SPECIAL EXHIBITION CATALOGUE Series 1913; No. 8 10 Cents I RHODE CLAND 1 SCHOOL OF I —DESIGN— li s ■ CITY ART MUSEUM OF ST. LOUIS A COLLECTION OF CONTEMPORARY GERMAN GRAPHIC ART OPENING APRIL 9, 1913 GALLERY PLAN OF FOREST PARK ART BUILDING Tlie EshiJ.ition (.f Uonteniporary German Graphic Art is installed in Galleries 25, 2G. 30 and 31, as indicated hy cross (X) marks. T he city art museum is OPEN TO THE PUBLIC, FREE, EVERY DAY, INCLUDING SUNDAYS, FROM TEN O^CLOCK A. M. UNTIL FIVE O’CLOCK P. M. SPECIAL EXHIBITION CATALOGUE. Series 1913; No. 8 THE CITY ART MUSEUM ST. LOUIS AN EXHIBITION OF CONTEMPORARY GERMAN GRAPHIC ART With an Introduction By MARTIN BIRNBAUM OPENING, APRIL 9, 1913, IN GALLERIES 25, 26, 30 AND 31 IN THE WEST WING 1874 1913 THE CITY ART MUSEUM, ST. LOUIS ADMINISTRATIVE BOARD OF CONTROL William K. I^ixby President William H. Lee Vice-President Daniel Catlin David R. Francis Max Kotany Edward Mallinckrodt Charles Parsons Pettus Samuel L. Sherer Thomas H. West R. A. Holland Director Madeleine Borggraefe Secretary E. E. A. Curley Curator CONTEMPORARY GERMAN GRAPHIC ART INTRODUCTION BY MARTIN BIRNBAUM A n exhibition of drawings, lithographs, etchings, and wood- cuts by German artists ought naturally to prove far more stimulating than one made up of paintings, for even if we go back as far as Diirer we will be forced to admit that his paintings are not as refreshing or impressive as his graphic works, and the same is true of practically all the great German mas- ters, with the possible exception of Menzel and Leibl. Germany’s artistic genius has always been distinctly graphic, and while it is impossible to survey the whole existing field at all exhaustively within the limits of a short essay, one can without delay com- mence with the names of the three great living leaders, Max Klinger, Hans Thoma, and Max Liebermann, who tower above their compatriots. The first of these shook off the fetters of authority and pedantry, carried on the traditions of the early German master- etchers and engravers, and saved the Graphic Arts of his country from the slough of despond into which it threatened to fall. Klinger is not unacademic, his techniciue is at times labored and old-fa.shioned in a good sense, but he revived and stimulated interest through the sensational nature of his works, which cover a vast range of subjects. When, in 1878, he first exhibited at the Academy in Berlin he was voted insane, but to-day his amazing cycles of etchings are accepted as immense dramas or epic poems. Had he written blank verse, he would have been an important literary figure. He inherited a solemn, antique grandeur mixed with modern romanticism from Bocklin, and varied influences of the Greeks, Diirer and Rops, are traceable in his work. A grotesque element which never becomes ridiculous, is reminiscent of Goya, and although it would be futile to com- pare his philosophic works with the wild Spaniard’s, the influ- ence of the Caprichos cannot be ignored. The extent of Klinger’s work is colossal, — almost unbelievable, — and yet his attention to minute detail hurts the general effect. His graphic work and paintings have this in common, that the decorative borders and 5 The City Art Museum, St. Louis ornamental frames are frequently more interesting than the pictures they bound, and his delight in using colored marble and metal for his plastic work detracts from a harmonious impos- ing effect. Everything he does, however, is intellectually and aesthetically stimulating, and if he is at times too profound and psychological, too much the visionary, his many-sided art must nevertheless be recognized as the inspirer of a throng of brilliant, eager men. Franz von Stuck, an allied nature, is also indebted to Bocklin, but he has shown only the slightest interest in Graphic Art, whereas Klinger’s most personal expressions are not his paintings or statuary but his etchings. The technique and cerebral quality in these appeal to such men as Otto Greiner and Erich Wolfs- feld, whose gigantic plates are among the artistic sensations of the present day. Among others of this group, Fritz Hegenbart is musical and whimsical, while Amandus Faure, Paul Burck, Walter Rehn, and Josef Uhl are fantastically inventive. The last-mentioned is a New Yorker by birth, who is still in the transi- tional stage, but he has already executed some fine