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Digitized by the Internet Archive 
 
 in 2012 with funding from 
 
 Research Library, The Getty Research Institute 
 
 http://archive.org/details/exhibitionofcontOOclem 
 
PUBLISHED BY GEORG STILKE, BERLIN. 
 
 ALL RIGHTS RESERVED. 
 
 PUBLISHED. DECEMBER 190S, PRIVILEGE OF COPYRIGHT IN THE 
 
 UNITED STATES RESERVED UNDER THE ACT APPROVED MARCH 3, 1905 
 
 BY GEORG STILKE, BERLIN NW-. 
 
COMPOSITION AND PRINTING BY THE REICHSDRUCKEREI, BERLIN. 
 
 HALF-TONES BY GEORG BLXENSTEIN & COMP, BERLIN 
 
 BINDING BY H. SPERLING, BERLIN. 
 
 EN GUSH TRANSLATION BY G. E. MABERLY- OPPLER, CHARLOTTENBURG. 
 
EXHIBITION OF 
 CONTEMPORARY 
 GERMAN ART 
 
 1909 
 
 THE ART INSTITUTE OF CHICAGO 
 
CONTEMPORARY GERMAN ART 
 
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Chicago, that German Art of to-day finds due recognition. 
 America, and American Art, have been learning from the 
 French for the last generation and have passed through the 
 French School. The path opened up by the three pioneers 
 William Morris Hunt, George Irmess, and John La Farge was 
 followed then by hundreds. Thirty years ago it was the mis- 
 sion of France more than any other country to become the 
 school of what is called "good painting 11 . America assimilat- 
 ed the best of what that School and its traditions could offer, 
 but has outgrown it now. American Art would form simply 
 a branch establishment of the Art of Paris were it not to 
 disencumber itself from the fetters of that School. American 
 Art has too many new and characteristic ideas to proclaim 
 and must speak its own message ultimately in its own lan- 
 guage. It has grown so rapidly during 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 ceases being international. 
 For America consequently, it is of great and perhaps deci- 
 sive value during this period of national purification of its 
 Art to investigate, at home and not at -foreign exhibitions 
 on the other side of the ocean, the modern efforts and pro- 
 ductions 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- 
 mising youthful generation are to be found in Germany. It 
 has been a matter of belief for some long time past in Ame- 
 
rica that German Art has been resting on its historic laurels 
 and has fallen into a winter sleep. Scarcely any idea is enter- 
 tained 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 
 whole of Germany, is gaining more and more in depth and 
 breadth, and which would fair engross the whole of public 
 and domestic life. 
 
 From an age of intellect Germany, once the nation of thin- 
 kers and dreamers, emerged and entered on a period of 
 natural sciences and technology and it yearns 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 embellishment for the literary 
 sediment of intellectual life. Art aims at being more than a 
 mere ornament, a luxury or a dainty morsel for the pamper- 
 ed and spoilt. It does not desire to be solely artists art. studio 
 art, Tart pour Tart, a dish for craft}" collectors and connois- 
 seurs. Art is the highest and finest expression of the national 
 life of all countries, the national reflection of the individual 
 character, a language formed anew by ever}" nation by rea- 
 son of its inward natural forces and in accordance with its 
 needs, its inmost and purest essence and with its political, so- 
 cial and intellectual movements. It is a kind of necessary mani- 
 festation 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 
 by words. And if the Art of any period serves as a real re- 
 flection and as an abbreviated chronicle of that period, then 
 the German Art of to-day offers a more complete, impressive 
 
and comprehensive picture of modern German intentions 
 and capabilities than the Art of any neighbouring country. 
 If this great task and this extensive possibility of expression 
 is accorded to Art, then the theory advanced by some small 
 literary Trusts that there is only one international Art, born 
 in Paris, to which everything else has to conform, is in itself 
 untenable. We esteem the great capabilities, the brilliant tech- 
 nique and the eminent proficiency of the French of the last 
 generation, but it is not that for which we are seeking and 
 by which we will abide. The great Frenchmen from Dela- 
 croix to Manet, from Houdon to Rodin, were above all true 
 Gauls, true descendants of a Latin race. And with the same 
 justification Menzel and Leibl, Bocklin and Klinger, desire 
 above all to be true Germans. Nobody can expect our great 
 lyrical poets of the last generation to chant in French, that 
 Storm should sing like Baudelaire, or Liliencron like Ver- 
 laine; why, therefore, have artists been expected to do so? 
 Further, the German artists of to-day, if they be perfectly frank 
 and true to themselves, only desire to express and can only 
 give expression to that which lies within them, to what they 
 are themselves. Just as the great Art of the Greeks, the great 
 Art of the Italian Renaissance was national, so German Art 
 of the future must be national; national without Chauvinism, 
 national without Teutonism, Art first and above Nationalism, 
 pure Art, 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 
 so restlessly and with such strides in all other directions, 
 which brought with it such a complete revolution in the 
 
