International studio . re distance but even then they disclose tender-ness. Oskar Moll tries to combine Cezanne andSignac, but his landscape work can only be regardedas brush experiments. Max Pechstein, the leaderof the Neue Secession, appears to be an adversaryof both naturalism and impressionism. He seeksto achieve triumphs by pure colour, but as yet thisdaring experimenter can be accounted only as abarbarian in method and subject. Fritz Rhein issteadily gaining in freedom of facture and delicacyof colour in his ladies portraits and town aspects. The Winter Exhibition of the Secession was of
International studio . re distance but even then they disclose tender-ness. Oskar Moll tries to combine Cezanne andSignac, but his landscape work can only be regardedas brush experiments. Max Pechstein, the leaderof the Neue Secession, appears to be an adversaryof both naturalism and impressionism. He seeksto achieve triumphs by pure colour, but as yet thisdaring experimenter can be accounted only as abarbarian in method and subject. Fritz Rhein issteadily gaining in freedom of facture and delicacyof colour in his ladies portraits and town aspects. The Winter Exhibition of the Secession was ofunusual interest as a display of graphic art. Itrevealed great diversity of expression and broughtto light much real talent. The new president,Lovis Corinth, whose own contributions includedsome charming work of great delicacy, did homageto the distinguished draughtsmen of the earlynineteenth century, and among such as Schadow,Genelli, Schwind, Carstens, and Cornelius—asindeed among all the exhibitors—Anselm Feuer-. CAKE-BOX DESIGNED BY RUTTE-PREUSS FORTHE ROYAL BERLIN MANUFACTORY 59 bach towered as the triumphant genius. Foreignerslike Zom, Israels, Muirhead Bone, Pennell, andZoir were much admired, and the leaders of thisartistic phalanx. Max Liebermann, Slevogt, and,before all, Ludwig von Hofmann. in his naturalisticclassicism, maintained their prominence. Baluschckwas of commanding interest in a series of chalkdrawings from the industrial region, and Branden-burg fascinated by symbolism. Ulrichand Heinrich Hiibner remained the distinguisheddelineators of the water region and the tastefulinterior, Ernst Oppler continued his refined mi-pressionism, Pottner charmed us with his woodcuts,and Ph. Franck with his etched open-air of renown like the gracefully old-fashioned Carl Walser and the elegant and wittyPrectorius were joined by Hans Meid, who, mspite of inadequateness, occasionally recalls Callotand Rubens. Beckmann gave proof a
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