portraits in the manner of the distinguished and lamented Stauffer-Bern. Occasionally these men are attracted only by the bizarre in Klinger’s work. This is a regrettable tendency, for it may degen- erate into morbidity and an abnormal conception of life. Hor- rible situations often please them, they lack repose and cultivate eccentricity, so that the only consoling thought which comes to mind is the recollection of Delacroix’s epigram, “Donnez moi de la boue, je vous ferai des chefs d’oeuvres.” Perhaps they are even now at work on masterpieces. It is a relief to turn from such examples of their work to the lithographs of Ludwig von Hofmann, another pagan, who is the happy interpreter of eternal youth and beauty. His delicate dancing nymphs and fauns, so charmingly described by Hugo von Hofmannsthal, exert an universal appeal. Exquisitely printed, they will do much to rehabilitate the good name of Lithography, by leading people to distinguish between the artistic and the commercial kind. No greater contrast can be offered to the work we have just been considering than the lithographs and etchings of Hans Thoma. His tranquil, unpretentious art owes much to Leibl and that little-known master Victor Muller. It is redolent of the atmosphere of the beautiful Black Forest, where he was born G An Exhibition of German Graphic Art seventy-three years ago. One learns with surprise that he went to Paris in 1868, for Thoma is so characteristically German that one can hardly believe that he ever left the Fatherland. Yet he was the first German to discover Manet — for the special benefit of Leibl. His lithographs, many of which are symbolistic or religious, were inspired by a desire to bring genuine art within the reach of thin purses. His drawings, like the man, are power- ful and clear, sincere and fine, and they possess high spiritual excellence quite apart from their artistic merit. The good old wrinkled farmers, and the scenes of their wholesome common- place lives, the land in which fairy-tales flourished, and the poetry of rugged country life, are his favorite themes. Every contem- porary artist who depicts German peasantry is influenced by his fine example, and all are inconceivable in any other country. Fritz Bohle is, if possible, even more German than Thoma himself. Artistically speaking, he is a direct descendant of Diirer, and his lithographs of sturdy brewers, saints, and plough- men with magnificent horses, are sculptural and monumental. He is, in fact, now at his home in Sachscnhausen, busy with plastic works on a colossal scale. The spirit and power of his pictures remind us of the distinguished Swiss artist Hodler, though technically there is hardly any point of similarity. Thoma also influenced an interesting and significant group of men who abandoned their city studios and made their homes in Worpswede, a typically German village situated on the edge of the moors not far from Bremen. Fritz Mackensen discovered the artistic possibilities of the place in 1884, and in succeeding years he was joined by Otto Modersohn, Hans am Ende. Fritz Overbeck, and finally, in 1894, by BTeinrich Vogeler. They enjoyed themselves hugely, worked in the open air, skated, sketched, and hunted, became sons of the soil, took an active part in the life about them, married, built homes, and lived simple lives. In 1895 their combined collected work created a mild sensation. Heinrich Vogeler, the youngest, most versatile, and most poetic, is now devoting practically all his time to Graphic Art, but his beautiful home, “Barkenhoff,” is filled with examples of his work in all media, including several delightful tapestries and interesting pieces of furniture. We love him best, how- ever, as the prolific etcher of wild flowers and trembling silver birches, German music and romance, childish myths, and as a 7 The City Art Museum, St. Louis tasteful book-decorator with a deep love of nature and a pretty fantasy reminding us at times of Walter Crane. No spirit is so jaded that it will not respond to the blithe spirit of the lark which breathes through the mass of his work. It is natural to find many men who are in some artistic way affiliated with those just mentioned, and one of them, Leopold, Graf von Kalckreuth, displays the characteristics of the best German artists. He shows sensitive portraits, idyllic landscapes, and figures