. International studio. rk in which thecolour or pastel, its nique proceeds clearly onwater or body colourlines, vie in spirit, con-ception and general char-acter with the work ofthe painter in oils. Theseare the paintings — can-vases I had almost said—which are enclosed inheavy frames with nomount intervening be-tween frame and picture,and the large importantworks of Von Bartels,Herrmann, Skarbina, and others are cer-tainly marvels of is surprising how closethey can come to theeffects of the painter inoils. In the end, however,one likes to revert to thespecific character of wa
. International studio. rk in which thecolour or pastel, its nique proceeds clearly onwater or body colourlines, vie in spirit, con-ception and general char-acter with the work ofthe painter in oils. Theseare the paintings — can-vases I had almost said—which are enclosed inheavy frames with nomount intervening be-tween frame and picture,and the large importantworks of Von Bartels,Herrmann, Skarbina, and others are cer-tainly marvels of is surprising how closethey can come to theeffects of the painter inoils. In the end, however,one likes to revert to thespecific character of water-delicacy, its fleeting touches, Work on a large scale,work that in its thoroughfinish and general aspectcompetes directly withthe art of the painter inoils, occupies the mainhall with its are tempera pic-tures, such as a Self-portrait, by J. Mogk, andAmong the Pistrian Hil/s,by Dora Hitz, which can-not be distinguished fromoil paintings, and thereare many other pictureswhich, though their tech-322. RAPUNZEL by H. LEFLKR and J. URBAN (By permission of Messrs. Gerhuh b Wicdliug, Fie/tfia)
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Keywords: ., bookcentury180, booksubjectart, booksubjectdecorationandornament
