S D BY G S T I LK E E R LI N PU B LI H E GE O R , B . V A LL R I GHTS R E S ER E D.

S D D 1 08 V I G O F C Y G PU B LI H E , E CE M B E R 9 , P R I LE E O P R I HT I N

D S A S S V D TH E ACT V D MA C 1 0 UN ITE T TE RE ER E UN DER APPRO E R H 3, 9 5

B Y G G S T I LK E NW . E O R , B ER LI N 7 BY TH E K . CO M PO S ITI O N PR I NTI N G RE I CH S DRUC ERE I, B ERLI N

TO N E S B Y G EO R G CO M P . B ER LI N .

B E R LI N .

Y A - TRANSLATION B M BE RLY OPPLER CHARLOTTENBURG .

CO N TEM PO RARY GERM AN ART

of . by PAU L CLEMEN , Professor at the University Bonn

t can be asserted confidently and without exaggeration that the living Art of the Ger many of to - day is practically unknown to the da A r n form e r tim e s present y me ica . In young Americans went over to Germany fo r the

purpose of completing their art education , to the older ones Dusseldorf, the younger ones to Munich . the This generation has almost died out and , among leading o f - who e American artists to day, William M . Chase , studi d at h e e . Munic , is perhaps its sole repr s ntative Further, up to a quarter of a century ago , many German pictures found their e way to America annually . Pl nty of opportunity existed in the country itself to become acquainted with German Art . It now the seems , however, that Knaus and Vautier period was the last o ne regularly represented in American galleries e who and coll ctions , and that the works of painters came after that school are only to be found in out of the way pla ces and that with some exceptions , as for instance Gabriel e for Max, proper representation has been lacking entir ly the last twenty years .

h . Naturally, the official ex ibitions at Chicago and St Louis or of comprised , more less , representations official art, and the voices heard in those World fairs were too many and t o o loud for the quiet and pure voice of Art to be heard . It i is only in a few dist nguished private homes , principally in several excellent modern private collections in NewYork and

5 - . Chicago . that German Art of to day finds due recognition a America, and Americ n Art , have been learning from the French fo r the last generation and have passed through the

French School . The path opened up by the three pioneers n William Morris Hunt , George I ness , and John La Farge was a o followed then by hundreds . Thirty years g it was the mis sion of France more than any other country to become the “ ” school of what is called good painting . America assimilat o f f ed the best what that School and its traditions could o fer, but has outgrown it now . American Art would form simply a branch establishment o f the Art of Paris were it not to disencumber itself from the fe tters o f that School . American Art has to o many ne w and characteristic ideas to proclaim and must speak its own message ultimately in its own lan r guage . It has grown so rapidly du ing the last ten years and has rushed forward at such a headlong pace that it surely “ can stand on its own feet now . The man who always goes ” behind another man will never get past him , said Michael

Angelo . American Art will only become an international power in the moment that it ce ases being international . For of America consequently, it is great and perhaps deci sive value during this period of national purification of its

Art to investigate , at home and not at foreign exhibitions ff on the other side of the ocean , the modern e orts and pro ductio ns of the most prominent countries representing Art . And although France may possess an older and finer culture and older technical traditions , yet the most vigorous and the freshest forces , the most energetic vitality and the most pro misin to g youthful generation are be found in Germany . It has been a matter o f belief for some long time past in Ame

6 rica that German Art has been resting on its historic laurels

and has fallen into a winter sleep . Scarcely any idea is enter taine d in America of the vigorous regeneration that has taken place in Germany during the last twenty years and of

the strong artistic movement which , surging through the w hole of Germany, is gaining more and more in depth and

breadth , and which would fair engross the whole of public

and domestic life . e the of From an age of intellect Germany , onc nation thin

kers and dreamers , emerged and entered on a period of natural sciences and te chnology and it ye arns to quit this

for a new artistic age . Art as it is comprehended in Germany should be more than a graceful ornament for mental culture and more than an ingenious emb e llishment for the literary

sediment of intellectual life . Art aims at being more than a m e mere orna ent , a luxury or a dainty mors l for the pamper e e ed and spoilt . It do s not desire to be sol ly artists art , studio ’ ’ c o nno is art, l art pour l art , a dish for crafty collectors and

s c urs . Art is the highest and finest expression of the national the life of all countries , the national reflection of individual e charact r, a language formed anew by every nation by rea son o f its inward natural forces and in accordance with its so needs , its inmost and purest essence and with its political, cial and intellectual movements . It is a kind ofnecessary mani fe station of power and of the last and highest artistic desires and moods as well as of the last mysterious yearning that has never yet been comprehended and that cannot be expressed r e by words . And if the Art of any period serves as a real fl cti e on and as an abbreviated chronicle of that period , then

f — ff the German Art o to day o ers a more complete , impressive and comprehensive picture o f modern German intentions and capabilities than the Art of any neighbouring country . If this great task and this extensive possibility o f expression to r is accorded Art, then the theo y advanced by some small one literary Trusts that there is only international Art, born r to in Paris , to which eve ything else has conform , is in itself untenable . We esteem the great capabilities , the brilliant tech nique and the eminent proficiency o f the French of the last not generation , but it is that for which we are seeking and by which we will abide . The great Frenchmen from Dela to e to croix Man t, from Houdon Rodin, were above all true

Gauls , true descendants of a Latin race . And with the same Le ibl o justification Menzel and , B cklin and Klinger, desire above all to be true Germans . Nobody can expect our great of to lyrical poets the last generation chant in French , that Liliencro n Storm should sing like Baudelaire, or like Ver do & laine ; why2 therefore , have artists been expected to so of - Further, the German artists to day, if theybe perfectly frank to can and true themselves , only desire to express and only to n give expression that which lies withi them , to what they

. of the are themselves Just as the great Art Greeks, the great of the Art Italian Renaissance was national, so German Art o f the future must be national ; national without Chauvinism, national without Teutonism , Art first and above Nationalism , Art pure , Art that has its origin in ability . All European countries possessing a vigorous artistic life have been the arenas of fierce , frequently passionate strug gles during the last twenty years . An age which hurried along c t so restlessly and with such strides in all other dire ions, which brought with it such a complete revolution in the

8 o f views life , could not abide by the comfortable , uniform pace of former times in the path of Art . There was a long , almost too long, period of fermentation and Art in its fresh youth in Germany seems to have passed through all the childish ailments conceivable . The danger was immine nt that much of what was real and good in the last period would be thrown overboard with the old and dead and above all that the careful training in drawing would be lost entirely . There was perhaps no age in which such a lack ofreve re nc e was dis e play d . The right direction , however, was taken in time . “ ” e I The new school has call d itself the modern . should like e to hang up the f llow who coin e d that word . All gre at lights

“ at all tim e s have been mode rn as compared to the gene “ ” e ration preceding them , and every new tendency is mod rn The Classiscists e as compared to an old and dying o ne . wer “ ” modern in Germany in comparison to the painters of the last Rococo period , the Nazarenes as compared to the Clas siscists e e e the , the Romanticists as compar d to the Nazar n s , e e school ofM nzel as compar d to the Romanticists , the school to of Painters as compared the Cartoonists , Knaus and Vau e Le ibl ti r as compared to the oldest genre painters , as com Leibl pared to Knaus , Liebermann as compared to , and Putz “ e as compared to Liebermann . All those are mod rn who m t ne w o r stron desire to establish something great, so e hing , g the e : in world , or to cast a new horoscop oftheir time Wash in to n e da Wilhelm g and Napoleon , and in the pres nt y the

Second and President Roosevelt . In Art , however, it seemed that those “ modern artists quite forgot that there were “ m modern artists before them . The law of develop ent in Art appears to be as firmly established as a natural law— as

9 the law of the conservation of force— and it is truly the c on servation of a natural force . It announces , namely, that as to far back as we are able look, periods and tendencies have succeeded each other in which either sole salvation has been o r sought by an ardent clinging to Nature , in which it was believed that the forms won from Nature could be freely mastered and improved upon . Times of Realism and times of Idealism ; and when this latter reaches its limit, Mannerism, it is followed by a return to Nature as the sole regulative and great corrective ; in contact with the maternal soil Art regains new strength like Antaus . It seems also that it is a law of development that new Art has always made war on old Art and was attacked by the latter in return . Those once rebels are tyrants to — day and the revolutionaries of to - day

- may be perhaps the despots o f to morrow . The latest movement has taken root chiefly in Germany um “ ” der the name o f the Secession movement . This appro priate title was adopted by a number of young Munich ar tists after they had severed th e mselves in 1 892 from their e e older colleagu s . It calls to m mory the first secession that took place in Rome in 494 B . C . and the exodus of the op

— pressed people to the Sacred Hill . Now the name has b e come typical for every similar departure of a small minority e from a compact majority by which they f el overwhelmed . The Art secession in the beginning was a manifestation of the strong feeling of those who did not desire to go w stroved ith the crowd, but who to climb the steep heights of of Art by paths their own with few beside them . Her mann Grimm once in a refined and charming manner defined the beginning of the Secession as the desire to be alone with I O . e Nature If this is the case , however, the t rm secessionist ought to exist only in the singular and in the sense that all great artists of all times who wandered on their own paths were secessionists before the Secession ; Michael Angelo

e . as well as Rembrandt, Menzel as well as Man t Ibsen said , “ somewhere or other : Time is re lentless nowadays ; a truth 1 2 1 20 e founded on a normal basis only lives to be , 5 or y ars ' ” o ld at the most ; and there com e s a time when the truth be e comes an untruth and the ben fit a plague . The great process the e of purification , the impulse once given by S cessionists

- has passed away to day . A new generation has arisen that strives towards fresh goals , and the period that struck out with hardwords and great programmes oughtto have passed .

Altogether there is no old Art and no new Art, but only good

— and bad Art either Art solely and purely, or such as does

e e . not deserve the name . For time strid s irr sistibly forwards Only a perfectly blind person can be unaware of the fact that from the beginning of this century we really possess in e Germany what is called a new style , a styl that is no longer “ ” “ ” what is called gemacht and gewollt , butwhich has grown . It is long since Germany shook o ff the affectation coupled with these first attempts which aimed above all and absolutely ’ at being new, and l art nouveau , as it has been christened in

France and America, hardly exists any longer .

