DOI Heft:
Division II. Germany
DOI Artikel:Deubner, Ludwig: German architecture an decoration
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.37423#0168
GERMAN ARCHITECTURE AND DECORATION
by the dark brown panelling, which extends to the cupboards and
the recesses containing the wash-stand. In all these rooms we see
evidence that the progress has been towards a more restful, substantial,
and practical mode.
The sculptor Rudolf Bosselt, who was one of the 44 Darmstadt
Septet ” summoned by the Grand Duke of Hesse to organise the
colony of artists he had started, is mostly known only as a 44 Klein-
plastiker ” or creator of small figures, and as the author of numerous
excellent plaquettes, medals, and bronzes. His colossal bronze figure
at the entrance to the Ernst-Ludwig House at Darmstadt, however,
shows him in another field—that of architectural sculpture, a much
neglected branch of art to which he has more and more been drawn,
and in which his abundant skill is attested by the works now illus-
trated (page 204). Of a different character are the two reliefs by
the brothers Ohly, of Frankfort-on-Main, and the Munich sculptor
Julius Seidler (page 206). In the Harvest relief, designed for the
decoration of a school-house, the figures are also treated in a monu-
mental style, yet seem instinct with vitality. More naturalistic in
conception and elaboration is the relief which Seidler has executed
for the country residence of Gabriel von Seidl, the eminent architect
of the Bavarian National Museum, whose friends and admirers com-
missioned the relief for presentation to him on his sixtieth birthday.
Now that the manufacture of porcelain is again in a flourishing
condition a new field of activity is opened up, and one in which, more
perhaps than in any other branch of applied art, complete familiarity
with the nature of the material and the possibilities and limits of its
manipulation is required. The Royal Porcelain Manufactory at
Meissen (pages 202 and 203) has long been in the habit of taking
young men who have shown a talent for sculpture and giving them
a thorough training in all the details of the designing and making
of porcelain. This establishment, the birthplace of European porce-
lain, has always made a point of good material, artistic form, and
finished painting ; and since it commands a wide range of fire-proot
colours such as few other manufactories can boast, and can rely on
a staff of able artists, among whom Otto Pilz should be especially
named, it has an immediate advantage over the private factories
which have more recently been founded for the production of porce-
lain figures of artistic worth. The Gebriider Heubach Company at
Lichte in Thuringia have led the way here, with a fine series of
animal figures designed by the Berlin sculptor, Paul Zeiller (page
201), which attracted much attention at the Brussels Exhibition and
won a gold medal. It should be noted as a significant symptom in
the evolution of our arts and crafts, that private concerns now hold
J54
by the dark brown panelling, which extends to the cupboards and
the recesses containing the wash-stand. In all these rooms we see
evidence that the progress has been towards a more restful, substantial,
and practical mode.
The sculptor Rudolf Bosselt, who was one of the 44 Darmstadt
Septet ” summoned by the Grand Duke of Hesse to organise the
colony of artists he had started, is mostly known only as a 44 Klein-
plastiker ” or creator of small figures, and as the author of numerous
excellent plaquettes, medals, and bronzes. His colossal bronze figure
at the entrance to the Ernst-Ludwig House at Darmstadt, however,
shows him in another field—that of architectural sculpture, a much
neglected branch of art to which he has more and more been drawn,
and in which his abundant skill is attested by the works now illus-
trated (page 204). Of a different character are the two reliefs by
the brothers Ohly, of Frankfort-on-Main, and the Munich sculptor
Julius Seidler (page 206). In the Harvest relief, designed for the
decoration of a school-house, the figures are also treated in a monu-
mental style, yet seem instinct with vitality. More naturalistic in
conception and elaboration is the relief which Seidler has executed
for the country residence of Gabriel von Seidl, the eminent architect
of the Bavarian National Museum, whose friends and admirers com-
missioned the relief for presentation to him on his sixtieth birthday.
Now that the manufacture of porcelain is again in a flourishing
condition a new field of activity is opened up, and one in which, more
perhaps than in any other branch of applied art, complete familiarity
with the nature of the material and the possibilities and limits of its
manipulation is required. The Royal Porcelain Manufactory at
Meissen (pages 202 and 203) has long been in the habit of taking
young men who have shown a talent for sculpture and giving them
a thorough training in all the details of the designing and making
of porcelain. This establishment, the birthplace of European porce-
lain, has always made a point of good material, artistic form, and
finished painting ; and since it commands a wide range of fire-proot
colours such as few other manufactories can boast, and can rely on
a staff of able artists, among whom Otto Pilz should be especially
named, it has an immediate advantage over the private factories
which have more recently been founded for the production of porce-
lain figures of artistic worth. The Gebriider Heubach Company at
Lichte in Thuringia have led the way here, with a fine series of
animal figures designed by the Berlin sculptor, Paul Zeiller (page
201), which attracted much attention at the Brussels Exhibition and
won a gold medal. It should be noted as a significant symptom in
the evolution of our arts and crafts, that private concerns now hold
J54