 8 
 
views of 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 imminent 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 of reverence was dis- 
 played. The right direction, however, was taken in time. 
 The new school has called itself the "modern". I should like 
 to hang up the fellow who coined that word. All great lights 
 at all times have been "modern" as compared to the gene- 
 ration preceding them, and every new tendency is "modern" 
 as compared to an old and dying one. The Classiscists were 
 "modern" in Germany in comparison to the painters of the 
 last Rococo period, the Nazarenes as compared to the Clas- 
 siscists, the Romanticists as compared to the Nazarenes, the 
 school of Menzel as compared to the Romanticists, the school 
 of Painters as compared to the Cartoonists, Knaus and Vau- 
 tier as compared to the oldest genre painters, Leibl as com- 
 pared to Knaus, Liebermann as compared to Leibl, and Putz 
 as compared to Liebermann. Ail those are "modern" who 
 desire to establish something great, something new, orstrong 
 in the world, or to cast a new horoscope of their time: Wash- 
 ington and Napoleon, and in the present day Wilhelm the 
 Second and President Roosevelt. In Art, however, it seemed 
 that those "modern" artists quite forgot that there were 
 "modern" artists before them. The law of development in 
 Art appears to be as firmly established as a natural law — as 
 
the law of the conservation of force — and it is truly the con- 
 servation of a natural force. It announces, namely, that as 
 far back as we are able to look, periods and tendencies have 
 succeeded each other in which either sole salvation has been 
 sought by an ardent clinging to Nature, or 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 
 ma} 7 be perhaps the despots of to-morrow. 
 The latest movement has taken root chiefly in Germany un- 
 der the name of the "Secession" movement. This appro- 
 priate title was adopted by a number of young Munich ar- 
 tists after the}' had severed themselves in 1892 from their 
 older colleagues. It calls to memory 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 be- 
 come typical for every similar departure of a small minority 
 from a compact majority by which they feel overwhelmed. 
 The Art secession in the beginning was a manifestation 
 of the strong feeling of those who did not desire to go 
 with the crowd, but who stroved to climb the steep heights 
 of Art by paths of 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 
 
 10 
 
Nature. If this is the case, however, the term "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 Angelc 
 as well as Rembrandt Menzel as well as I lanet Ibsen said, 
 somewhere or other: "Time is relentless nowadays: a truth 
 founded on a normal basis only lives to be 12. 15 or 20 years 
 old at the most" : and there comes a time when the truth be- 
 comes an untruth and the benefit a plague. The great pre : e s ; 
 of purification, the impulse once given by the Secessionists 
 has passed away to-day. A new generation has arisen that 
 strives towards fresh goals, and the period that struck out 
 with hard words 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 
 not deserve the name. For time strides irresistibly forwards 
 Only a perfectly blind person can be unaware of the feet 
 that from the beginning of this century we really possess in 
 Germany what is called a new style, a style that is no longer 
 what is called "gemacht" and •■gewollt". but which has grown. 
 It is long since Germany shook off the affectation coupled 
 with these first attempts which aimed above all and absolutely 
 at being new. and Tart 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- 
 dency in the domain of painting be enquired into to-day. three 
 
 2* 11 
 
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 
 problem of light and air, that allows all figures to appear 
 as if bathed in air, and encompassed by light. Finally, the im- 
 pressionistic technique. It may be that the latter is something 
 more than a mere technical form. Perhaps there is more 
 underlying it than simply the desire to paint as our eye alone 
 is able 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 
 subjectivity. It can be repeated at this point that these in- 
 novations were not all original. The vigorous pulsating life 
 around us has already been painted by Peter Breughel, Mu- 
 rillo, Rembrandt and Hogarth; further Velasquez, Rembrandt 
 and Goya worked in an impressionist manner, when they 
 needed such technique, only with the difference, that they 
 did not subordinate themselves to it unless they deemed 
 the occasion appropriate. 
 
 And perhaps above and beyond all this the discovery of light 
 and air is what remains. This is really what is new, quite new, 
 that the age has brought us, and in this the great art exploits 
 and victories of 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 
 its mastery from an artistic point of view. 
 
 12 
 
our great masters head 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 
 of being the ancestors of present day Art, as the forerunners 
 and, in a certain sense, the pioneers who have pointed out 
 the new ways. It will be seen shortly how this youngest 
 direction was built up on the Art of the last generation. 
 
 First of all comes Adolf von Menzel. When he was called 
 away as a nonagenarian three years ago, he was hon- 
 oured above all other painters as the glorifier of Prussian 
 fame, as the great historical painter of the Friedrician period, 
 who knew how to resuscitate such a historical period and to 
 combine the greatest historical accuracy with the greatest 
 vitality, in a manner which none before him ever achieved 
 and none after him ever will achieve; but this Menzel the 
 First, the great historical painter, has been dead for a long 
 time; it is just fifty years since he painted his last picture of 
 the Friedrician period. Then there 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 
 of forms around him ; at Court, in Society, in the streets, in 
 crowds, at railway stations, in the bustle of 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 
 
 ! 3 
 
people at their work, the first who sang the Psalm of Work 
 in his great "Eisenwalzwerk" amidst the first threatening 
 storm of 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 
 was not rivetted by the interesting act, but by the pictures- 
 queness of the act, the first impressionist and the first sket- 
 cher. The most marvellous feature of the grand and awe- 
 inspiring appearance of this little man who strode through 
 the world like the king of the gnomes, was his unwavering 
 love of the truth, his sacred respect for nature, a respect 
 that was constantly growing within him so that finally he 
 only dared to depict nature that he thoroughly comprehend- 
 ed, or, in other words, the life by which he was surrounded. 
 He was one of the greatest originals of all times, original 
 above all in the manner in which he interpreted his genius. 
 His genius was assiduity and painfully he mastered his art. 
 Like Diirer he wrung his greatness from destiny by sheer 
 force in a severe struggle. There are pictures by him (about 
 the year 1850) which depict a humble room through the 
 window of which the sun's warm rays shine and play, pic- 
 tures of the yards and gardens of Berlin as it was then, ideas 
 executed with the greatest resources of the impressionist. 
 He learnt, or discovered, for himself the art of painting sub- 
 jects and figures in the open air thirty years before the ap- 
 pearance of the great French impressionists. Manet was 
 only 1 6 years old when Menzel painted his first picture in 
 accordance with this amazing technique, a picture that was 
 full of light. His pictorial impressiveness was quite immense 
 during the last decades and was constantly increasing. He 
 