An earnest, severe and positive style has arisen in its place .

- The grand monumental Art pursues its way tranquilly to day . It is no longer a matter of remark : and this new Art exists with the same right that the twentieth century exists . Should the characteristic peculiarities of this modern ten of u - deney in the domain painting be enq ired into to day , three

1 1 : points can be emphasised Firstly, that the vigorous , pulsa ting life by which we are surrounded , the men of our times and life in its most humble forms , are regarded without gloss and as the most important material for Art . Secondly, the to problem of light and air, that allows all figures appear im as if bathed in air, and encompassed by light . Finally, the pre ssio nistic technique . It may be that the latter is something e more than a mere technical form . P rhaps there is more underlying it than simply the desire to paint as our eye alone e is abl to see and comprehend , in contrast to the older school that painted everything as it knew it to be physically shaped .

“ Only one thing is important , to paint at the very outset what one sees ” said Manet the great initiator of this ten dency . Perhaps Impressionism is a characteristic of our whole culture and at the same time the harbinger of the highest in subjectivity . It can be repeated at this point that these e novations wer not all original . The vigorous pulsating life Mu around us has already been painted by Peter Breughel, further Velas uez rillo , Rembrandt and Hogarth ; q , Rembrandt and Goya worked in an impressionist manner, when they ff needed such technique , only with the di erence , that they did not subordinate themselves to it unless they deemed the occasion appropriate . And p e rhaps above and b eyond all this the discovery of light t is what . and air remains This is really what is new, quite new, that the age has brought us , and in this the great art exploits o f and victories the nineteenth century can be found . The era at the close of which Count Zeppelin and Orville Wright have achieved the conquest of the air has also witnessed o f its mastery from an artistic point view .

1 2 our great masters h e ad the series of artists re presenting the effective forces in the artistic life

of Germany, four great masters long numbered

with the dead . They hold this position by virtue e of being the ancestors of pr sent day Art , as the forerunners and , in a certain sense , the pioneers who have pointed out e the new ways . It will be se n shortly how this youngest direction was built up on the Art of the last generation .

F V O N First of all comes ADOL MENZ EL . When he was called e hon away as a nonagenarian three y ars ago , he was oure d abov e all other painters as the gl o rifie r of Prussian Frie dric ian fame , as the great historical painter of the period , who knew how to resuscitate such a historical period and to combine the greatest historical accuracy with the greatest e e vitality, in a manner which none b for him ever achieved and none after him e ver will achieve ; but this Menzel the

First , the great historical painter, has been dead for a long time ; it is just fifty years sinc e he painte d his last picture of

rie drician . e the F period Then ther came Menzel the Second , to a certain extent a Court historiographer, a conscientious chronicler of the history surrounding him , which he lived through and participated in , the painter of William the First . And then there was a Menzel the Third who was only at tracted by the active pulsating life that assumed thousands o f forms around him ; at Court, in Society, in the streets , in of crowds , at railway stations , in the bustle watering places , in the fumes of the blasting furnaces and foundries . And this

Menzel the Third was perhaps the greatest, the most mature and the finest of all three . He was the first to visit the

I 3 of people at their work , the first who sang the Psalm Work in his great “ Eisenwalzwerk” amidst the first threatening o f storm the workmens movement, the first to discover the artistic possibilities that lay in toiling , hammering men . At the same time he was the first “ Ausschnitts” painter who not was rivetted by the interesting act, but by the pictures ue ness q of the act, the first impressionist and the first sket r of cher . The most ma vellous feature the grand and awe inspiring appearance of this little man who strode through the world like the king of the gnomes , was his unwavering fo r love of the truth , his sacred respect nature , a respect that was constantly growing within him s o that finally he only dared to depict nature that he thoroughly comprehend o r the ed, , in other words , life by which he was surrounded . i He was one of the greatest originals of all times , orig nal above all in the manner in which he interpreted his genius .

His genius was assiduity and painfully he mastered his art . Like Durer he wrung his greatness from destiny by sheer force in a severe struggle . There are pictures by him (about the year 1 85 0) which depict a humble room through the ’ o f window which the sun s warm rays shine and play, pic tures of the yards and gardens of Berlin as it was then ideas o f i executed with the greatest resources the impress onist . o f He learnt, or discovered, for himself the art painting sub j e cts and figures in the open air thirty years before the ap e arance as p of the great French impressionists . Manet w only 1 6 years old when Menzel painted his first picture in accordance with this amazing technique , a picture that was fu ll of light . His pictorial impressiveness was quite immense during the last decades and was constantly increasing . He

I 4 possessed an almost terrifying objectivity that did justice to the smallest detail and that was almost suffocated by a super o f “ abundance material . He was once styled by Bocklin a ” great scholar . He was the greatest exponent of what may ’ perhaps b e called a specific Berliner s taste for Art : reflec tive , realistic , conscientious , tranquil , and somewhat dis

— . transfi urin passionate Even in what he lacked the g g, per

e — he sonal elem nt , phantasy, and poetical inspiration was a true son of that Prussian period . The French have a pro “ ” verb : To be a master means to resemble no one ; as no ’ man s pupil, or successor, and with a spirit of sturdy inde ende nce p he acquired his art and his artistic skill , inde “ pendently . If the right to the title of Father o f the Im ressio nists p be conferred by first discovery and conquest , h then it is Adolf von Menzel w o deserves the name .

A Z V O N LENBACH FR N , like Menzel , started from great histo rical paintings and whilst Menzel headed the Be rlin School for u the last generation and was its pride, Le bach was Le ac the foremost of Munich painters . nb h is the greatest portrait painter that Germany has produced during the 1 9 th a d century n a historical painter at the same time , for in real ity his portraits are a pictorial epic of his age . He has fixed on canvass all the great and celebrated men of a whole gene : ration the beloved , old Kaiser Wilhelm and his chivalrous son , clever Pope Leo , Bismarck, Moltke , Wagner, Helmholtz, o D llinger, and Gladstone . It can be said with truth that it is just through his portraits that this great age will figure in con times to come as a specially vigorous one . A peculiar geniality capable of assimilating itself to all great personal

I S ities was necessary to comprehend all those men : the fine u of thoughtf l and scholarly head Moltke , simultaneously with the powerful, rugged head of Bismarck . His great art lay in grasping what was most vital in the appearance and the in most being of his models and in building up his whole paint ing on that motive alone . In his portraits the whole inner soul appears like lightning in the eyes as it perhaps rarely showed itself in his sitters , or only when they were passing through the greatest moments of their lives . Every other detail was kept subordinate and suppressed in comparison ,

e . even details of techniqu The accessories , such as uniforms , costumes , hands , etc . , are treated purposely in a sketchy manner in order that the gaze and interest of the spectator should not be diverted from the heads that often appear as to if they had been illuminated by magic . In addition this the ’ master, who never concerned himself much about women s for portraits , perhaps because they lacked him firm cha racteristic expressions created countless figures o fwomen o f fascinating form which he shrouded with the most subtle art at his disposal . Le nbach perhaps remained too much a pupil of bye gone

. one times He copied no but, absorbed what was best in his e predec ssors . Tizian and Velasquez , Rembrandt and Hals , van Dyck and Reynolds are his ancestors alike . He bor ” rowed his “ old master technique from them and trained it t by means ofthese proto ypes . Thus the ingenuousness result ing from the direct contemplation o f nature was often lost to

- him , and it seems as if his wonderful brown toned pictures f shun the intrusion o the bright and clear sun .

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e h h to the skies . Th shortsig ted disregard of early times c ang ed rapidly into loud admiration and impetuous over-esti mation, so that frequently the irregular creations of his latter day style were accepted as happy inspirations and the Bock lin worship threatened to become almost an obstacle to the

- further artistic development of the German nation . To day ’ we view Bocklin s greatness and power without detracting

. from them , but also without exaggerating them Perhaps the soul of this universal painter is best comprehended if he is regarded at first as a landscape painter . He belongs to the

o f . historical, idealised school landscape painting Whereas other representatives of this school idealised landscapes by o f h h importing a medley t ings into them , by cramming t eir

8 o . frames, cklin idealised nature by simplifying it He sought of the underlying idea a landscape , its chief lines and cha o n racteristic points and built up his whole effect these . He to o f desires depict the working mysterious, eternal agencies in nature and therefore seeks what is elementary in her .

Each painting is full of tremendous solemnity, a psalm and hymn to Beauty . Like Jehovah in the first days of the Creation he creates his earth anew, distributes water and land and be causes trees to grow where he pleases . From the very ginning it was not the soft tranquil beauty o f German scenery e that attract d him , but he was fascinated by the imposing loftiness in Italian scenery . For this the greatest concentration and condensation was necessary . He himself styled compo ” u “ sitio the constant omission o f that which was superfluous . He never presents us with a definite piece of scenery but with a translated impulse received from nature ; also an im r T ession . hus p he never worked from direct studies, but from

1 8 thousands o f impressions of nature that cause a new picture w ’ to arise ithin his mind s eye . Consequently, all his paintings

' solemri possess accentuated vitality, something that is full of

silent majesty, or of immense and convincing, fiery, power

and truly antique mirth . His colouring, too , was no longer the natural colouring of nature but something slightly en l n n . o n i te de d hanced , something interpreted Andhe y to depict the r or mysterious fo ces of nature when he animated her, she

- him . He confronts nature with the simple mindedness of the In ancients . the thundering surge , the howling of the storm , in the ravines and in the rustle of the forest he hears myste rious voices and sees the gruesome figures that produce them , e and he peoples sea, forest and rocky gorge an w with crea

tions of his phantasy . They are not the Olympian gods , but

a strange race of fauns and satyrs , water sprites and elves ,

- e . nymphs and forest sp ctres , a Hellenic Swiss hybrid race e These figures are not borrowed from the antiqu , his sea monsters no longer belong to the Scopas race ; they are to e : a certain xtent new figures shaggy and unkempt , rough e e and bestial , fill d with wild animal life , fr quently with year ’ m r ings like the little mermaid in Andersen s fai y tale , and at other times full of unruly antique hilarity like the great God