which remind us of the Barbizon men. Here, too, we may speak of Paul Baum, who seems to us to be one of the most richly endowed, an etcher whose sympathies are with these quieter spirits, but whose technique, not unlike Sig- nacs, is impressionistic. We find a beautiful rhythm in his line, fine balance in bis composition, purity and sincerity in his feel- ing, a keen, refined vision combined with modern methods. The line particles, drawn on the divisionist principle, take the place of the impressionist color particles, and are intelligently varied. His talented pupil Erna Frank shows little of his technical influence in her sparkling lithographs of European capitals. There may also be grouped with these a host of gentle, smiling plates by such men as Hermann Struck, whose fine Jewish studies won favor with many distinguished collectors when his work was first shown, and who now adds some American scenes in which the right note has been happily caught ; the interesting landscapes of Robert Scholtz; Cissarz’ exquisite dry-points; Alexander Olbricht’s fresh and original views of his neighbors’ gardens in winter; and lastly the technically beautiful plates of Peter Halm, whose marvelous copies of old masters have overshadowed his power as an original artist. Professor Max Liebermann is the last of the giants, and his famous motto, “Zeichnen ist Wcglassen,” is the watchword of the latest generation of artists. He is of the encouraging race of men that dares to think of progress on certain new lines even after a Michelangelo, Phidias, or Da Vinci passes away. His inimitable drawings have the energy and audacity of masterful youth, and in his latest paintings the character and impetuosity of the first studies are fortunately preserved ; but there are still discriminating critics who prefer the drawings, lithographic studies, and etchings of boys bathing, Jewish ghettos, horse- races, polo games, and pig-sties to his final painted works. He, of course, adores Menzel ; but Degas, whom the little German 8 An Exhibition of German Graphic Art HANS THOMA SELF-PORTRAIT An Exhibition of German Graphic Art master, strangely enough, could not understand, is his deity. Examples of both their works hang on the walls of Professor Liebermann’s beautiful home on the shore of the Wannsee. Pie discovered Degas — who may have introduced him to the Japanese masters — about the year 1873, when he went to Paris shortly after the Franco-Prussian War. On his return, he transferred the artistic centre of Germany to Berlin, of which, according to Meier-Graefe, he is the symbol. Liebermann is simple and mat- ter-of-fact, free from his early sentiment, concise to austerity, almost icy in his wit. Like our generation he moves so rapidly, that there is no time for a method like Menzel’s. The little giant copied faithfully and minutely, leaving the artistic result more or less to chance. Liebermann never leaves anything to chance. Natuie must yield to his temperament and conception, and, being a modern virtuoso, he prefers media which are deli- cate and swift. His pastels and lithographs achieve the fairy- like exquisiteness of Whistler and of our still unknown master, Robert Blum. He worships at the shrine of Degas the draughts- man, and not Manet the painter, and we can bestow no higher praise on him than by stating that his mastery is comparable to the Frenchman’s. To-day he is recognized as Germany’s national, conscious artistic tradition. The genius of all the younger artists seems to run in his direction, and there exists an army of bril- liant German draughtsmen who can attack wdthout fear or exertion problems which would strike terror to our sober American artists. Their strength often becomes unruly and chooses passionate themes which are too fervid for our con- ventions and tempered enthusiasm, but their sincerity compels our belief. A man like Max Slevogt puts us to shame by choos- ing as the source of inspiration for a vast series of lithographs our own James Fenimore Cooper’s forgotten works. The pages glow with life and vigor and virility. Their charm of rapid execution and their fugitive manner, so admirably suited to the medium, are fascinating, and this foreigner has caught again and again the spirit of the work in a truly amazing fashion. Even the initials are noteworthy, and such a book, com- parable in certain respects to