 14 
 
possessed an almost terrifying objectivity that did justice to 
 the smallest detail and that was almost suffocated by a super- 
 abundance of material. He was once styled by Bocklin "a 
 great scholar". He was the greatest exponent of what may 
 perhaps be called a specific Berliner's taste for Art: reflec- 
 tive, realistic, conscientious, tranquil, and somewhat dis- 
 passionate. Even in what he lacked — the transfiguring, per- 
 sonal element, phantasy, and poetical inspiration — he 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- 
 pendence he acquired his art and his artistic skill, inde- 
 pendently. If the right to the title of "Father of the Im- 
 pressionists" be conferred by first discovery and conquest, 
 then it is Adolf von Menzel who deserves the name. 
 
 Franz von Lenbach, like Menzel, started from great histo- 
 rical paintings and whilst Menzel headed the Berlin School 
 for the last generation and was its pride, Lenbach was 
 the foremost of Munich painters. Lenbach is the greatest 
 portrait painter that Germany has produced during the 19 th 
 century and 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, 
 Dollinger, and Gladstone. It can be said with truth that it is 
 just through his portraits that this great age will figure in 
 times to come as a specially vigorous one. A peculiar con- 
 geniality capable of assimilating itself to all great personal- 
 
 '5 
 
ities was accessary to comprehend all those men: the tine 
 
 th : ughtful and 5 rholarly head of Moltke. simultaneously with 
 the p iwerful rugged head of Bismarck. His great art lay in 
 : ing hat was most vital in the appearance and the in- 
 m : st h eing 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, 
 even details of technique. The a j; ess jries, 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 
 if they had been illuminated by magic. In addition to this the 
 master, who never concerned himself much about women's 
 portraits. - — perhaps because they lacked for him firm cha- 
 racteristic Expressions — created countless figures ofwomen 
 of fascinating form which he shrouded with the most subtle 
 art at his disposal. 
 
 Lenbach perhaps remained too much a pupil of byegone 
 times. He copied no one but absorbed what was best in his 
 predecessors. 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 
 by means of these prototypes. Thus the ingenuousness result- 
 ing from the direct contemplation of nature was often lost to 
 him , and it seems as if his wonderful brown-toned pictures 
 shun the intrusion of the bright and clear sun. 
 
 16 
 
In this respect Wilheuh Leibl was a perfect contrast to 
 
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 ::r5 ini E:i\-^t= i'i ^;± hi= :::: :::.i £.r. : " ztzzz in: 
 abilities dumbfounds and stupefies everyone then as now. 
 I t-:t- iti :r:~ in :.i z i~iz~zzz zizzzlj zz ~.-is -Jit run:;: 
 of the Bavarian peasant. And he regarded these peasants 
 ■?■":". r ::.: ::.; i.rtrt": t;t; : : : ; r~ tr ::."::": ~ = :- z~~ nt~ 
 neither in the heroic light peculiar to Defregger, nor in 
 Yautier T s sentimental manner. LesbFs peasants don't frolic; 
 or relate anecdotes. They are origina l , sober, deliberate,, 
 r':. ; :i:: i:: - ; : :~: :~: — ; i; zzzzz izi zi: i : tuti 
 They are scarcely ever depicted in action, but mostly sitting, 
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 iz. z zzziy sazz zz 'zi zz! z . zzzzz z z'tz _:.:._- : t:s: : : : 
 
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 :r:'i=izue :::_.:; zz:ii z:zzzzi'z.izs : zri izzz'zzzzszzz'zzis ::' 
 the brush. Although teacher to no one person the Hermit 
 of Aibling has become a teacher to a whole generation. 
 
 __u^:; i z:zzizzzz ~~zz'.z zzzzzs zsiz zz '.: ~zs .z zzzzzzzzz z: 
 the fourth of these great men, namely Arnold Bockiis. 
 5 1;^!::: ~~is zizzzizs zzzz zz.z5z~zzzz~irs.2L zz ill zzzz Z-izzz.zz. 
 painters of the 19* century; religious, historical, mythologi- 
 
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 17 
 
to the skies. The shortsighted disregard of early times chang- 
 ed rapidly into loud admiration and impetuous over-esti- 
 mation, so that frequently the irregular creations of his latter- 
 day style were accepted as happj^ 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 
 historical, idealised school of landscape painting. "Whereas 
 other representatives of this school idealised landscapes by 
 importing a medley of things into them, by cramming their 
 frames, Bocklin idealised nature by simplifying it. He sought 
 the underlying idea of a landscape, its chief lines and cha- 
 racteristic points and built up his whole effect on these. He 
 desires to depict the working of 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 
 causes trees to grow where he pleases. From the very be- 
 ginning it was not the soft tranquil beauty of German scenery 
 that attracted 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- 
 sition "the constant omission of 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- 
 pression. Thus he never worked from direct studies, but from 
 