' e m Bc5cklin e . Pan . hims lf is a poet He n ver illustrated a y

tholo ical . g , or heroic occurrence He reproduces as it were ’ Ovid s metamorphoses in his paintings ; a great visionary

and a great man . An immense power and inexhaustible health

live in his pictures , health which desires at times to have its

fling in almost barbaric strength and grotesque humour . Yet this man was capable o f the softest and deepest moods and heard mysterious voices of nature which no other ear had

I 9 not the harmonious caught before him . He did possess and refined classicism of the great Feuerbach (who unfortunately is not represented at this Exhibition) and further his pictures ’ “ ” of are not full deep tragedy like Feuerbach s Iphigenie, “ das Land der Griechen mit der Seele suchend, but he cre ates anew his ancient Greece out of his own inner conscious ness . He was the greatest natural poet . He sang poems, to as rich in colour, Nature , such poems only Walt Whitman has been successful in putting in words . If one desires to own a gauge him he can only be measured by his st ndard . The last goal that he strove for was something monumental a and decorative, an elaboration and interpretation of natur l impressions , and he occupies quite an isolated position in comparison to the other three masters who sought as their “ ” highest aim good painting .

mong the living painters shown at this Exhibition two old and yet ever youthful men occupy the first o f positions , one whom has completed his seven tieth year this year and another who will reach the same age next year . They are Eduard v . Gebhardt and rv Hans Thoma, and they both se e as intermediaries between ld o . H the and the new ED UAR D v . G E B ARDT still treads in the path of the traditions o f the great historical paintings o f the Dusseldorf School . He has located his religious paint of our ings in the period greatest religious upheaval , the o f Diire r time and Luther, but only apparently . Disinclined towards the present and its inexpressiveness he searched for a time of greater inwardness and expressiveness and found it in that age . The strong and powerful expression of his

20 figures , however , is what makes them so imposing and thrilling . There is no one in Germany who surpasses him in the art o f imparting to a whole group of figures such a deep living expression . He runs up the whole scale of the deepest emotion to passionate agitation . He never tolerates or anything weak, incomplete , soft and every detail must be

filled with the utmost amount of inward life . In this way he ff touches the heart of his contemplator, who is deeply a ected . r o f Fu ther, H A N S TH O M A , the most German masters , a o f to o BOCi n son the Black Forest , he like is a poet, a dreamer, but also like Bocklin an epic and dramatic poet e and above all a lyric poet and mast r of idylls . He lacks the ’ highly strung rhythm and exuberant vitality of Bocklin s art ; ’

e . Thoma s art is more tranquil , profound and humbl He to o starts with landscapes , but it is the charming freshness and loving beauty of the unpretentious German scenery that he cultivates . The magic of the plains of the Upper l Rhine , and his quiet be oved Black Forest valleys has scarce ly been depicted with such persuasion as by him . In de scribing Italy he sees the land with German eyes , and when he paints mythological pictures their scene of action is the forest of German fairy tales . He feels quite at home in these fairy tales and seems to believe in them ingenuously like

Moritz von Schwind . Loveable and delicate , roguish and hearty, melancholy, and contemplative , and frequently with a deep musical touch, he is a narrator in whose phantasy the new and the o ld mingle strangely ; at the same time primi tive , working in the beginning with free artistic ability, later on with conscious limitation ofartistic devices , and frequently t humdrum and commonplace . If, however, there is any hing

2 1 of at stake, he is capable of comprehending the soul a land h scape even beyond its last picturesque charm, alt ough that o ne may seem the last and highest aim in art . No has grasped of a German a the inmost being landscape in the s me degree , one no one has possessed such a suggestive power, and no has been such a herald of these unpretentious and chaste l beauties for his whole nation as has fine o d Hans Thoma .

He is true from top to toe .

b e realistic movement permeated the whole of painting in Germany more than a generation Le ibl A& . M ago Menzel and were its pioneers , LIEBERMANN was the leader of the new tendency in of a the middle the Seventies and at the same time , forGerm ny, the intermediary of the French and Dutch artistic views and a Munkacs technique . In P ris it was y and in Holland Josef

who e . e Israels, above all stimulat d him Liebermann , howev r, was a far to o lively spirit and far too strong a personal ar tistic power to do no more than pass on these impulses as he had received them ; he established quite a new style that only now and again had points in common with that of old ’ Leibl s Menzel . In contrast to motionless and severe figures he imparted to his figures a vehement vitality and nervous mobility . His great art lay in grasping that which was mo r menta y and characteristic in motion . He took over that Im which was new, what the Japanese and the first French pressionists and what Courbet and Manet had brought to e Art and wedded it to his new style . Technique full of g nius , broad and yet delicate , imparts an astonishing fresh ness to his paintings . The words of the great Dutchman,

2 2 “ Israels , Mankind is always beautiful ; give the people the simple poetry of real life , for finally it overcomes the hearts ” o f men he absorbed in his life . His great isolated figure of peasants , fishermen , and seafaring men in their general ised embodiment, he raised to a grand type . Monotonous nature and cold air form the proper background for these of figures toil and hardship . In this respect he offers us the same that Millet formerly gave to France and ye t his men ff belong to quite a di erent race , to the Northern race , and e f are vi wed in quite a di ferent light .

H TRUBN ER Side by side with him is WIL ELM , most promi nent during the Seventies ; an inconside rate naturalist with a strong feeling for nature and, especially in his earlier works , rv a ma ellous sense for the value of tone and large blotches . l al Common to both is the abso ute lack of phantasy, the most intentional shyness of everything that might appear a little sentimental or literary . As aforesaid, they all search only for good painting

’ FR1T z vo N UHDE was Munich s chief representative of the new realistic school ; but only his first works were devoted solely to the air and light problem . Uhde became by rapid o ne strides of the greatest painters of the new technique , but he discovered that the experimenting with indifferent motives b the did not suffice for him . Deeplyimpressed y movement for restoring to our national and artistic feeling the pious themes ofthe Christian legends he endeavoured to do what has been r done in eve y unsophisticated period, by the Eycks , as well as by the Durers and Rembrandts . He transferred the events of

2 3 “ ff the New Testament to his own time . His painting Su er the ” to little children come unto me , which was created exactly - five twenty years ago , is perhaps the most touching and most modern religious painting of that period . Full of the

“ truest feeling, and painted with the full mastery of the treat of not ment light, it certainly does form an ecclesiastical pic r ture . Uhde has never attained again the fe vency and stir ring power of these first pictures . He has only shown him self during the last few years as the great technologist and to painter who knows how to paint . As compared him the other representatives of realism in Munich recede into HU Go V O N of the background . HABERMANN is perhaps one the greatest virtuosos and perhaps one of the greatest masters of the palette ; he possess e s a breadth and surety of stroke which charms painters and which is full of feeling, pungent and very much out of the common . He handles the brush with absolute s overe ignity and almost makes it a point to wage war against everything commonplace . to ALBERT KELLER , compared him , is delicate and subtle, the a man of highest society, who endeavoured to make ingenious application of the new technique . to paintings of KtJHL in modern society . GOTTHARDT , who stands quite of dependently foreign influence side by side with him, knows how to conjure up in his technique the same charms and effects that Monet and Pissarro produced ; pic tures from his Northern home and his domicile on the strand of the Elbe, oceans of brick buildings , houses of old men, Rococo churches and snow- covered bridges have been de icted o f p by him with verve and freshness . Two the most fruitful artists of the Berlin Secession that appear in the

24

of r A K nique and a wonderful freshness colours ; fu ther J N , E RTERICH HE NGLER A M r H , and K RL ARR, an American by bi th O f M who fre and one the most sympathetic unich painters , quently calls to mind Abbott Thayer, the American , but who possesses greater freshness and individuality— sufficient in themselves to build up a new school . The whole development O f German Art mirrors itself in the history OfGerman landscape painting, so that from the image O ff ff we can , as it were , read the di erent tendencies clearly and sharply . After historical landscapes and the interesting landscapes of large plains and wide horizons come small fragments O f landscapes ; perhaps in no other field Of Ger man Art can more brilliant performances be found associated together . Landscape painting was the great experimenting ff field in which the e ects Of free light, cold light, the glaring sun , ofrarefied air and wavering light could be tried . Develop ment in this direction proceeded on the same lines as in France from Corot and Daubigny to Monet and Pissarro . Only names can be quoted here . In Karlsruhe three of the best Of these AV SCHO NLEBER painters are domiciled , namely, GUST , Julius

Bergmann and Ludwig Dill . The first , the greatest and most r on delicate reproducer Of the scene y the Upper Rhine , has turned from Southern themes to those at home , JULIUS BERGMANN is the creator of delightful animal paintings and

u . W G powerf lly toned landscapes LUD I DILL, once the leader “ ” of the Dachauer, fled from the town air o f Munich to the delicious country freshness of the neighbouring village Da

chau .Widel y removed from realistic reproduction , he essayed a O f - by the me ns dull, delicately harmonised silver grey sha des , such as have never been surpassed by the best Of Scotch

26 to artists , create something that might be called a style in landscape painting . And this is the tende ncy that is co n stantly growing in power and importance in the landscape o f - painting to day . “ O f Like the Dachauer School , a little colony painters of whom perhaps Vinnen is the best known , established itself at the village O fWo rp swe de near Bremen in North Germany so - and formed the called Worpswede group , whose chief aim is to reproduce the fresh colours O f the flat and unspoilt Northern landscape and to depict the marvellous brightness

Of its moors and marshes . Among the young Dusseldorf MA& painters , CLARENBACH attains this greatness and Simpli of K W city outline and among Berlin artists WALTE R LEISTI O , who died not long ago . It was the latter who first drew attention to the beauty ofthe lakes and fir forests o fBranden in burg art as Fontane did in literature .