Menzel’s monumental “Frederick the Great,” ought certainly to arouse our dormant creative energies. Slevogt has already produced etched work equally 11 The City Art Museum, St. Louis brilliant, impressions which strike the essential note 'of any scene he chooses to depict. His work is printed at the “Pan Presse” in Berlin, a printing establishment in which all the men are artists. Reinhold Hoherg, the director, is himself an etcher and litho- grapher of more than ordinary ability. The press is still in its infancy, hut already it is recognized as a worthy successor of the famous magazine “Pan,” which was an effort to organize all branches of art. Lack of publicity, the costliness of the publi- cation, disputes among its associates, and perhaps its intellectual programme and didactic aim, killed it. It is to he hoped that this new enterprise will receive more encouragement. Besides hooks containing lithographs by IVIax Beckman and Louis Corinth, earnest artists of wild inspiration and almost brutal masculine power, the press has produced a volume by Emil Pottner, in which the text and illustrations are all printed from stone. Other publications of exceptional interest, about to appear, are the graphic works of three great sculptors; Wilhelm Lehmhruck, whose etchings, like Rodin’s, are masterly little revelations of his conception of form ; Ernst Barlach, the wood-carver, who is like a powerful Gothic shade come to life; and August Gaul, an animal-sculptor who threatens to dethrone Barye. Rccently the press issued a portfolio of etchings by Willi Geiger dealing with life in the hull-ring. This young artist, at one time a pupil of Franz von Stuck and Peter Halm, was not satisfied with making studies as an onlooker : he must needs become a matador and take part in the fight. His remarkable works, superb in their realism, were evidently done “right off the hat,” yet the skill in placing upon the plate could hardly he improved upon. He has caught actions of a moment’s duration like a magician. The works were carried out with such intensity that no apology need he offered for their creation, even after the existence of Goya’s “Tauromachia.” Geiger might he taken as a type of the most promising young German artist. He is only thirty-four years old, and already manv portfolios of etchings and book- plates have issued from his studio. His studies with Professor Halm insured a firm foundation, hut Geiger, like most other youthful rev^olutionists, began by claiming to he immune from affectation, convention, monotony, and morality. In their desire to impress themselves on the world as personalities, these fiery 12 An Exhibition of German Graphic Art young men shout until they are a trifle hoarse, refuse resolutely lo tone down their passions, play pranks with their ability, insist to the point of fanaticism on themes with an erotic tinge, and finally quiet down to produce work of lasting \alue. Fortunately they remain delightfully undisciplined, attack every subject and medium, and constantly refuse to work in narrow fields. Hans Meid, a gifted man of rare temperament and curious technique, who has executed famous series of etched illustrations for Shakespeare’s “Othello” and for “Don Juan”; Wilhelm Galhof, whose brilliant lithographs' show woman unfortunately only in her debasement ; and Max Mayrshofer, a wayward, promising draughtsman, are in this circle, which is very large. A whole school of gifted artists have revived an interest in woodcuts. The delicious colors and attractive subjects ought certainly to interest our American connoisseurs. It is encour- aging to note that they all recognize the limitations of the medium and confine themselves strictly to essentials. The method is Japanese, hut the colors are modern, often borrowed from the palettes of Van Gogh and Gaugin. We may make especial note of Walter Klemm, an alluring artist whose subjects range from skating-rinks to birds and flowers; Emil Pottner, a specialist in entertaining philosophic farmyard studies; Arthur lilies and Heine Rath, whose obviously beautiful works exert an instanta- neous appeal, being well drawn and glowing in color; Emil Orlik, some of whose prints will be mistaken for Oriental products, and who is even now sojourning among the Japanese; Gerhard Graf, a quiet, hidden worker, whose varied talents ought to win recognition ; Martin