 18 
 
thousands of impressions of nature that cause a new picture 
 to arise within his mind's eye. Consequently, all his paintings 
 possess accentuated vitality, something solemn 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- 
 hanced, something interpreted. Andhe only intended to depict 
 the mysterious forces of nature when he animated her, or she 
 him. He confronts nature with the simple-mindedness of the 
 ancients. In 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, 
 and he peoples sea, forest and rocky gorge anew with crea- 
 tions of his phantasy. They are not the Olympian gods, but 
 a strange race of fauns and satyrs, water sprites and elves, 
 nymphs and forest spectres, a Hellenic-Swiss hybrid race. 
 These figures are not borrowed from the antique, his sea- 
 monsters no longer belong to the Scopas race; they are to 
 a certain extent new figures: shaggy and unkempt, rough 
 and bestial, filled with wild animal life, frequently with year- 
 nings like the little mermaid in Andersen's fairy tale, and at 
 other times full of unruly antique hilarity like the great God 
 Pan. Bocklin himself is a poet. He never illustrated a my- 
 thological, 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 of the softest and deepest moods and 
 heard mysterious voices of nature which no other ear had 
 
 3* 19 
 
caught before him. He did not possess the harmonious and 
 refined classicism of the great Feuerbach (who unfortunately 
 is not represented at this Exhibition) and further his pictures 
 are not full of 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, 
 rich in colour, to Nature, such poems as only Walt Whitman 
 has been successful in putting in words. If one desires to 
 gauge him he can only be measured by his own standard. 
 The last goal that he strove for was something monumental 
 and decorative, an elaboration and interpretation of natural 
 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 
 
 J positions, one of whom has completed his seven- 
 Mi tieth year this year and another who will reach 
 the same age next year. They are Eduard v. Gebhardt and 
 HansThoma, and they both serve as intermediaries between 
 the old and the new. Eduard v. Gebhardt still treads 
 in the path of the traditions of the great historical paintings 
 of the Diisseldorf School. He has located his religious paint- 
 ings in the period of our greatest religious upheaval, the 
 time of Diirer 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 of 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 
 anything weak, incomplete, or soft and every detail must be 
 filled with the utmost amount of inward life. In this way he 
 touches the heart of his contemplator, who is deeply affected. 
 Further, Hans Thoma, the most German of masters, a 
 son of the Black Forest, he too like Bocklin is a poet, a 
 dreamer, but also like Bocklin an epic and dramatic poet 
 and above all a lyric poet and master of idylls. He lacks the 
 highly strung rhythm and exuberant vitality of Bocklin's art; 
 Thoma's art is more tranquil, profound and humble. He 
 too 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 
 Rhine, and his quiet beloved 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 old mingle strangely; at the same time primi- 
 tive, working in the beginning with free artistic ability, later 
 on with conscious limitation of artistic devices, and frequently 
 humdrum and commonplace. If, however, there is anything 
 
 21 
 
at stake, he is capable of comprehending - the soul of a land- 
 scape even beyond its last picturesque charm, although that 
 may seem the last and highest aim in art. No one has grasped 
 the inmost being of a German landscape in the same degree, 
 no one has possessed such a suggestive power, and no one 
 has been such a herald of these unpretentious and chaste 
 beauties for his whole nation as has fine old Hans Thoma. 
 He is true from top to toe. 
 
 he realistic movement permeated the whole of 
 painting in Germany more than a generation 
 ago. Menzel and Leibl were its pioneers, Max 
 Liebermann was the leader of the new tendency in 
 the middle of the Seventies and at the same time, for Germany, 
 the intermediary of the French and Dutch artistic views and 
 technique. In Paris it was Munkacsy and in Holland Josef 
 Israels, who above all stimulated him. Liebermann, however, 
 was a far too 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 
 Menzel. In contrast to Leibl's 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- 
 mentary and characteristic in motion. He took over that 
 which was new, what the Japanese and the first French Im- 
 pressionists and what Courbet and Manet had brought to 
 Art and wedded it to his new style. Technique full of ge- 
 nius, broad and yet delicate, imparts an astonishing fresh- 
 ness to his paintings. The words of the great Dutchman, 
 
 22 
 
Israels, "Mankind is always beautiful; give the people the 
 simple poetry of real life, for finally it overcomes the hearts 
 of men" he absorbed in his life. His great isolated figures 
 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 
 figures of toil and hardship. In this respect he offers us the 
 same that Millet formerly gave to France and yet his men 
 belong to quite a different race, to the Northern race, and 
 are viewed in quite a different light. 
 
 Side by side with him is Wilhelm TrObner, most promi- 
 nent during the Seventies; an inconsiderate naturalist with 
 a strong feeling for nature and, especially in his earlier works, 
 a marvellous sense for the value of tone and large blotches. 
 Common to both is the absolute lack of phantasy, the al- 
 most intentional shyness of everything that might appear a 
 little sentimental or literary. As aforesaid, they all search only 
 for "good painting". 
 