he realistic movement had hardly reached its

height, before its decay set in . This relentless and of all too radical naturalism called forth , necessity , O f a counterpoise . The renunciation everything not that was phantastic , Of all poetical themes , could be borne for fo r long . The demand a more vigorous and personal art becoming stronger and stronger caused something super natural to be sought for in contrast to such all- to o - earthly

Art ; themes with greater, richer, and truer vitality in contrast to the stern subjects Of everyday life ; themes depicting stron h ger passions and increased pleasure in living, and a hig er life freed from the dross of this world . Conforming to the O f iron law development, of periodical recurrence , a new

27 of new st lisised romanticism sprouted up out this realism , a y o m m a Art . B cklin was the ost i port nt intermediary who , O f e t over the heads the whole r alistic movemen , built the i bridge to that h storical Art from which he himself came . ’ Z K artists based And FRAN STUC , above all other , himself on Bocklin . He is hardly imaginable without B ocklin, but r he is severer, more architectonic in form , more ir idescent be in colour, features that can noted more especially in his

first works . Stuck is an eminent colourist with marvellous enamel - like tones ; he dumbfounded the whole of Munich when he appeared , like a young faun in the arena, with his n pictures overflowing with power . And , standing alo e like to v MAx a hermit, and yet inwardly related Bocklin , we ha e

KLINGER , the greatest psychologist and certainly the most

O f . m s profound German painter the present day Someti e , to o however, Klinger philosophises much in artistic material n instead of creating freely . More u iversal than any other

he w - living artist , has attained orld fame as an engraver ; he turned from ea—sel pictures to monumental art and came to look on marble as the material in which he could best ex press himself. He has passed through a perfect transforma tion ; from the crass e st naturalism to the Olympian repose Dion sic e - and y jollity , and nothing has r mained hidden from

' rand sublimit him , from ghastliness to g y, from the soft and e lyrical to the intensified dramatical . In his Art we perceiv O f the whole the man Klinger, the sturdy wrestler, the con ex stant combatant , frequently struggling for the highest to c pression of Art ; and his melancholy and brooding, whi h i to creative form is Often den ed , is valuable us as evidence O f his unique development .

28 LU DW I G V O N H O F MAN N seems to have prov ed victorious over these struggles and all other heavy and cumbersome

toils . He did not have to strive long for the Lost Paradise ; the Garden O f Eden in all its irridescent splendour and e its to beauty Op ned gates him from the very beginning . His whole Art is a jubilant hymn to the beauty of his Pro mise d . e Land His pictures pass us in r view, sometimes Bac

chanal and unrestrained, sometimes filled with soft melan chol e y, but always full Of beautiful ardour . Th y are ideal O f r landscapes peopled with a supernatural race , full slende youths and delicate maidens in a pure nakedness not O f this a earth , higher race , ever young like the Olympian Gods , and although never mythological yet far re moved from this

- world . And this apparently child like unconstrained Art is

full Of the highest artistic wisdom . Slowly Ludwig von Hof mann has turned m ore and more to the decorative and sought

in decorative art the monumental , the great simplification , the conde nsation of forms at well as grand simple tones ; this is Nature as it was found by Puvis de Chavannes during the whole of his last great period and as it was sought fo r

in another way by John La Farge . Ludwig von Hofmann must no t be gauged by the standard O f pure realistic paintings ;

that lies behind him . He seeks to interpret Nature , intensi

fying it to the monumental . This bent towards what is great and towards the decorative ” is the “ Leitmotiv that characterises the works of the young a est and most remarkable group Of German rtists , namely

“ ” CH - e the MUNI SCHOLLE , under which title a series of pow r t ether a f w ful and original artists congregated og e years ago . d s m to They esire to ing a Hy n of Praise Mother Earth , to

29’ their native soil, in their pictures . These are redolent Of the pungent and healthy smell o f earth . The striving after what is great is shared by the whole group alike , even down to LE O Z size and technique in their paintings . PUT possesses perhaps the most powerful talent fo r painting among them ; he is sometimes almost to o tremendous in the broadness of the strokes Of his brush, but masterly in a wonderful sim plification of form and colour ; at the same time enchanting in his warm , rich, luminous and yet finely harmonised tones . “ It is not the profusion of detail , but the correctness Of the ” whole , said Rousseau once when characterising the con “ ” ce tion . to p Of perfection in painting And finish , said the O ff great American William Morris Hunt, means to leave somewhere outside after everything inside is quite full ; to ” O ff ou leave before y yourself, or the spectator, are tired . ’ Putz s surprising and amazing facility is shared by ADOLF U Z M N ER who possesses greater grace , a strong inclination fo r the decorative and quite wonderful ease in creating . Z r u e m has Then comes FRIT ERLER , the most powe f lly p e ised d corative talent of the whole group . He is frequently rough , quaint , exaggerated and sometimes almost barbaric Ba uvarian O f s and wild in his j expressions power, but alway of full inner grandeur and a born monumental painter .

inall to y, this striving after greatness Of outline ,

wards new monumentality, is also characteristic

for the new movement in German PLASTIC ART. Naturally at this Exposition it has been impossible to t ff even try o a ord a view of all these efforts in Germany. s REINHO LI) GA the e The chool of BE S, brought under notic

30 of the at s ro American public former official Expo itions , p s ers O ld p with all its fertility in the North . The father of this “ ” new and Barock style , Reinhold Begas , the creator Of the Kaiser Wilhelm and Berlin monuments of Bismarck, although of more than seventy years age, is still working .

For F a the younger generation , ADOL HILDEBRAND has risen a no w O f as leader, and , although he is upwards sixty years

Of age , the sculpture of the present day bears the impress o f his influence in a constantly growing degree . That, which o f he has never tired preaching as a teacher and creator, is quietness and simplification and condensation Of the ff one whole e ect in single view, namely, in the distant per s e c iv p t e . Especially in the setting up Of figures in the Open O ff which are to be visible a long way , the most important ” consideration is to select as a “ motif ofanimation one which ff shall be as simple and yet as e ective as possible , and to fo r secure the figure that silhouette which , without being x n exaggerated , shall e hibit the greatest expressive ess . “ ” to es This great repose , which Ruskin held be absolutely sential to to o f real art, is be found in the sculpture Hilde O f m brand , with the splendid nudity his arble bodies built up in calm ideality, and his wonderful busts in which the whole intellectual content is tersely summarised and ex pressed in a few boldly emphasised features . His art abstains “ ” from all accessories , he deliberately neglects all that is sub - M sidiary . Indeed this neo classical unich School is the dia metrical Opposite o f the naturalistic - historic school with its theory O f the faithful reproduction Of the model . e n r is O f the m om Of the B rli a tists , it LEDERER , the creator derful at s Bismarck monument Hamburg, who show the greatest psychic affinity to Hildebrand . His great maste r. piece looms up gigantic like a m edia val Roland statue and the figure , built up on huge blocks , towers over the city and the Elbe . In all Germany there is no monument which has been better conceived and carried out than this Hamburg ” Denkmal in which the powerful personality Of the foun der

Of the German Empire has been immortalised in stone . Side TU AILLO N O f by side with Lederer stands , the creator the “ lovely Amazon calm and resolute in her maiden chastity .

Her pose is absolutely simple and natural , but expressive of the utmost condensation Of strength , and, mounted before the National Gallery in Berlin on her neighing steed with e its outstretched h ad, she seems a fit personification of the youthful energy Of the German Art O f to - day with its buoyant confidenc e in the future .

n this confined and limited Exhibition the growth

Of German Art during the last few years , its

capabilities and its desires , can only be shown in f a restricted and limited degree . In these days O and hurry haste artistic tendencies die out far to o rapidly. Appearances that only create amazement are lost sight of

- . b with amazing rapidity TO day, German Art has rought over with it into the twentieth century the best O f the tra diti o ns r . of the nineteenth centu y And above all , it reflects O f an abundance great power and everlasting youth . This Art O f exhales the breath internal health . And truly Ge rman Art to - u O f Of day is a faithf l mirror the German nation ,

32

P ICTU RES

ALB RECHT, KARL ,

Professor ; painter at Konigsberg in Prussia ; teacher at the “d K onigsberg Royal Academy o f Arts . Born on the 2 April 1 862 at Hamburg ; pupil o f Th . Hagen at the Grand Ducal

of . : School Art, Weimar Distinctions Small gold medal ,

Munich .

— Still Life oil painting .

— In thought O il painting . ” — Flowers and Fruits oil painting .

BANTZ ER , KARL ,

e O f Dr . , Professor ; painter at Dr sden ; Director a Masters studio and member of the Council Of the Dresden Royal 6th 1 8 Academy O f Fine Arts . Born on the Of August 57 at d Ziegenhain , in Hesse , studie at the Academies in Berlin and : of Dresden (L . Pohle) . Distinctions Honorary Doctor the University of Marburg ; Prussian large gold medal fo r Art ; large gold medal Dresde n and numerous other exhibition medals .

— Hessian peasant girl oil painting .

35 BAE R , FRITZ ,

th . o n 1 8 Professor, painter at Pasing, near Munich Born the August 1 85 0 at Munich ; studied under Baisch at Munich for

on . a Short time , continued his studies later independently Distinctions : Prussian gold medal fo r Art ; large gold medal Munich ; Archduke Charles Louis prize medal Vienna and numerous other exhibition medals . ” — Stormy evening Oil painting .

VO N BARTE LS , HANS ,

‘h Professor ; painter at Munich . Born on the 2 5 D e ce mbe r 1 856 Hardorff O esterle at Hamburg . Pupil Of and Karl y at that Dfi sseldo rf town , then a student at the Academies at and : o f Munich . Distinctions Member the Academy in Berlin ; e the M honorary m mber of Academy at unich , Of the Société e n Royale Belge des Aquarellistes Bruxelles , of the Royal

e &c . Scotch Society of Painters in Wat r Colours in London,

Prussian gold medal for Art ; large gold medals Amsterdam ,

Budapest, Munich , Vienna and numerous other distinctions .

“ ” — Pardon, in Brittany water colour painting . ” — Dutch interior water colour painting . ” - r — Fish market at Conca neau water colour painting .