Philipp, a many-sided artist whose complete works, we hope, will be collected and seen here; and Charlotte Rollins, a woman with a rare feeling for color and a charming sense of design. She is only one of many talented women, like Annie Lowenstein, a successful experimenter in colored etching, and Kiithe Kollwitz, who have made splendid names for them- .selves as original artists. The last named deserves a monograph to herself. This charming, simple little gray lady lives with her husband, a physician, among the poor people of Berlin, and devotes her life to ministering to their wants. No one would suspect that these works were made by feminine hands. To find 13 The City Art Museum, St. Louis a parallel we must read the tragedies of Hauptmann. Up in the North there is*a remarkable painter, one Einar Nielsen, whose works breathe a similar spirit. The tragic pathos of sunless lives, their depressing sorrows and struggles with poverty, their cheerless homes, disease and death, are depicted with tremendous authority and loving sympathy. Among the cherished treasures of the great cabinet of engravings in the Berlin IMuseum is a complete set, in all states, of her really marvelous and poignant works. Men like Arthur Kampf, president of the Royal Academy of Art in Berlin, have worked in the same genre but hardly with equal — certainly with no greater — power. Drawings quite antithetical to these are furnished by the great humorist weeklies, “Die Jugend” and “Simplizissimus,” the con- tributors to which are also, as a rule, distinguished decorators of printed books. These men have mastered French methods of simplification, and have been students of Beardsley without losing their individuality. Marcus Bchmer has just shown a representative collection of his curious etchings, drawings, and lithographs in New York. Justice can hardly be done to such men by showing a few examples of their work, for they are immensely versatile. Thomas Theodor Heine has made a name for himself in connection with the Hyperion Verlag in Alunich, and also as a painter and as a sculptor, but he is still drawing occasionally for journals, and there is no goal which he may not reach. Olaf Gulliransson has been the witty star of “Sim- plizissimus” for so many years that few know he is a native of Christiania ; and Emil Preetorius, who has also been with the Hyperion Verlag, is already claiming a unique place. Alastair’s exotic women, amusing and technically strange, suggesting Beardsley in form and Bakst in color, and a satire on “Life and Death” by Georg Hermann Gelbke, may here be mentioned. All of these men know how to mix piquant French absinthe with their stein of Miinchener. From these it is natural to pass on to the latest phases of art — cubism, nco- and post-impressionism, futurism, expression- ism, etc. — which seem to be fast gaining ground in all European countries. We shall be surprised to find that Lyonel Feininger, one of the most interesting men of this school, is a New-Yorker. 14 An Exhibition of German Graphic Art MAX KLINGER FROM A PHOTOGRAPH BY PERSCHEIl) An Exhibition of German Graphic Art He emigrated to Germany in 1887, began his career as a musician, and still plays Bach’s organ preludes when he is not etching. In Paris, where he may be said to have found himself, he exhibited with the Independents, and he retains the wit and humor of his early weekly contributions to the “Chicago Tribune,” which may still be remembered. His ancient engines have a curious human interest, but the weird perspective and primitive methods which remind us of Henri Rousseau and again of Picasso, will arouse a storm of criticism. Moriz Melzer, Max Pechstein, Artur Segal, Franz Marc, H. Richter-Berlin, Georg Tappert, and a host of others, belong to the German futurists who air their revolutionary doctrines in Walden’s “Sturm” and that extraordinary magazine, “Der Blaue Reiter.” They, too, are influenced by the French and Italian ultra-moderns, but some of their barbaric subjects and color harmonies are not extreme. They are ridding their works of “thought,” and depend solely on line and color. Often their effects are produced by exaggeration, but Michelangelo and Daumier resorted to the same means. Pechstein’s “Somalitanz,” to single out an example, seems to us peculiarly felicitous and amusing. Kandinsky we frankly fail as yet to understand, but