 Fritz von 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 
 strides one of the greatest painters of the new technique, but 
 he discovered that the experimenting with indifferent motives 
 did not suffice for him. Deeply impressed by the movement for 
 restoring to our national and artistic feeling the pious themes 
 of the Christian legends he endeavoured to do what has been 
 done in every unsophisticated period, by the Eycks, as well as 
 by the Diirers and Rembrandts. He transferred the events of 
 
 2 3 
 
the New Testament to his own time. His painting "Suffer the 
 little children to come unto me", which was created exactly 
 twenty- five 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- 
 ment of light, it certainly does not form an ecclesiastical pic- 
 ture. Uhde has never attained again the fervency and stir- 
 ring power of these first pictures. He has only shown him- 
 self during the last few years as the great technologist and 
 painter who knows how to paint. As compared to him the 
 other representatives of realism in Munich recede into 
 the background. Hugo von Habermann is perhaps one of 
 the greatest virtuosos and perhaps one of the greatest 
 masters of the palette; he possesses 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 sovereignity and almost makes 
 it a point to wage war against everything commonplace. 
 Albert Keller, compared to him, is delicate and subtle, 
 a man of the highest society, who endeavoured to make 
 ingenious application of the new technique to paintings 
 of modern society. Gotthardt Kuhl, who stands quite in- 
 dependently of 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- 
 picted by him with verve and freshness. Two of the most 
 fruitful artists of the Berlin Secession that appear in the 
 
 24 
 
train of Liebermann are Louis Corinth and Max Slevogt. 
 They lack the delicacy, the spirituality of the leader of the 
 movement. They are coarser, more ponderous, frequently 
 of an unbridled barbaric power, sometimes hankering after 
 flesh and of a coarse sensuousness that characterised the 
 great Flemish painters, but more of the Jordaens 1 style than 
 that of Rubens. And quite isolated and independent stands 
 besides them the President of the Berlin Academy of Arts, 
 Artur Kampf. Sprung from the historical tendency, regarded 
 once as the heir of Menzel the First and yet quite a modern 
 man, Artur Kampf has turned to the material of his time 
 and following more and more what was great and typical 
 has become the monarch of his metier and at the same time 
 a powerful portrait painter. Of all the many portrait painters 
 that Germany possesses in such large numbers, there is none 
 other since the death of Lenbach who can compare like 
 him with Sargent for power and elegance, with Whistler for 
 beauty of tone and discreet grace. After Lenbach's death, 
 Friedrich August Kaulbach took the lead. Everyone went 
 through his atelier that could lay claim in Munich to being 
 elegant, rich, or beautiful. He is a man of exquisite taste and 
 refinement, more coloured and versatile than Lenbach, but 
 without the latter 1 s powerful characteristic features. He is 
 also well-known to Americans as the portrayer of some of 
 their magnates : the portraits of the Rockefeller family belong 
 to the most brilliant performances of his last years. The 
 Munich School from which Kaulbach sprung has supplied 
 during the last ten years quite a series of fresh and powerful 
 individuals and fine artists. Zugel may be mentioned as the 
 most brilliant painter of animals with an astonishing tech- 
 
 4 25 
 
nique and a wonderful freshness of colours; further Jank, 
 Herterich, Hengler and Karl Marr, an American by birth 
 and one of the most sympathetic Munich painters, who fre- 
 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 of German Art mirrors itself in the 
 history of German landscape painting, so that from the image 
 we can, as it were, read off the different tendencies clearly 
 and sharply. After historical landscapes and the interesting 
 landscapes of large plains and wide horizons come small 
 fragments of landscapes; perhaps in no other field of Ger- 
 man Art can more brilliant performances be found associated 
 together. Landscape painting was the great experimenting 
 field in which the effects of free light, cold light, the glaring 
 sun, of rarefied air and wavering light could betried. 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 
 painters are domiciled, namely, Gustav Schonleber, Julius 
 Bergmann and Ludwig Dill. The first, the greatest and most 
 delicate reproducer of the scenery on the Upper Rhine, has 
 turned from Southern themes to those at home, Julius 
 Bergmann is the creator of delightful animal paintings and 
 powerfully toned landscapes. Ludwig Dill, once the leader 
 of the "Dachauer," fled from the town air of Munich to the 
 delicious country freshness of the neighbouring village Da- 
 chau. Widely removed from realistic reproduction, he essayed 
 by the means of dull, delicately harmonised silver-grey sha- 
 des, such as have never been surpassed by the best of Scotch 
 
 26 
 
artists, to create something' that might be called a style in 
 landscape painting. And this is the tendency that is con- 
 stantly growing in power and importance in the landscape 
 painting of to-day. 
 
 Like the "Dachauer" School, a little colony of painters of 
 whom perhaps Vinnen is the best known, established itself 
 at the village ofWorpswede near Bremen in North Germany 
 and formed the so-called Worpswede group, whose chief 
 aim is to reproduce the fresh colours of the flat and unspoilt 
 Northern landscape and to depict the marvellous brightness 
 of its moors and marshes. Among the young Dtisseldorf 
 painters, Max Clarenbach attains this greatness and simpli- 
 city of outline and among Berlin artists Walter Leistikow, 
 who died not long ago. It was the latter who first drew 
 attention to the beauty of the lakes and fir forests of Branden- 
 burg in art as Fontane did in literature. 
 