N BE CKE R, BEN O ,

rd 1 60 Professor ; painter at Munich . Born on the g April 8

e . at M mel Self taught . Distinctions : Numerous exhibition medals .

“ — i Vineyards O l painting . ” — il Arco O painting .

36 - GU N DAH L B E CKE R , CARL J O HANN ,

thA ril Professor ; painter at Solln near Munich . Born on the 4 p 1 8 6 5 at Ballweiler in the Palatinate of the Rhine . Studied at the Academy at Munich as well as under Professor G . Max : O f and Diez at Munich . Distinctions Honorary member the f e Academy at Munich . Possessor O the Princ Regent Luitpold medal .

— Head O f a bishop charcoal drawing . ” — My wife coloured drawing .

Owned by the Secessionist Gallery in Munich .

— Piccolo and beer jug drawing, ” - Five gentlemen in the loggia drawing . ” — Professor On the sea beach drawing . ” — Anno 1 4O O drawing .

O f — The revelation death drawing,

— Poet in the palace garden drawing . ” — The dearest o ne drawing .

B E RG MANN, J U LIU S ,

Professor ; painter at Carlsruhe and teache r at the Grand on 2 8th Ducal Academy Of Fine Arts there . Born the February 1 86 1 at Nordhausen ; pupil of the Stadel Institute O f Art at Frankfort O/the Maine ; studied at the Academy at Carls

: . ruhe (Baisch) . Distinctions Numerous exhibition medals

“ — On the way Oil painting .

37 B LO S , KARL ,

h 2 t Professor ; painter at Munich . Born on the 4 November

1 860 at Mannhe im . Studied at the Academies of Munich

ff . Linden schmit . : (K . Ho ) and Carlsruhe (v ) Distinctions

Prussian gold medal for Art ; large gold medals Dresden ,

. Munich , Salzburg and numerous other exhibition medals

— i Own portrait O l painting . ”

— & Painting of the Regent O il painting .

BOCKLIN , ARN O LD ,

thl e . 1 6 1 82 Dr . and Prof ssor ; painter Born on the October 7 the 1 6th 1 0 1 e at Basle . Died on January 9 at Fi sole , near Flo e Dii ss eldo rf rence . Studi d at the Academy under Schirmer,

. : also in Brussels and Paris Distinctions Member, or honorary e member, of the Academies in Berlin and Dresd n ; possessor O f the Prussian gold medal for Art ; the Austrian decoration for Art and Science ; the Grand Ducal Saxon medal for Art and Science ; honorary doctor and possessor of numerous

e &c . xhibition medals ,

— At the Spring oil painting .

: . Owner Mr Hugo Reisinger, New York . ”

— Own portrait, with fiddling death oil painting . ” — O il Surging Sea painting .

Owned by the Royal National Gallery in Berlin . BORCHARDT , HANS ,

th 1 1 86 . painter at Munich . Born on the 1 April 5 in Berlin Studied at the Berlin Academy and under Baron Uhde at

Dis inc i V . Munich . t t ons : ario us exhibition medals

- The Pearl Necklace O il painting .

B RACHT, EUGEN ,

Geheimer Hofrat ; Professor ; painte r at Dresden ; Director O f a maste rs studio and me mb e r of the Academic Council rd e O f the Academy for Fine Arts at Dresden . Born on the g Jun 1 842 at Morges on the Lake O f Geneva ; studied at the Aca demy at Carlsruhe under Schirmer and under Hans Gude at : e O f e Dfi sseld o rf. Distinctions Memb r the Acad mies in Ber lin and Munich : possessor O f the Prussian gold medal for

Art ; the large gold medal , Vienna, and of numerous other

exhibition medals .

— Sea calm O il painting .

- — Mid day pause in Steel Works O il painting .

BU RG ER, FRITZ ,

1 th painter at Charlottenburg, near Berlin . Born on the 6 July

1 86 7 at Munich , and studied at the Munich Academy and in : e Paris . Distinctions Prussian large gold medal for Art ; larg

gold medal Liege and numerous other exhibition medals .

— The White Chair childrens portrait O il painting .

39 CLAREN MA& BACH , ,

Kaiserwe rth one . painter at Wittlaer, near , the Rhine Born ’ th of on the l g May 1 880 at Neuss . A pupil Ducker s at the : Academy of Art at Dusseldorf. Distinctions Prussian gold medal for Art ; large gold medal Vienna, and various other exhibition medals

— In February O il painting .

Owner : Herr Hubert Inden Dusseldorf.

CRO DEL , PAU L,

th 1 862 painter at Munich . Born on 7 September at Cottbus ; his teachers were Hagen at Weimar and Baisch at Carlsruhe.

— Mountain village in Winter Oil painting . ’ ” — Peasant s farm in Snow Oil painting .

DWIG DETTMANN, LU

Professor; painter at Konigsberg in Prussia ; Director O f the th Konigsberg Royal Academy Of Art . Born on the 2 5 of July

1 86 Adelb e . 5 at y , near Flensburg Studied at the Berlin Aca e : d my under Bracht , Skarbina and Friedrich . Distinctions for Prussia gold medal Art ; large gold medals Dresden , and Vienna, Grand Prix Venice , numerous other exhibition medals .

“ — The Sacrement Oil painting .

Owned by the Municipal Art Gallery in Konigsberg . ’ ” — Fishermen s Churchyard O il painting .

Owned by the Royal National Gallery in Berlin .

40

DORSCH , FERDINAND ,

h l o t 1 8 Funf painter at Dresden . Born on the December 75 at kirchen ; pupil of Leon Pohle and Gotthardt Kuehl at the

of . : Dresden Academy Art Distinctions Small gold medal,

Dresden .

- In the Dining Room O ll painting .

EN H . GE L, OTTO ,

2 th 1 866 Professor ; painter in Berlin . Born on the 7 December at Erbach in the Oden Forest ; studied at the Academies in : Berlin , Carlsruhe and Munich . Distinctions Member of the of Berlin Academy, possessor the Prussian large gold medal for Art, gold plaque Dresden and numerous other exhibition medals .

— Frisian girl Oil painting .

E RLER, FRITZ ,

th Professor ; painter at Munich . Born on the i 5 December 1 868 at Frankenstein in Silesia ; studied at the Art School in D : Breslau and at the Academy Julian in Paris . istinctions

Small gold medal , Munich .

il Lady with feather hat o painting .

— Lady with black gloves oil painting . ” Tr tichon — The Plague ( yp ) distemper colours .

42 P RE NZE L, O S KAR,

1 th 1 Professor ; painter in Berlin . Born on the 2 November 885 in Berlin ; studied at the Berlin Academy under Meye rheim

. : of and Bracht Distinctions Member the Berlin Academy , possessor of the Prussian large gold m edal for Art and nu m e rous exhibition medals .

— O il Forest meadow painting .

VO N G EB HARDT E D UARD ,

e Dr . , Professor ; painter at Dusseldorf; teacher at the Duss l 1 th 1 dorf Royal Academy of Art . Born on the 3 June 838 at

Esthland . St . Johann in ; pupil at the Academies of St Peters

'

ldo rf ilh. : Dti sse W . burg, Carlsruhe , ( Sohn) Distinctions Mem o f ber or honorary member, the Academies Of Antwerp ,

e . Berlin , Bruss ls , Munich and Vienna Honorary Doctor of O f the the University of Strassburg . Possessor Prussian Order l e pour mérite for Science and Art, of the Prussian large fo r gold medal Art, the large gold medal Dresden , Munich , Vienna and Paris as well as O f numerous other exhibition medals .

— Christ and Nicodemus Oil painting .

: . Owner Edward Schulte , Art Gallery in Berlin

” The death O f Lazarus

: . Owner Herr Georg Oeder, Dusseldorf

43 GRO EB E R, H ERMANN ,

o c of Fine painter at Munich ; teacher at the R yal A ademy \ o n 1 6th 1 86 r Arts in that town . Born the June 5 at Wa tenberg; received his art education under von LOfftZ “at the Academy : of Art at Munich . Distinctions Various exhibition medals .

— Portrait of Miss Luc cars o il painting .

- Portrait of Professor MySZ O il painting .

— Bavarian peasants oil painting .

VO N HAB E RMANN, H U G O , BARO N ,

Professor ; painter atMunich ; professor at the Royal Academy th of Fine Arts in Munich . Born on the 1 4 Juni 1 849 at Dillingen in Bavaria ; studied at the Munich Academy under Piloty. Distinctions : Honorary member of the Academy at Munich ; possessor of the large gold medal Munich and various other exhibition medals .

of — i Portrait a woman (head and hand) O l painting .

’ ” — il Lady s portrait (Sitting) O painting .

HARTIG, HANS ,

th painter in Berlin . Born o n the 6 October 1 873 Pomerania ; studied under Bracht at the Berlin

- In a Winter Port oil painting .

44 VO N HAYE K, HAN S ,

th . the l painter at Dachau , near Munich Born on g December 1 869 at Vienna ; studied at the Art Academy of that town

’ and became a pupil of Marr and ZIj gel later on at the Art

. : Academy in Munich Distinctions Various exhibition medals .

e — Snowed up p asants farm oil painting . ” — il Port in Brittany O painting .

HEICHERT , OTTO ,

Professor ; painter at Konigsberg in Prussia ; te acher at the o 2 th K nigsberg Royal Academy of Art . Born on the 7 Fe bruary 1 868 at the village of Kloster— Groningen near Halber

' stadt ; studied at the DIi sseldo rf Academy of Art and at the : Academy Julian in Paris . Distinctions Prussian g old medal for Art and other exhibition medals .

— Own portrait 0 il painting .

O H E N G E LE R, AD LF,

h 1 1 t 1 Professor ; painter at Munich . Born o n the February 863 at Kempten ; studied at the Polytechnic and the Academy at : Munich . Distinctions Large gold medal, Salzburg, and various other exhibition medals .

— Nymph at the Sp ring Oil painting . ” — Sketch o f an interior Oil painting . ” - — Summer day o n the Chiem Lake oil painting .