we hesitate to sneer, for a survey of these anarchistic works only impresses us with the freedom of art in our day. Germany is, after all, artistically a youthful country, full of vitality and promise, without centuries of cultivated tradition behind her, like France; and now that the doctrines of Severini and other Italian futurists are being accepted in the land of Chodowiecki and Rethel, no one can say whither the movement may lead. Merely to hurl shafts of cheap ridicule at new work is easy enough, but to prove conclusively that it is silly, or even grotesque, is not so simple. Art has been defined as exaggeration, as omission, or as self-expression. These passion- ate young aspirants, who seem capable of doing anything, argue cleverly and brilliantly that their art answers not one but all these requirements and definitions. They claim that they are hounded because they consistently avoid and despise prettiness. At any rate, they are enjoying themselves hugely, and perhaps these strange, enigmatic pastimes are preludes to great and unexpected developments. We are not sufficiently conservative to deny them their possibilities and privileges, for these reckless descendants 17 The City Art Museum, St. Louis of Menzel have only just begun. Violent agitation and conflict with tradition cannot in the end result in much harm, and may do good. To make critics and public rail like madmen is in itself an achievement. It remains, however, to be seen whether, having rediscovered a few important principles, and having attracted attention, they can avoid the pitfalls of the usual danger, propagandism, and can bear in mind the principle of relativity of values. You cannot safely glorify Picasso and forget Ingres, or hail Van Gogh and ignore Leonardo. Martin Birnbaum. Thanks are due to Dr. Otto Michael of Berlin, through whose kindness this exhibition has been made possible. 18 An Exhibition of German Graphic Art ARTISTS AND TITLES ALASTAIR (Pseudonym) 1 Eleanoha Duse. Hand-colored Print 2 Lady with the Cane BARLACH, ERNST 3a-d “Der Tote Tag.” Lithographs BAUER, KARL 4 Beethoven. Lithograph 5 Goethe as a Boy BAUM, PAUL 6 Dutch Village 7a Landscape with Church Tower b Village Street 8 St. Anna, Holland BECKMANN, MAX 9 Eurydikes Wiederkehr von Johannes Guthmann With nine lithographs by Max Beckmann 10 Lithographic Illustrations for the New Testa- ment BEHMER, MARCUS 11 Arion. Etching 12 Alexander Olrricht 13 The Javanese Doll 14 Book-plates 15a-d Etchings for Voltaire’s “Zadig” 331 Voltaire 332 Flowers 333 The Funeral Pyre of Mme. Almona’s Widowhood 19 The City Art Museum, St. Louis BOHLE, FRITZ 16 Washing Horses. Lithograph 17 Feierarend BULOW, AGNES VON 18 Moxt-Parnasse BURCK, PAUL 19 Dance of Death. Introduction 20 The Train 21 The Moi^ntain-climher 22 The Earthquake BUTTNER, ERICH 23 Sunlight through the Trees 24 The Artist Nitsciie 25 Ciiii.i) Resting 26 In the Park CISSARZ, J. V. 27 A YoT'NG Bearded Man 28 Ex Lirris 29 The Harror Smithy 30 The Port of F()hr 31 Ex Lirris 32 The Windmill CLAUSS, BERTHOLD 334 Crows 335 H a:m ru rg-Bl a n kenese 336 A R E N 1 )U N TER II A LTl ^ N G 337-339 Book-plates COHN, META 340 The Larch Forest 341 OCTORER IN THE TyROL CORINTH, LOUIS 33 The Pig-sty 34 Mother and Child 35 “Das Buch Judith.” With twenty lithographs in color by Louis Corinth 36 “Das Hohe Lied.” With twenty-six lithographs in color by Louis Corinth 20 An Exhibition of German Graphic Art ENDE, HANS AM. 37 The Hut on the Moou FAURE, AMANDUS 38 The Tight-hope Walkek 39 Bahentanz FEININGER, LYONEL 40 Cart^8Selplatz 41 The City at the End of the World 42 An Old-timer 43 Old Locomotive 44 The Disparagers 45 The Gate 46 The Rising Sun 47 Montimartre FISCHER, OTTO 48 Island in the Elbe 49 Weisswassergrund FRANK, ERNA 50 Moltkebrucke 51 WlTTENBERGPLATZ 52 Notre Dame 53 Rue des Grands Augustins GABLER, ERNST 342 The Crossing 343 The River GALLHOF, WILHELM 54 Der Backfisch 55 The Auditorium 56 Nude 57 The Animal-taimer 58 The Handmaidens GAUL, AUGUST 344 Sheep ■ 345 Penguins 346 Condors and Ibis 347 Sheep Resting .1/:. CT 348 Goats >!• 349 Ostriches ■ Z 21 The City Art Museum, St. Louis GEIGER, WILLI 60 Death 61 Ex Libris. Six examples 62 From the cycle “Liebe” 63 From the cycle “Ltebe” 64 Scandal 65 The Bull-fight 66 The Bull-fight 67 The Bull-fight 68 The Bull-fight 69 Self-portrait GELBKE, GEORG HERMANN 70-73 From the cycle “Life and Death’’ 74 Tug of War GEYGER. ERNST VON 75 Affen disputation 76 The Marabu 77 Toilette of the Elephants GRAF, GERHARD 78 Sans Souci 79 Rot HEN BURG 80 Rothenburg 81 Wood-ny:\iph GREINER, OTTO 350 The Dance. Lithograph 351 Siegfried Wagner. Woodcut. 