 he realistic movement had hardly reached its 
 height, before its decay set in. This relentless and 
 all too radical naturalism called forth, of necessity, 
 a counterpoise. The renunciation of everything 
 that was phantastic, of all poetical themes, could not be borne 
 for long. The demand for a more vigorous and personal art 
 becoming stronger and stronger caused something super- 
 natural to be sought for in contrast to such all-too-earthly 
 Art; themes with greater, richer, and truer vitality in contrast 
 to the stern subjects of everyday life ; themes depicting stron- 
 ger passions and increased pleasure in living, and a higher 
 life freed from the dross of this world. Conforming to the 
 iron law of development, of periodical recurrence, a new 
 
 4* 27 
 
romanticism sprouted up out of this realism, a new stylisised 
 Art. Bocklin was the most important intermediary who, 
 over the heads of the whole realistic movement, built the 
 bridge to that historical Art from which he himself came. 
 And Franz Stuck, above all other artists, based himself 
 on Bocklin. He is hardly imaginable without Bocklin, but 
 he is severer, more architectonic in form, more irridescent 
 in colour, features that can be 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 
 pictures overflowing with power. And, standing alone like 
 a hermit, and yet inwardly related to Bocklin, we have Max 
 Klinger, the greatest psychologist and certainly the most 
 profound German painter of the present day. Sometimes, 
 however, Klinger philosophises too much in artistic material 
 instead of creating freely. More universal than any other 
 living artist, he has attained world-fame as an engraver; he 
 turned from easel 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 crassest naturalism to the Olympian repose 
 and Dionysic jollity, and nothing has remained hidden from 
 him, from ghastliness to grand sublimity, from the soft and 
 lyrical to the intensified dramatical. In his Art we perceive 
 the whole of the man Klinger, the sturdy wrestler, the con- 
 stant combatant, frequently struggling for the highest ex- 
 pression of Art; and his melancholy and brooding, to which 
 creative form is often denied, is valuable to us as evidence 
 of his unique development. 
 
 28 
 
Ludwig von Hofmann seems to have proved victorious 
 over these struggles and all other heavy and cumbersome 
 toils. He did not have to strive long for the Lost Paradise ; 
 the Garden of Eden in all its irridescent splendour and 
 beauty opened its gates to him from the very beginning. 
 His whole Art is a jubilant hymn to the beauty of his Pro- 
 mised Land. His pictures pass us in review, sometimes Bac- 
 chanal and unrestrained, sometimes filled with soft melan- 
 choly, but always full of beautiful ardour. They are ideal 
 landscapes peopled with a supernatural race, full of slender 
 youths and delicate maidens in a pure nakedness not of this 
 earth, a higher race, ever young like the Olympian Gods, 
 and although never mythological yet far removed from this 
 world. And this apparently child-like unconstrained Art is 
 full of the highest artistic wisdom. Slowly Ludwig von Hof- 
 mann has turned more and more to the decorative and sought 
 in decorative art the monumental, the great simplification, 
 the condensation 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 for 
 in another way by John LaFarge. Ludwig von Hofmann must 
 not be gauged by the standard of 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- 
 est and most remarkable group of German artists, namely 
 the "Munich Scholle,' 1 under which title a series of power- 
 ful and original artists congregated together a few years ago. 
 They desire to sing a Hymn of Praise to Mother Earth, to 
 
 2Q 
 
their native soil, in their pictures. These are redolent of the 
 pungent and healthy smell of earth. The striving - after what 
 is great is shared by the whole group alike, even down to 
 size and technique in their paintings. Leo Putz possesses 
 perhaps the most powerful talent for painting among them; 
 he is sometimes almost too 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, 1 ' said Rousseau once when characterising the con- 
 ception of perfection in painting. And "to finish," said the 
 great American William Morris Hunt, "means to leave off 
 somewhere outside after everything inside is quite full; to 
 leave off before you yourself, or the spectator, are tired." 
 Putz's surprising and amazing facility is shared by Adolf 
 Munzer who possesses greater grace, a strong inclination 
 for the decorative and quite wonderful ease in creating. 
 Then comes Fritz Erler, the most powerfully emphas- 
 ised decorative talent of the whole group. He is frequently 
 rough, quaint, exaggerated and sometimes almost barbaric 
 and wild in his Bajuvarian expressions of power, but always 
 full of inner grandeur and a born monumental painter. 
 
 inally, this striving after greatness of outline, to- 
 wards new monumentality, is also characteristic 
 for the new movement in German PLASTIC ART. 
 Naturally at this Exposition it has been impossible 
 
 even to try to afford a view of all these efforts in Germany. 
 
 The school of Reinhold Begas, brought under the notice 
 
 3o 
 
of the American public at former official Expositions, pro- 
 spers with all its old fertility in the North. The father of this 
 new and "Barock" style, Reinhold Begas, the creator of the 
 Berlin monuments of Kaiser Wilhelm and Bismarck, although 
 more than seventy years of age, is still working. 
 
 For the younger generation, Adolf Hildebrand has arisen 
 as a leader, and, although he is now upwards of sixty years 
 of age, the sculpture of the present day bears the impress 
 of his influence in a constantly growing degree. That, which 
 he has never tired of preaching as a teacher and creator, 
 is quietness and simplification and condensation of the 
 whole effect in one single view, namely, in the distant per- 
 spective. Especially in the setting up of figures in the open 
 which are to be visible a long way off, the most important 
 consideration is to select as a "motif" of animation one which 
 shall be as simple and yet as effective as possible, and to 
 secure for the figure that silhouette which, without being 
 exaggerated, shall exhibit the greatest expressiveness. 
 This great "repose," which Ruskin held to be absolutely es- 
 sential to real art, is to be found in the sculpture of Hilde- 
 brand, with the splendid nudity of his marble 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- 
 sidiary. Indeed this neo-classical Munich School is the dia- 
 metrical opposite of the naturalistic-historic school with its 
 theory of the faithful reproduction of the model. 
 