45 H ERRMANN , HANS ,

n 8 th 1 8 Professor ; painter in Berlin . Born o the March 58 in

' Berlin ; studied at the Berlin and DIi sseldo rf Academy (tea : Knille chers , Gussow, and Wilberg in Berlin, and Ducker in

' : DIi sseldorf) . Distinctions Member of the Academy in Berlin ; Prussian large gold medal for Art ; large gold medal Dres den and numerous other exhibition medals .

— Rotterdam oil painting .

HERTERICH , LU DWI G,

Professor ; painter at Munich ; Professor at the Munich Royal o n 1 th 1 8 6 Academy O f Fine Arts . Born the 3 October 5 at : HO Ansbach ; studied under Diez at Munich . Distinctions n o rary member of the Academy at Munich ; large gold medal

Dresden , Munich , Paris and other exhibition medals .

“ — il Autumn O painting . ” — O il In the morning painting . ” The — Joiners oil painting .

VO N H O FMANN, LUDWI G,

Professor ; painter at Weimar ; teacher at the Grand Ducal f th School O Art at Weimar . Born on the 1 7 August 1 86 1 at Darmstadt ; studied at the Dresden Academy and also at

Carlsruhe under Ferdinand Keller and finally at Paris . Dis

46 tinctions : for r Prussia gold medal Art , diploma of honou

Dresden , various exhibition medals . “ ” Dance Oil painting .

— Dance Oil painting . Owned by the Grand Ducal Museum for Art at

Weimar .

H O LZE L, AD O LF , Professor ; painter at Stuttgart ; teacher at the Stuttgart Royal 1 th Academy for Fine Arts . Born on the 3 May 1 853 at O l

’ m titz ; received his art educatio n an Vienna and studied under W . von Diez at the Munich Academy . Distinctions :

Gold medal, Munich .

— Garden Restaurant oil painting .

JANK, AN GE LO ,

Professor, painter at Munich ; teacher at the Royal Academy for Fine Arts of that town ; studied at the Munich Academy : under H ocker and Lofftz. Distinctions Large gold medal

Munich and various other e xhibition medals . “ ” The Hunt Oil painting . ” — The Horsewoman O il painting .

JAN S S E N, G E RHARD ,

2 6th 1 86 painter at Dusseldorf. Born on the September 3 at

Rhine . Calcar O / ; studied under Peter Janssen , Dusseldorf “ — Dolle Boel 0 il painting .

M . Owned by the unicipal Art Gallery, Wiesbaden

47 J ERNB E RG , O LO F,

Professor ; painter at Konigsberg in Prussia ; teacher at the on 2 rd Konigsberg Royal Academy of Art . Born the 3 May

’ ke r Dii c r . 1 85 5 at Dti sseldorf. His teacher was at Dusseldo f exhibi Distinctions : Prussian gold medal fo r Art. Various tion medals .

— House o n the slope O f the Sands o il painting .

KAI S E R RICHARD ,

1 th 1 868 Ma de painter at Munich . Born on the 3 August at g burg ; studied at the Berlin Academy and then continued his

: . studies independently . Distinctions Gold medal Munich

” — Field loneliness Oil painting .

KALLMO RGEN , FRIEDRICH ,

Professor; painter in Berlin ; teacher at the High School for

“ Fine Arts connected with the Royal Academy ofArt in Berlin . h Born on the 1 5 t No ve mber 1 856 at Altona ; studied at the Dii sseldorf SchOnlebe r Academies of , Carlsruhe ( , Baisch) ,

Berlin (Hans Gude) . Distinctions : Member Of the Berlin Aca o f demy; possessor the large Prussian gold medal for Art, the Bavarian gold Ludwigs medal for Art, the large gold e medal Melbourne, Munich and other exhibition m dals

“ to - Gusty Weather, the Elbe near Al na Hamburg

oil painting .

48

: Distinctions Member of the Academy in Berlin , honorary member of the Academy at Munich ; possessor O f the Bava o f rian Maximilian Order for Science and Art, the Bavarian

- of Prince Regent Luitpold medal , the large Prussian gold

‘ medal for Art and of numerous exhibition medals .

“ l Miss Ruth St . Denis oi painting .

— Miss Geraldine Farrar oil painting . ” — Child and Cherries Oil painting .

VON KE LLER, ALB ERT

n 2 th 1 Professor ; painter at Munich . Born o the 7 April 844 at Gais (Switzerland) ; studied at the Munich Academy under : Lenbach and Ramberg . Distinctions Bavarian Maximilian fo r fo r Art Order Science and Art, Prussian gold medal , large gold medal Munich , and various other exhibition me dals . Honorary member of the Academy in Munich .

“ — The happy Sister study in O il . : Owner The Secession Gallery at Munich . ” — Versailles o il painting .

Owned by the Bavarian State .

EVALI KLEIN CH ER, FRI EDRI CH ,

th Professor ; painter in Berlin . Born on the 1 8 June 1 862 Dii sseldo rf; studied under Peter Janssen at the Academy

Duss eldorf.

G sh — il erman Fi ermen O painting .

5 0 K N R MA& LI GE , ,

. and scul to r . Dr , Professor ; painter, engraver p at Leipsic ‘ th Born o n the 1 8 February 1 85 7 at Leipsic . Studied as a painter at the Academies of Carlsruhe and Berlin under Grussow : and as engraver and sculptor independently . Distinctions O f e Member or honorary member of the Academies B rlin ,

Dresden , Munich , Stockholm . Honorary Doctor of the Uni ve rsitie s the of Greifswald , Munster and possessor of Prussian e gold m dal for Art, large gold medals Vienna, Dresden

Munich and numerous other exhibition medals .

’ — A sequel to Brahm s Fantasia 1 8 engravings .

From the Printro om of the Royal Museum in Berlin .

KO EPPIN G, KARL,

Professor ; Copperplate engrav e r in Berlin . Director of the masters studio for copperplate engraving and etching con n 2 th necte d with the Berlin Academy O f Arts . Bor on the 4 i June 1 848 at Dresden ; stud ed at the Munich Academy, and continued his studies under Waltner (etching) in Paris . Distinctions : Mem ber of the Academies in Berlin and Dre s of den ; possessor the Prussian large gold medal for Art , of the large gold medals Dresden , Munich , Vienna, Grand Prix Paris 1 889 and 1 900 as well as of numerous other exhibition medals .

— Girl at a Pond engraving .

5 1 KU E H L, GOTTHARDT,

Geheimrat , Professor ; painter at Dresden . Director of a masters studio and member of the Academic Council of the n th Royal Academy ofFine Arts in Dresden . Born o the 2 8 NO

‘ vember 1 850 at Lii b eck ; studied at the Munich Academy under

W . von Diez and afterward s in Paris . Distinctions : Member and honorary me mber of the Academies at Dresden and Mu

. of a fo r of nich Possessor the Prussian l rg gold medal Art , the gold medals Dresden , Munich , as well as of numerous other home and foreign exhibition medals .

f — Corner o a Drawing Room 0 il painting .

Owner : Mr . Hugo Reisinger of New York .

— Girl on a green b ox Oil painting .

’ KLi h Owned by Herr F . ne Of Dresden .

LANG HAMME R, ARTH UR,

6th Professor ; painter . Born on the July 1 855 at Lutzen and h on t 1 0 1 died the 4 July 9 at Dachau near Munich . Studied at the Academies of Munich and Leipsic .

of - Girl with sheaves corn Oil painting .

Owned by the Secession Gallery at Munich .

5 2 LEIB L , WI LH E LM,

rd Professor ; painter . Born on the 2 g October 1 844 at Cologne th on the r 1 00 . on the Rhine , died 5 Decembe 9 at Wurzburg Studied at the Munich Academy under Piloty and Ram berg and continued his studies in Paris . Domiciled himself on t : f e later at Aibling . Distinc ions Member o the Acad my P fo r Art in Berlin , russian large gold medal . and various exhibition medals .

— Dachauer women Oil painting .

— Burgomaster Klein O i1 painting .

’

— Man s portrait Oil painting .

Owned by the Royal National Gallery in Berlin . Dachauer woman

r . . . Owned by Geheimrat D Ed Simon , Berlin

L I TI E S KOW, WALTER,

h on 2 t 1 86 Professor ; painter . Born the 5 October 5 at Brom th berg ; died on the 24 July 1 908 in Berlin . Studied at the Ber : lin Academy (Hans Gude) . Distinctions Numerous exhibition medals .

“ — Landscape in Thuringia oil painting .

Owned by Geheimrat Eduard Arnhold, Berlin .

53 VO N LENBACH , FRANZ ,

1 th 1 6 c Professor ; painter . Born on the 3 December 83 at S hro h 6t 1 0 benhausen in Upper Bavaria, died on the May 9 4 at

Munich . Attended the polytechnical School at Augsburg and a wood carving studio at Munich . Studied at the Aca l : demy there under Grafle and Pi oty . Distinctions Member of o f the Academies in Berlin , Dresden , Munich , Paris , and f &c . r o the Institute Of France , Honora y doctor the Univer sity o f Halle ; possessor of the Bavarian Maximilian Order fo r n e 1 8 1 Scie c and Art , diploma of honour, Berlin 9 , and numerous other gold medals and exhibition medals .

— Ecstasy oil painting .

— Bismarck 0 il painting .

Owner : Mr . Hugo Reisinger Of New York .

“ ” Portrait Theodore Mommsen O il painting .

Owned by the Royal National Gallery in Berlin .

“ ” — i Portrait o f Frau Knorr o l painting .

- An Old Lady O il painting .

— Moltke Oil painting .

— Ignaz Dollinger pastel .

PSIU S REIN HO LD LE , .

th . 1 J une I 8 painter in Berlin Born on the 4 5 7 in Berlin . Studied L Z n h under Offt and Le bac at Munich . Distinctions : Large gold medal Florence, gold plaque Dresden .

f — Portrait o a Lady Oil painting .

Owned by Dr . Werner Weisbach in Berlin .