352 Ulysses and the Sirens. Lithograph in Colors 353 Gany.mede. Etching Courtesy of H. E. Stoehr, Esq. 354 An Max Ki.inger. Lithograph Courtesy of R. Ederheimer, Esq. GROSSMANN, RUDOLF 83 Berlin und Umgegend. A portfolio of lithographs GULBRANSSON, OLAF 84 Three Aristocrats 85 B.jornson 22 An Exhibition of German Graphic Art HALM, PETER ’ 86 Reiciienau 87 The Chapel in the Field 88 The Danube at Waltenburg HAUG, R. 355 The Seconds 356 In Memokiam HECKENDORF, F. 357 The Open-air Restaurant HEGENBART, FRITZ 89 The Struggle 90 Prepared for Flight 91 The Dew-drinker HEINE, THOMAS THEODOR 92 The Social Question 93 Panic 94 Germania in the Wood HOBERG, REINHOLD 95 Stormy Landscape 96 Brother Tramps HOFMANN, LUDWIG VON 97-105 The Dance ILLIES, ARTHUR 106 Nasturtiums 107 Fog on the Elbe 108 Fly-orchid JAHN, GEORG 109 Bohemian Goose-girl 110 Washing Horses KAISER, RICHARD 111 The River-bank KALCKREUTH, GRAF LEOPOLD VON 112 The Gleaners 113 Anglers 114 Sei-f-portrait 115 Woman Leading a Cow 116 Kunzelrau 23 The City Art Museum, St. Louis KAMPF, ARTHUR 117 Les Halles 118 The Stroll on the Beach 119 Adoration of the Shepherds 120 Convalescent KANDINSKY 121 Co^iPosrnoN No. 4 KAPPSTEIN, CARL 123 Winter 124 The Swan-pool KAUL, AUGUST 358 Hamruhg: Fleet 359 The Windmill KLEIN-DIEPOLD, LEO 125 Old Woisian KLEMM, WALTER 126 Pelican 127 Sea-swallow 128 Ducks 129 Swimming Ducks 130 Bluefinches KLINGER, MAX 131 Landscape, Chiemsee OVID 132a Title-page 133b Invocation 134c Pyramus and Thishe 135d Pyramus and Thishe 136e The Lion 137f The Meeting 138g The End of the Song 1391i Intermezzo 140i Narcissus — Echo 141j Narcissus — Echo 142k Intermezzo 1431 Apollo and Daphne 145 Apollo and Daphne 145n Apollo and Daphne 146o Ovid 24 An Exhibition of German Graphic Art FROM THE CYCLE OF “EVE AND THE FUTURE” 147a Eve 148b The Future 149c The Future, II. FROM THE CYCLE “DEATH” 150a Night 151b The Fishermen 152c The Sea 153d The Road 154e The Child 155f Herod 156g On the Tracks 157h The Poor KOLLWITZ, KATHE 158 Without Work 159 Head of a Wovian 160 A Woman 161 Death and the Woman 162 Riot WEBERAUFSTAND 163a Want 164b Death 165c Consultation 166d The Rioters 167e The Seizure 168f The End PEASANT REBELLION 169a Title 170b The Scythe 171c Arming 172d The Plough 173e Field of Massacre 174f After the Battle 175g Prisoners KUHNE, WALTER 176 The Royal Palace, Berlin 360 On the Coast 361 Birches . . ♦ 25 The City Art Museum, St. Louis LEDERER, FRITZ 177 Girardis 178 Self-portrait 179 Paul Wegener, the Actor 180 Portrait of a Lady LEHMBRUCK, WILHELM 181 The Dance 182 Bashful Girl 183 Three Wo]\ien 184 Cleopatra 185 Mother and Child 186 Reclining Nude LIEBERMANN, MAX 187 Shepherdess Knitting 188 Girl with a Cow 189 Child in a Cradle 190 Boys Bathing 191 The Beer-garden 192 Mother and Child 193 A View of the Ghetto 194 The Alster, Hamburg 195 The Race-course 196 Self-portrait 197 Street in Zaandvoort 198 Goats Grazing 199 Hollandisches Skizzenbucii. Text von Oscar Bie LOWENSTEIN, ANNIE 200 Street in Vannes 201 The Promenade 202 The Old Port 203 The CafI*: 204a The Market-place in Dresden 204b The Market-place in Dresden MARC, FRANZ 205 Horses MAYRSHOFER, MAX 206 The Idiot 26 An Exhibition of German Graphic Art MEID, HANS 207 Cakriage at the Door 208 The Fountain 209 Don Juan’s Farewell 210 Nocturne 211 Circus IV. MELZER, MORIZ 212 The Queen and Her Poet 213 The Shot 214 Shades 215 Two Against One MOLLER. OTTO 216 The Market NOLDE, EMIL 362-364 Three Lithographs OLBRICHT, ALEXANDER 217 The Little Garden in Winter 218 The Large Garden in Winter ORLIK, EMIL 219 Scene from “Michael Kramer” 220 Hermann Bahr 221 Market in Gradek 222 Portrait of Hodler 223 A Woman Seated 224 Resting in the Hills PAESCHKE, PAUL 225 Concert in the Lustgarten PAULSEN, INGWER 226 The Cathedral PECHSTEIN, MAX 227 Somali Dance 228 The Hunt 229 Head of a Fisherman 230 Portrait PHILIPP, MARTIN 231 Macaws 232 Orange and Blue Macaw 233 Diana 234 Maenad 235 Cranes 27 The City Art Museum, St. Louis PICKARD, E. 365 Luleck POHLE, CARLA 236 Portrait 237 Reclining Men 238 Women with a Child 239 Dorr.LE Portrait 240 Portrait