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E RL IN /Kaiser Fr iedr ich Museum Albrecht Durer ( 1 4 7 1 1 5 2 8) Portrait of Hieronymus H olzs chuh er . G . Photographic Reproduction by F . Bruckmann , A , Munich . The Kaiser Friedrich Museum with records that can be traced back for very little more than a hundred years is to - day in spite of its brief history one of the proudest collections of works of art in the whole world . The year 1 8 7 5 or thereabout marks the beginning of that fabulous rise of the Museum, so closely associated in its upward movement with the name of Wilhelm Bode . ’ It was in 1 8 8 4 that Bode incorporated Dur er s portrait H olzschuh er of the Nuremberg patrician, Hieronymus , among the treasures of the collection, having paid the for that time enormous sum of 5 0 0 0 0 0 Marks . The H olzs chuh er portrait of , characterized by full maturity ’ Dur er s of execution , is a production of latest period of artistic activity . It was to this period that one of the most st riking of the German Renaissance portraits owes its origin 'in this picture ofthe head ofa forceful German burgher clear m ind ednes s and a st r ong will are combined G . with a calm consciousness of personal worth. ( p pp B ERLIN Kaiser Friedrich Museum Lukas Cranach ( 1 4 7 2 1 5 5 Rest during the Flight . Photographic . G . Reproduction by F Bruckmann , A , Munich A specimen ofgenre—painting with religions and poetical side lights, a legendary tale instinct with the grace of melodious harmony 'such are the feelings awakened by ’ ' this early -born child ofCranach s genius painted by h in 1 5 0 4 at the early age of 5 9 . The high esteem of our age for the temporarily somewhat neglected master mainly turns on his work during the period of 1 5 0 0 1 0 . to 5 5 Later on swerving from his ideals, he turned his ar t into a mere trade by having most of his pictures painted by his drudg es, giving them only the final touch . Here forsooth is a masterpiece, from first to last, stroke ’ own for stroke, Cranach s very , full of charm and depth bit of feeling, a choice of composition, radiating the w — C . ripe, rich glo of deep seated colouring . ( p p B ERLIN Kaiser Friedrich Museum / Hans Baldung Grien (about 1 4 8 o 1 Adoration of the Kings a F B r uckm ann (Section) . Photogr phic Reproduction by . , G . A . , Munich Of that great and majestic masterpiece of colour, the Adoration, by the Upper German painter, Hans Bal ’ St r aBbur dung Grien , whose life s work was done in g, where he appears to have had relations with Mathias Gr ii new ald m , a section has here been taken to exe plify ’ the master s technique and style . The Altar of the Three 1 0 Kings would appear to have originated about 5 7 , ’ being thus a Specimen of Hans B aldung s early art . The solemnity and stiffness of the works ofthe Master at this period find due compensation in their dep th of feeling and their uncommon concentration of expression . Mu um / B E RL IN / Kaiser Friedrich se H ans Holbein theYoun er 1 1 g ( 497 Portrait ofGeorge Gysis . G . Photographic Reproduction by F Bruckmann , A , Munich . S uabian Y The great master, Hans Holbein the ounger, was the first of all German painters to enjoy a world wide fame . As a portrait painter, he was very much soug ht after especially in England, where he executed a great number of orders . It was on the occasion of his second visit to London in 1 5 5 2 that he painted the pic ’ Dar zi ture of the merchant, George Gysis from i g, at that time 5 4 years of age, in his office, his profession being easy to divine from the various letters scattered about the room as shown in the pictur e . A remarkably fine portrait of a man in his early prime perhaps intended - th e to be a present to his lady love, the carnations in ' ' T h e Venetian glass marking him for a bridegroom . t h e still life in the painting is all superb , charming to slightest detail, touchingly true and real in its materi j ality and yet n ot lacking the great trait that does not admit of the trappings lording it over that which is C . essential, the soulful expression of the face . ( p pp ERLIN Kaiser Friedrich Museum / Christoph Am — berger (about 1 5 0 0 1 5 6 Portrait of Sebastian n Munster. Photographic Reproduction by F . Bruckma n, . G . A , Munich The spirit of the younger Holbein lives on in his coun t r m an y Christoph Amberger , the