had arranged
comprehensive shows. A decentralising
tendency seems to rule, which makes it
difficult to keep track of the shows, and
prevents desirable co-operation. It is
perhaps as well that the pronounced
radicals of the November Group should
stand by themselves, but the disseverance
of the other groups is regrettable. Yet
they are at one in their resistance to
revolutionary art. The Academy, under
the leadership of Professor Max Lieber-
mann, still evinced strong progressivism,
although limitations had been made. A
single show was prepared for the Munich
Neue Secession, and also one for Hans
Thoma. It seems a consequence of hard
times that important monumental works
are nowhere visible, but the shows are
not barren of achievement, and the con-
tinuance of general productivity is aston-
ishing. Space was still granted to un-
flinching naturalism. Liebermann, Cor-
inth and Slevogt had nothing prominent
to show. Arthur Kampf was remarkable
for female figures, and Otto Engel, U.
Hubner, Franz Hoffmann-Fallersleben,
Orlik, Hagemeister, Clarenbach contribu-
ted each in his customary manner. a
As a new talent who had already
attracted attention in the exhibition of
the Young Rhineland Artists by passionate
temperament, grotesque vision and lumin-
ous colour-harmonies, Gert Wollheim pre-
sented himself. Paul Ploutke achieved
some good nudes, and again followed
the line of the naif old German masters.
Willy Jaeckel, who has accustomed us to
cosmic grandeur, showed largeness of
outline in female nudes. Georg Walter
Rossner sent a fine study of vibrating
water-atmosphere round swelling forms,
and Carl Hofer was tastefully expression-
istic in colour, but had again transformed
faces into masks. Ernst Fritsch's Bathers
combined realism and dreamland, and
Birkle was weird and merciless in compo-
sitions of technical excellence. Imre Goth
produced literary interest by a heroine of
the cafe-house, and a similar effect was
attained by Felix Mesek's strangely toned
Expostulation, a a a 0
The attractions of the Grosse Berliner
Kunstausstellung are several one-man
shows. A room for our greatest religious
painter, Eduard von Gebhardt, recapitu-
lates his superior qualities in revivifying
"colt" (bronze), by
karl heynen-dumont
125