. International studio. ned thereis traceable the influence of the French medallists,from whom something has undoubtedly beenlearnt by the Germans, especially in regard to thetechnique of bronze casting and machine artists, however, have to be named who arenot to be classed in this category—Georg Romer(Florence) and Max Dasio (Munich), whose par-ticularly expressive technique either recalls —?Dasios especially—the coins and engraved gems ofthe Greeks and Romans or follows a wholly inde-pendent line. Both these artists are endeavouringto revive the old steel die process. If that c
. International studio. ned thereis traceable the influence of the French medallists,from whom something has undoubtedly beenlearnt by the Germans, especially in regard to thetechnique of bronze casting and machine artists, however, have to be named who arenot to be classed in this category—Georg Romer(Florence) and Max Dasio (Munich), whose par-ticularly expressive technique either recalls —?Dasios especially—the coins and engraved gems ofthe Greeks and Romans or follows a wholly inde-pendent line. Both these artists are endeavouringto revive the old steel die process. If that couldbe done it would be a good thing, and no doubtcollectors would pay especial attention to examplesproduced by this method. H. E. K. DRESDEN. —The Grosse Aquarell-Ausstellung in the Academy Buildingon the terrace is a good deal morecomprehensive than its name—Water-colour Exhibition—would imply. In fact, no colour-technique has been ruled out except pure colours, body colours, pastels and even. THE ELBE AT DRESDEN BY WILHELM CLAUS321 studio- Talk
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