of a Lady POTTNER, EMIL 241 SoMAiERTAGE iM Geflugeliiof. With twenty litho graphs and text by E. Pottner. PREETORIUS, EMIL 242-245 Lithographs from a Portfolio of Ten Plates PRETZSCH, MORITZ 246 Birches 247 The Mill 248 Night RATH, HEINE 249 The Z winger, Dresden 250 Skariosa on the Window-sill 251 Versailles 252 Pont Royal 253 Still Life 254 Skariosa 255 Petit Trianon REHN, WALTER 256 The Fool RICHTER-BERLIN, H. 257 Woodcut from “Der Sturm” ROLLIUS, CHARLOTTE 258 Geraniums 259 Landscape 260 Primula and Apples 261 Still Life 28 An Exhibition of German Graphic Art ROSLER, WALDEMAR 262 Six Lithoorapiis of the Environs of Berlin SCHARFP, EDWIN 263 Horsemen SCHINNERER, ADOLF 264 The Mountain Picnic 265, 266 From the cycle of “Samson” SCHNEIDER, GUSTAV 267 San Gimignano 268 Florentine Landscape SCHOLTZ, ROBERT 269 On the River 366 Harbour — S. Margherita. SEGAL, ARTUR 270 Lotos. Woodcut from “Der Sturm” SLEVOGT, MAX 271 Giant and Dwarfs 272 D’Andrae as Don Juan 273 Witches’ Dance 274 D’ Andrade as Don Juan. The Champagne Song — I 274a Declaration of Love 275 Struggle with a Panther 276 Struggle with a Tiger 277 Self-portrait 278 Nymph and Faun 279 Farewell 280 Works of James Fenimore Cooper. Translated into German. Illustrated with many litho- graphs by Max Slevogt STERL, ROBERT 367 Breakfast-table 368 Nikiscii 369 Astrachan 370 Return from the Field 29 The City Art Museum* St. Louis STRUCK, HERMANN 281 The Longfellow House, Cambridge 282 New York Harboi; 283 Book-plates 284 Jew of Jaffa 285 Jerusalem 286 Gerhart Hauptmann 287 Schierke in Winter 288 Jewish Beggar 289 The Talmudist 290 From the Venice Set STUCK, FRANZ VON 291 Pan. Cover design TAPPERT, GEORG 292 The Clown THIELMANN, WILHELM 293 To THE Christening 294 Old Man Resting 295 Village Dance THIEMANN, CARL 296 Anemones 297 Amaryllis 298 Clivia THOMA, HANS 299 The Violinist 300 Gardone di Sopra 301 Christ and Nicodemus 302 The Protector of the Vale 303 Christ and the Woman of Samaria 304 Spring Landscape 305 Lago di Garda 306 Landscape at Happacii 307 Storm Clouds 308 The Archers 309 The Voyage UHL, JOSEF 310 Self-portrait 311 A Little Girl 312 Peasant Funeral 30 An Exhibition of German Graphic Art VOGELER, HEINRICH 313 The Seven Ravens 314 Spring 315 In May 316 NYxMPH 317 “Barkeniioff” 318 A Fairy-tale 319 The Blackbird 320 A Night in March 321 The Frog’s Bride 322 The Fisherman 323 The Stork 324 At Noon 325 The Lark 326 The Annunciation WOLFSFELD, ERICH 327 A Game of Chess ZEISING, WALTER 328 Hamburg Harbor 329 Place S. Michel 330 Dresden : Terassenufi COLLECTIONS NOW INSTALLED IN THE ART MUSEUM CURRENT SI»ECIAI. EXHIRITIONS Exliibitioii of Contemporary (iermaii Grapliie Art, tjalltiries 25. 26, 30 and 31 OTHER INSTALLATIONS I’aiutings lent by Mr. George B. Leighton gallery 14 Paintings belonging to the \V. K. Bixby American Art Acquisi- tion Foundation gallery 15 Other paintings, in galleries 16, 6, 7, 14, 15, 18, 19, 23 and 28 Drawings and sketches galleries 4, 5 and 9 Etchings by Joseph I’ennell, N. A gallery 27 Arundel prints, of masterpieces of painting gallery 1 Greek Sculpture galleries 17 and 24 Roman and Renaissance sculpture gallery 8 and northwest alcove of central sculpture liall. Modern sctilpture, principally installed in the central sculpture hall Antique and classic bronzes, installed decoratively in various galleries Egyptian and Assyrian antiquities, including sculpture gallery 21 Medallions in cases gallery 1 Japanese and Chinese Art, chieliy in galleries 10 and 11 ■ also galleries 13 and 1 Metal work, chiefly in gallery 29 also galleries 15 and 1 Pottery, etc., chiefly in gallery 13 Glass '. galleries 13 and 20 also galleries 21, 23, 20, 1, 6, 7, etc. St. Elizabeth Mosaics, presented by Mr. Adolphus Busch, 1905 central sculpture hall Fabrics, etc., chiefly in galleries 29 and 10 also in Indian and other collections. American Indian Handiwork— The Dyer Collection galleries 5, 4 and 9 The Andrews Collection and other exhibits galleries 6 and 7 Central American Antiquities (Expedition of the St. Louis Society of the Archaeological Institute of America) gallery 12 Architectural models, etc galleries 17 and 8 and central sculpture hall GETTY CENTER LIBRARY 3 3125 00594 0933 ^^^^^^^^^ |> Y application to the Secretary, ^ Catalogues of the Special Exhibitions for the entire year will be forwarded by mail upon the payment of one dollar.