54 R MA& LI EBE MANN , ,

o n 2 oth 1 8 Professor ; painter in Berlin . Born the July 47 in Berlin ; studied at the Grand Ducal School of Art at Weimar v n : and under o Munkacsy . Distinctions Member or honorary member of the Academies in Berlin , Dresden and Munich , of Of the Société Nationale des Artistes Francais , the Société u of Royale des Aquarellistes en Br xelles , possessor the Pruss ian large gold medal for Art, the Grand Prix Paris , Venice of and the large gold medals Dresden , Vienna , Munich and f o numerous other exhibition medals .

- Portrait o f Dr . W . Bode pastel study .

Dr W . Owned by Geheimrat . Bode , Charlottenburg Flax barn at Laren (Holland)

Owned by the Royal National Gallery in Berlin . “ - Polo players .

Owned by Hugo Reisinger .

LO F FTZ DWIG VON , LU h Professor ; painter at Munich . Professor at the Munic 2 1 5 t J une 1 8 Academy o f Fine Arts . Born on the 45 at Darm ff stadt ; studied under Ho mann at Darmstadt , Raup and Kre : ling at Nuremberg, and at the Munich Academy . Distinctions

Member, or honorary member , Of the Academies at Antwerp , BavarianMaxi London , Munich and Vienna ; possessor of the f r milian Order o Science and Arts , the large gold medals of Antwerp , London , Munich , Vienna, and numerous other exhibition medals .

— Cardinal playing music O il painting .

Owned by Baron von Wendelstadt .

55 O SCHEN LO , HANS ,

n 2 rd 1 8 Professor ; painter in Berlin . Born o the 3 June 59 in : Berlin . Studied at the Academy in Berlin . Distinction Prussian gold medal fo r Art . The blue Clock

VON MENZE L, AD O LF,

Dr . , Wirklicher Geheimrat ; Professor ; painter . Born on the h 8th 1 8 1 on t 1 0 December 5 at Breslau , died the 9 February 9 5 in Berlin . Studied for a short time at the Berlin Academy, : and afterwards by himself. Distinctions Honorary Senator o f or and member the Berlin Academy, member, honorary ho member, of numerous Academies at home and abroad , norary doctor of the University in Berlin ; possessor of the for Bavarian Maximilian Order Science and Art, the Austrian of decoration for Art and Science , the Prussian Orders the le Art Black Eagle and pour mérite for Science and , the fo r Prussian large gold medal Art , of numerous first awards at all large exhibitions at home and abroad

’ — The Garden Of Prince Albrecht s Palace 0 i1 painting . ” - A Ball Supper Oil painting . ” — Building site with willows Oil painting . ” — The Theatre Gymnase O il painting . Three studies for the painting “ Coronation of King

. o Wilhelm I at K nigsberg, f r . o h a Minister State von Be nut .

b . Minister of State von der Heydt . t c . Prince Kraf Hohenlohe .

: Carlsruhe (Baisch) and Berlin (Bracht) . Distinctions Various exhibition medals

“ — Evening Sun oil painting .

MU NZ ER , AD O LF, th 1 8 0 painter at Munich . Born on the 5 December 7 at Pless in Upper Silesia ; studied at the Polytechnic at Breslau and : the Munich Academy under Hocker . Distinctions Gold me dal Munich .

“ — Costume sketch o il painting.

— Study of a portrait Oil painting .

— l Young woman from Upper Bavaria oi painting .

NISSL, RUDOLF, h 1 t 1 8 0 painter at Munich . Born on the 3 April 7 at Fugen

Herte . J o h. rich in the Tyrol ; studied under , P Hocker and

v . : L . on LOfftZ at the Munich Academy Distinctions Various exhibition medals .

“ Interior Oil painting .

f — il o O . Still life . Nosegay flowers painting

OLDE, HAN S ,

Professor ; painter at Weimar, Director of the Grand Ducal h 2 t 1 8 School of Art at Weimar . Born on the 7 April 55 at Suderau in Holstein ; studied at the Academy in Munich under L fftz : o and at the Ecole Julian in Paris . Distinctions Prussian gold medal for Art and various exhibition medals .

“ ” — il Winter Sun O painting .

Owner : The Royal National Gallery Berlin .

5 8 VON PETERSEN , HANS ,

2 th 1 8 0 Professor ; painter at Munich . Born on the 4 February 5 Di tinc at Husum (Schleswig) ; studied in London and Paris . s : tions Prussian gold medal for Art, large gold medal Munich and numerous other exhibition medals .

-o il A thaw painting .

PLEU ER , H E RMAN N ,

th 1 86 Professor ; painter at Stuttgart . Born on the 5 April 3 at Schwabisch Gmund . Studied at the Academies of Stutt gart and Munich .

— Evening O il painting .

PU TTN E R, WALTE R,

th 1 8 2 . painter at Munich . Born on the 9 October 7 at Leipsic : Studied under H ocker at Munich . Distinctions Various ex hibition medals .

— Interior Oil painting .

PUTZ , LE O ,

1 86 painter at Munich . Born in 9 at Meran ; Munich Academy and at the Academy Julian

— Pauline Oil painting .

Flowers Oil painting .

— Flowers oil painting .

59 R E RE IN I CKE, EN ,

o n 2 2 nd a 1 860 painter at Munich . Born the M rch at Strenz Naundorf in Saxony; studied at the Grand Ducal School Of Art at Weimar and then under vo n Gebhardt at Dusseldorf : and under Piglhein at Munich . Distinctions Prussian gold medal for Art and various exhibition medals .

“ The Watering Place Promenade — water colour pain

ting .

- In the studio water colour painting . ” - Five ladies in a Café water colour painting .

' ” — The Paintress drawing . ” — Depressed drawing . ” - Gossip drawing .

SAMBERGE R , LEO ,

1 ‘ 1 Au ust 1 86 1 Professor ; painter at Munich . Born on the 4 I g Benczur Lindenschmit at Ingolstadt . His teachers were and at the Munich Academy . Various exhibition medals .

“ — Portrait o f my Father O il painting . ” — Portrait o f Dr . Schnitzler Oil painting . ” fne — Portrait of the painter Wo p r Oil painting .

SCHO EN LEBE R, GU STAV, Professor ; painter at Carlsruhe ; te acher at the Carlsruhe rd Grand Ducal Academy for Fine Arts . Born on the 3 De c emb er 1 85 1 at Bietigheim in Wurttemberg ; studied unde r A f Lier . : o . at Munich Distinctions Member the Academies in

Berlin , Dresden and Munich ; possessor of the Baden gold u medal for Art and Science , the Pr ssian large gold medal

60 for Art, the large gold medals Munich and Vienna and nume rous other exhibition medals . ” e — il Italian Landscap O painting .

- Owned by the Prince Regent of Bavaria .

RAMM- SCH ZITTAU , RUDOLF,

e the 1 st 1 8 Prof ssor ; painter at Munich . Born on March 74 at

Zittau ; attended the Academies at Dresden , Carlsruhe , and Z : Munich ( ugel) . Distinctions Large gold medal Venic e and various exhibition medals .

Ducks O il painting .

— Ducks O il painting .

— Feeding h e ns oil painting .

IM SCH U LTE HOFE , RUDOLF, h the t 1 86 Professor ; painter in Berlin . Born on 9 January 5 at U e cke ndo rf in Westphalia ; studied under Schmid - Reutte ' at ff Munich and at the Acade my in that town under LO tZ . Dis r tinctio ns : Prussian gold medal fo Art .

“ ” - Menzel O il painting .

Owned by Herr Franz Kuhne at Dresden .

S KARBINA , FRANZ ,

2 th r 1 8 Professor ; painter in Berlin . Born on the 4 Februa y 49

Distinc ¢ in Berlin ; studied at the Berlin Academy and in Paris . tions : Member of the Academies of Antwerp and Berlin ; Prussian large gold medal for Art ; large gold medals Barce lona Dresden and numerous other exhibition medals .

— The White Lady oil painting .

6 1 SPERL, JOHANN,

on rd NO painter at Bad Aibling in Upper Bavaria . Born the 3 vemb er 1 840 at Buch (District Furth in Bavaria) ; studied un

Krelin . der g, Anschutz, and Bamberg at Munich “ Village in Upper Bavaria (Garden in Kutterling)

painting .

STAD LE R, TO NI,

o n thJ ul 1 8 0 GO I Professor ; painter at Munich . Born the 9 y 5 at : le rsdorf in Lower Austria and is self taught . Distinctions Honorary member of the Munich Academy ; possessor of the large gold medal Dresden and various other exhibition medals . “ — In Erdinger Moss 0 il painting .

he — Bridge by t Villages Oil painting .

VO N STU CK, FRANZ,

Professor ; painter at Munich . Professor at the Munich Royal n 2 rd 1 6 at Academy for Fine Arts . Born o the 3 February 8 3 i : Tettenweis ; studied at the Munich Academy . Dist nctions Honorary member of the Dresden Academy and possessor of Buda e sth the large gold medals p , Dresden , Munich , and Paris , and of the Bavarian Maximilian Order fo r Science and Art . ” — Own portrait oil painting .

— Study for a portrait O il painting . ” — Infernal Regions 0 il painting . ” — Pan oil painting . ” — Listening Fauns 0 il painting .

Owned by Mr . Hugo Reisinger of New York .

62 TH O MA, HAN S ,

. e Dr , Professor; painter at Carlsruh . Director of the Grand Ducal Picture Gallery and teacher at the Grand Ducal Aca O f 2 nd demy Fine Arts at Carlsruhe . Born on the October 1 8 39 at Bernau in Baden . Studied under Schirmer at the

Carlsruhe Academy . Distinctions : Member or honorary member O f the Academies at Dresden and Munich ; Ho norary Doctor of the Heidelberg University ; possessor of Bad en e se the the gold medal for Art, Bavarian Maximilian fo r Order Science and Art, and the Prussian gold medal f o r Art .

— Lago Maggiore 1 880 o il painting .

1 0 — Valley near Bernau , the home of the artist 9 5 oil

painting .

— Midsummers Day O il painting .

Owned by Herr Heinrich Strauss at Magdeburg .

TH O NY , E D UARD ,

1 866 e painter at Munich . Born in at Brixen ; studi d

Munich Academy .