 3 1 
 
Of the Berlin artists, it is Lederer, the creator of the won- 
 derful Bismarck monument at Hamburg, who shows the 
 greatest psychic affinity to Hildebrand. His great master- 
 piece looms up gigantic like a mediaeval 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 founder 
 of the German Empire has been immortalised in stone. Side 
 by side with Lederer stands Tuaillon, the creator of 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 
 its outstretched head, she seems a fit personification of 
 the youthful energy of the German Art of to-day with its 
 buoyant confidence 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 
 a restricted and limited degree. In these days of 
 hurry and haste artistic tendencies die out far too rapidly. 
 Appearances that only create amazement are lost sight of 
 with amazing rapidity. To-day, German Art has brought 
 over with it into the twentieth century the best of the tra- 
 ditions of the nineteenth century. And above all, it reflects 
 an abundance of great power and everlasting youth. This 
 Art exhales the breath of internal health. And truly German 
 Art of to-day is a faithful mirror of the German nation, 
 
 3 2 
 
and of its impetuous haste. The bright colour and variety 
 shown in this mirror is likewise a simile of the differentiated 
 culture of to-day. When, at a future period, whole races enter 
 into pacific competition, the victory will not be gained by 
 the nation possessing the oldest and most refined culture, 
 but by the nation whose culture displays the greatest health 
 and youth. And, it may well be assumed, the American 
 Culture of to-day, which teaches us to regard both health 
 and youth as the highest virtues of a people, ought to be 
 best qualified to understand and appreciate this fresh, power- 
 ful and deep Art. 
 
 33 
 
PICTURES 
 
 ALBRECHT, KARL, 
 
 Professor; painter at Konigsberg in Prussia; teacher at the 
 Konigsberg Royal Academy of Arts. Born on the 2 nd April 
 1862 at Hamburg; pupil of Th.Hagen at the Grand Ducal 
 School of Art, Weimar. Distinctions: Small gold medal, 
 Munich. 
 
 "Still Life 11 — oil painting. 
 "In thought" — oil painting. 
 "Flowers and Fruits" — oil painting. 
 
 BANTZER, KARL, 
 
 Dr., Professor; painter at Dresden; Director of a Masters 
 studio and member of the Council of the Dresden Royal 
 Academy of Fine Arts. Born on the 6 th of August 1857 at 
 Ziegenhain, in Hesse, studied at the Academies in Berlin and 
 Dresden (L. Pohle). Distinctions: Honorary Doctor of the 
 University of Marburg; Prussian large gold medal for Art; 
 large gold medal Dresden and numerous other exhibition 
 medals. 
 
 "Hessian peasant girl" — oil painting. 
 >* 35 
 
BAER, FRITZ, 
 
 Professor, painter at Pasing, near Munich. Born on the 18 th 
 August 1850 at Munich; studied under Baisch at Munich for 
 a short time, continued his studies later on independently. 
 Distinctions: Prussian gold medal for Art; large gold medal 
 Munich; Archduke Charles Louis prize medal Vienna and 
 numerous other exhibition medals. 
 "Stormy evening" — oil painting. 
 
 VON BARTELS, HANS, 
 
 Professor; painter at Munich. Born on the 25 th December 1856 
 at Hamburg. Pupil of Hardorff and Karl Oesterley at that 
 town, then a student at the Academies at Diisseldorf and 
 Munich. Distinctions: Member of the Academy in Berlin; 
 honorary member of the Academy at Munich, of the Societe 
 Royale Beige des Aquarellistes en Bruxelles, of the Royal 
 Scotch Society of Painters in Water Colours in London, &c. 
 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. 
 
 "Fish-market at Concarneau" — water colour painting. 
 
 BECKER, BENNO, 
 
 Professor; painter at Munich. Born on the 3 rd April i860 
 
 at Memel. Self taught. Distinctions: Numerous exhibition 
 
 medals. 
 
 "Vineyards" — oil painting. 
 
 "Arco" — oil painting. 
 
 36 
 
BECKER-GUNDAHL, CARL JOHANN, 
 
 Professor; painter atSolln near Munich. Born on the 4 th April 
 1856 at Ballweiler in the Palatinate of the Rhine. Studied at 
 the Academy at Munich as well as under Professor G. Max 
 and Diez at Munich. Distinctions: Honorary member of the 
 Academy at Munich. Possessor of the Prince Regent Luitpold 
 medal. 
 
 "Head of a bishop" — charcoal drawing - . 
 "My wife 1 ' — 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 1400" — drawing. 
 "The revelation of death" — drawing, 
 "Poet in the palace garden" — drawing. 
 "The dearest one" — drawing. 
 
 BERGMANN, JULIUS, 
 
 Professor; painter at Carlsruhe and teacher at the Grand 
 Ducal Academy of Fine Arts there. Born on the 28 th February 
 1 86 1 at Nordhausen; pupil of the Stadel Institute of Art 
 at Frankfort o/the Maine ; studied at the Academy at Carls- 
 ruhe (Baisch). Distinctions: Numerous exhibition medals. 
 
 "On the way" — oil painting. 
 