Augsburg painter , who apart from church and altar pictures paid special — attention to portrait painting . In the Berlin Museum for exam ple ther e hangs beside th e paint ing r epr oduced her e a p ortrait of Charles the Fifth by the same painter . The portraits of the Master apart from their strong decora tive effects, revealing the years of study in Venice, are distinguished by their keen power of characterisation . u The portrait of Sebastian M nster, the cosmographer, is a portrait typical of the German Humanist . B ERLIN/ National Gallery / Franz Kruger ( 1 7 97 to 1 Picture of a Parade . (Section) . The Berlin National Gallery opened in 1 8 7 6 under its present organization embraces masterpieces ofEuropean art in the nin ent eenth and twentieth centuries . Hugo T s chudi von had great deserts in making the collection, purchasing above all the excellent French artists, but at the same time, like his congenial successor, Ludwig ' usti , not failing to foster German art, more especially ' ' d for i in cor in its Berlin phase . usti eserves great praise — — por at in g nonetoo soon theparadepictures oftheBerlin u painter Franz Kr ger, one of which is reproduced in excerpted form here . Far from being impressionistic, Kruger’ s pictures with their myriads of figures are in virtue of th eir ingenuity of treatment, reliability of d raftsmanship, and the fond delicacy of luscious colou ring a vi vid reproduction of motley crowds of humanity r Apart from their intrinsic artistic value, these pictu es are hardly less important from the point of view of cultural history by the insight they afford into society life in the Berlin of Biedermeier days . ERLIN National Gallery Adolph von Menzel B — 1 1 1 8 5 The Balcony Room . By kind per mission of the Verlag R . Wagner, Berlin . Photographic . Mn ui h . G c Reproduction by F Bruckmann, A , Menzel is a painter with two souls by the side of the ‘ ' fio h e and fficial Menzel, t painter of historical pictures — genre paintings and of great actions of State, there is ' ' the Menzel of private intimacy , the captivating de lin eat or of the world he lived in, the creator of small paintings of unrivalled power and beauty . These works f 1 0 6 of Menzel, which were not really known be ore 9 , the year in which the German Centennial Art E xhibi tion took place in the National Gallery, are mostly the productions of his primary creative period . So too the Balcony Room of the year 1 8 4 2 with its waving white fl cur tain irradiated by oods of sunlight . This small pain ting of a most charming realism gives a portrait - like representation of Menzel ’ s own sitting room in the C . 1 S choneb er ger Strasse in Berlin . ( p p . x it? A k' ERLIN National Gallery Ludwig Knaus ( 1 8 9 9 B ’ to 1 91 o) / Children s Party (Secti on) . By kind per mission of the Photographic Society of Charlottenburg. G . Photographic Reproduction by F Bruckmann, A , Munich . Knaus is the great and popular illust rator in German painting of the life and manners of the people . The pic ture from 1 8 6 9 that is owned by the National Gallery ' and is here given in a section, formerly bore the legend 2‘ ' As the elders sung, thus twitter the young . This title is characteristic of the mannerism of this class of pain ting which at one time formed the groundwork for the once unprecedented fame of the Master, a fame that t h e made itself felt far beyond confines of Germany . Partisans of 'absolute ' painting feel the art of Ludwig ' ' Knaus, because of its intentionality , to be intolerable . But that goes far beyond the mark . There are points of view which allow of justice being done to Knaus ’ s i . t paint ng It is his s aking all on the ability to paint . Not a single one ofhis cont emporaries has been able to out v y Knaus in technicalities and pictorial power pure a nd ml si p e . AMBURG Kunsthalle Wilhelm L eibl ( 1 8 44 to 1 90 0) Peasant Women at Church (Section) . By ' kind permissi on of J . Weber in Leipzig, Photographic . G . Reproduction by F Bruckmann , A , Munich The HamburgKunsthalle, noted for its collection of pic tures ofHamburg from the fourteenth to the nineteenth m r t century, owes its pro inence in the a istic life of Ger many to Alfred L i cht w ar k who from 1 8 8 6 o nward fostered the development of the Museum fo r the space of three decades .

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