— Shooting ice drawing . ” — In the Peasant Inn drawing . ” — In Port drawing . ” — Presentiment drawing . ” lndignation drawing .

— Appendages drawing . ” — After the Sermon drawing . TRU B NER , WI LH E LM ,

Professor ; painter at Carlsruhe ; teacher at the Grand Ducal d 2 n Februar Academy for Fine Arts at Carlsruhe . Born on the y 1 85 1 at Heidelberg ; studied under Canon (Straschiripka) at Leibl for Stuttgart , at Munich and at the Academies Fine Arts : H at Carlsruhe and Munich . Distinctions The essian medal for Art and Science , the Wurttemberg medal for Art and

Science , large gold medal Chicago and various other Ex hibition medals .

— The Watchman oil painting .

— View from the Heidelberg Castle oil painting . ” — Castle Heim sbach O il painting .

Owned by Mr . Hugo Reisinger of New York .

VO N U H D E , FRITZ ,

1“d Professor ; painter at Munich . Born on the 2 2 May 1 848 at Wolke nburg in Saxony; was an officer until 1 877 and became a pupil o f Munkascy . Distinctions : Member of the Acade mies at Antwerp , Berlin , Dresden , and Munich ; possessor of the Bavarian Maximilian Order for Science and Art, the

Prussian gold medal for Art, the large gold medals Munich ,

&c . 1 88 1 00 Vienna , , the Grand Prix Paris 9 and 9 as well as numerous other exhibition medals .

— Evening Music oil painting . ” — Going Home oil painting .

ff — Su er little Children to come unto Me oil painting .

- Owned by Frau Tina Schoen Renz in Worms .

S CU LP TU RE

RMAN O LF BE N , C IPRI AD ,

2 th 1 62 Professor ; sculptor at Munich . Born on the 5 August 8 at Vohrenbach in the Black Forest ; studied at the Grand o f t : Ducal Academy Art at Carlsruhe . Dis inctions Numerous exhibition medals .

’ — Old man s head bronze . ’ ” — Women s head marble . ” — b . Huntress statuette , ronze

FASS NACHT, JOSEF,

1 sculptor at Munich . Born on the 873 at Mittel streu ; studied at the Academy Distinctions : Various medals

— The Pet marble bust .

GAUL, AUGUST,

o n Professor ; sculptor at Grunewald near Berlin . Born the nd 2 2 October 1 869 at Gross-Auheim near Hanau ; studied at the Berlin Academy (Reinhold Begas) . Distinctions : Member o f the Berlin Academy .

- Ostrich bronze . ” — Otters bronze .

Owned by Herr Paul Cassirer, Berlin .

66 VON GOSEN, TH EODOR,

th Professor ; sculptor . Born on the 1 0 J anuar 1 873 at Au gs

Rue m an — burg ; studied and W . von n at Munich 1 895 1 896 at N uremberg . Since 1 906 teacher at the Breslau Royal School of Art .

“ Presentation gift for Professor William Burges

HAH N, H ERMANN,

th Professor ; sculptor at Munich. Born on the 2 8 Novem ber 1 868 at Kloster Veilsdorf in Saxe - Meiningen ; pupil of ’ Ru em ann s at Munich . Distinctions : Honorary me mber of the

Academy at Munich ; possessor of various exhibition medals .

“ — e Adam statuette , bronz . ” — Eve statuette bronze .

VON H ILD EBRAND , AD O LF,

th . . 6 Dr , Professor ; sculptor at Munich Born on the October 1 Krelin 847 at Marburg ; studied under g at Nuremberg .

’ : of Acade Distinctions Member, or honorary member, the of mies in Berlin , Dresden , Munich , and the Grand Ducal e Art School at Weimar . Honorary doctor of the Universiti s of Erlangen and Marburg ; possessor of the Bavarian Maxi milian Order for Science and Art, the Prussian Order pour r le mérite for Science and Art, the P ussian large gold medal le for Art, the Grand Ducal Saxon Order pour mérite for

O f . Art and Science , as well as numerous exhibition medals ” — Professor Flo ssm ann bust in bronz e .

Owned by the Bavarian State .

67 U LFERT JANS S EN, , h 1 1 t 1 8 8 sculptor at Munich . Born on the December 7 at

Bielawe in Silesia ; pupil o f Ruem ann at Munich . “ ” — Bust bronze .

KLIMSCH , FRITZ ,

on l oth Fe sculptor at Charlottenburg, near Berlin . Born the

- - bruary 1 87o at Frankfort o n the Maine . Studied at the Berlin

Academy . “ e . G heimrat Professor Dr Karl Binding, Rector of the ” — University of Leipsic bronze bust . ”

— Frau Victoria Exner marble bust .

- - : . a on . Owner Dr W . L uter, Frankfort the Maine

KRAUS , AU GU ST,

th sculptor at Grunewald near Berlin s Bo rn on the 9 July 1 868 at Ruhrort ; studi e d under Reinhold Begas at the Academy

: Art . in Berlin . Distinctions Prussian gold medal for “ ” - Child, running bronze . ” — e Cat, running bronz .

LED ERE R , H U GO ,

th 1 6th 1 8 1 sculptor in Berlin . Born on e November 7 at Znaim ; pupil of the Technical School for Ceramics at that place ; e studied under Schilling at Dr sden , Behrens at Breslau , and

Tob e rentz in Berlin . “ ” - Bowl bronze .

Pfi zne r “ t marble bust .

68 — FU N CKE LEWIN , ARTHU R , th sculptor in Charlottenburg . Born on the 9 Nove mb e r 1 866 at Dresden ; studied at the Berlin Academy unde r Herter and e D : at the Academi Julian in Paris . istinctions Prussian gold medal for Art and various exhibition medals . “ Mother

Owned by Mr . Edward D . Adams of New York .

N ETZE R, H U B E RT, h e t 1 Prof ssor ; sculptor at Munich . Born on the 5 October 865 at Isny in Wurttemberg ; studied at the Munich Academy Rue m ann . : ( ) Distinctions Various exhibition medals .

— Diana statuette , bronze .

SCHAPE R, FRITZ ,

S‘ . . I J ul 1 8 1 Dr , Professor ; sculptor in Berlin Born on the 3 y 4 e at Alsleben on the Saale . Studi d under Albert Wolff and at the Berlin Acade my . Distinctions : Member of the Art Aca demies Berlin , Dresden , Munich , and Vienna and of the Aca demy for Architecture in Be rlin ; Honorary Doctor of the University ofPittsburg in America ; posse ssor of the Prussian e le ord r pour mérite for Science and Art, the Prussian large

e . gold medal for Art , and of numerous xhibition medals

‘ — Lessing statuette .

SCHWEGERLE , HAN S , the 2md 1 88 2 Sculptor and painter at Munich . Born on May

' at Lubeck ; studied at the Art School at LIib e ck and at the

Rue ma n . Academy at Munich ( n , Kurz and Hildebrand)

— m . Fraulein J . H . bust in shell li e stone

69 VON STUCK, FRAN Z Professor (see “ Painters

Athlete bronze .

— Amazon bronze . ” — Dancing woman bronze .

TASCH NE R, IGNATIU S ,

th 1 8 1 Professor ; painter at Munich . Born on the 9 April 7 at n : Kissingen . Studied at the Munich Academy . Distinctio s

Various exhibition medals .

Christ in Silver .

— Schiller bronze with stone pedestal . ” - Group of Stags silver with wooden pedestal .

LLO N LO U IS TUAI , ,

Professor ; sculptor in Berlin , director of a masters studio for sculpture connected with the Royal Academy o f Arts in on th 1 862 Berlin . Born the 7 September in Berlin . Studied at : the Academy in Berlin . Distinctions Member O f the Berlin Academy ; possessor of the Bavarian Maximilian Order for fo r Science and Arts , the Prussian large gold medal Art, and numerous exhibition medals .

III — Emperor Frederick bronze . ” Stag bronze .

70 N O TI CE

For a long time past the idea has been entertained of ex hi biting in New York to the General Public a small and select of collection works representing German contemporary Art . The great difficulty that lays in the way O f the execution ofthe idea was the finding of a suitable plac e for such an Exhibition . to When , therefore , in response an application made by

Mr . BuenZ Mu , Imperial Consul General , to the Metropolitan seum o f Art the management was kind enough to consent to a series Of rooms in the new building o f the Museum being used fo r this purpose , the idea was welcomed in German official and Art circles with lively satisfaction and sympathy, and active preparations were begun for a German Art Exhibition

Ne Yo rk . f New Yo rk w . o in Mr Hugo Reisinger , a connoisseur O f and warm patron of German Art, as well as the owner an ff e excellent collection of German Art Works , O er d to defray the expenses connected with the Exhibition and to us e his influence in German Art circles to induc e an active part ici pation in the same . The idea was warmly supported by the Governm ent which Imperial , called upon two wellknown Ger man Artists , Professor Arthur Kampf in Berlin , the President of of the Royal Academy Art, and Professor Carl Marr at

Munich in conjunction with Mr . Reisinger to arrange for a selection of the Art works to be exhibited . His Majesty the German Emperor most graciously gave his sanction to the loan o f many valuable works from the Royal National o Leibl m Gallery in Berlin , including some by B cklin , , Le bach and Menzel for the purposes of the Exhibition . The govern f ments o various Federal States , as well as the proprietors of

7 1 private Galleries likewise consented to place works of Art at the disposal of the Exhibition management . The setting up of the Exhibition in Germany was entrusted to a Com lh lm - Dr . Wi e mission comprising Bode , the Director General FO of the Royal Museums in Berlin , Herr Goetsch of the

e . for reign Offic , Dr Theodore Lewald , Privy Councillor, merly Commissioner General of Germany to the Universal

. 1 0 . Exhibition at St Louis 9 4 and Dr Friedrich Schmidt , the chief of the departm ent for Science and Art in the Prussian

Ministry of Education . The publication of the Catalogue has be e n effected by Dr . Lewald in conjunction with the above mentioned gentlemen .

Complying with a wish expressed , the collection will also be exhibite d ' in Boston in the Building of the Copley Society and in Chicago at the Art Institute .

7 2