 37 
 
BLOS, KARL, 
 
 Professor; painter at Munich. Born on the 24 th November 
 i860 at Mannheim. Studied at the Academies of Munich 
 (K. Hoff) and Carlsruhe (v. Lindenschmit). Distinctions: 
 Prussian gold medal for Art; large gold medals Dresden, 
 Munich, Salzburg and numerous other exhibition medals. 
 
 "Own portrait"— oil painting. 
 "Painting of the Regent" — oil painting. 
 
 BOCKLIN, ARNOLD, 
 
 Dr. and Professor; painter. Born on the 16 th October 1827 
 at Basle. Died on the 16 th January 1 901 at Fiesole, near Flo- 
 rence. Studied at the Diisseldorf Academy under Schirmer, 
 also in Brussels and Paris. Distinctions : Member, or honorary 
 member, of the Academies in Berlin and Dresden; possessor 
 of 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 
 exhibition medals, &c. 
 
 "At the Spring" — oil painting. 
 
 Owner: Mr. Hugo Reisinger, New York. 
 "Own portrait, with fiddling death" — oil painting. 
 "Surging Sea" — oil painting. 
 
 Owned by the Royal National Gallery in Berlin. 
 
 38 
 
BORCHARDT, HANS, 
 
 painter at Munich. Born on the 11 th April 1865 in Berlin. 
 Studied at the Berlin Academy and under Baron Uhde at 
 Munich. Distinctions : Various exhibition medals. 
 
 "The Pearl Necklace" — oil painting - . 
 
 BRACHT, EUGEN, 
 
 Geheimer Hofrat; Professor; painter at Dresden; Director 
 of a masters studio and member of the Academic Council 
 of the Academy for Fine Arts at Dresden. Born on the 3 rd June 
 1842 at Morges on the Lake of Geneva; studied at the Aca- 
 demy at Carlsruhe under Schirmer and under Hans Gude at 
 Dusseldorf. Distinctions: Member of the Academies in Ber- 
 lin and Munich: possessor of the Prussian gold medal for 
 Art; the large gold medal, Vienna, and of numerous other 
 exhibition medals. 
 
 "Sea calm 1 ' — oil painting. 
 
 "Mid-day pause in Steel Works" — oil painting. 
 
 BURGER, FRITZ, 
 
 painter at Charlottenburg, near Berlin. Born on the 16 th July 
 1867 at Munich, and studied at the Munich Academy and in 
 Paris. Distinctions: Prussian large gold medal for Art; large 
 gold medal Liege and numerous other exhibition medals. 
 
 "The White Chair", childrens portrait — oil painting. 
 
 39 
 
CLARENBACH, MAX, 
 
 painter at Wittlaer, near Kaiserwerth, one the Rhine. Born 
 on the 19 th May 1880 at Neuss. A pupil of Diicker's at the 
 Academy of Art at Diisseldorf. Distinctions : Prussian gold 
 medal for Art; large gold medal Vienna, and various other 
 exhibition medals. 
 
 "In February 1 ' — oil painting. 
 
 Owner: Herr Hubert Inden, Diisseldorf. 
 
 CRODEL, PAUL, 
 
 painter at Munich. Born on 7 th September 1862 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. 
 
 DETTMANN, LUDWIG, 
 
 Professor; painter at Konigsberg in Prussia; Director of the 
 Konigsberg Royal Academy of Art. Born on the 25 th of July 
 1865 at Adelbye, near Flensburg. Studied at the Berlin Aca- 
 demy under Bracht, Skarbina and Friedrich. Distinctions: 
 Prussia gold medal for Art; large gold medals Dresden, 
 Vienna, Grand Prix Venice, and numerous other exhibition 
 medals. 
 
 "The Sacrement" — oil painting. 
 
 Owned by the Municipal Art Gallery in Konigsberg. 
 "Fishermen's Churchyard" — oil painting. 
 
 Owned by the Royal National Gallery in Berlin. 
 
 40 
 
DEUSSER. FRIEDRICH AUGUST, 
 
 painter at Diisseldorf. Born on the 15 th February 1870 at Co- 
 logne o/the Rhine; studied at the Diisseldorf Academy. Dis- 
 tinction: Gold medal Cologne. 
 
 "Curassiers" — oil painting. 
 
 DIEZ, JULIUS, 
 
 Professor; painter at Munich. Teacher at the Munich Royal 
 School of Art. Born on the 8 th September 1870 at Nuremberg. 
 Distinctions: Gold medal, Munich. 
 
 "The Coachman" — distemper colours. 
 "Mosaic design for the University of Munich 11 — distemper 
 colours. 
 
 DILL, LUDWIG, 
 
 Professor; painter at Carlsruhe and teacher at the Grand 
 Ducal Academy of Art in that town. Born on the 2 nd February 
 1848 at Gernsbach in Baden and studied architecture at first 
 turning his attention entirely to painting afterwards. His 
 teachers were Otto Seitz and Piloty. Distinctions: Honorary 
 member of the Academy at Munich; numerous exhibition 
 medals. 
 
 "Storm disappearing over the Moors" — distemper co- 
 lours. 
 
 "Foggy evening at Dachau" — distemper colours. 
 "At the edge of the forest" — distemper colours. 
 
 6 4 1 
 
DORSCH, FERDINAND, 
 
 painter at Dresden. Born on the 10 th December 1875 at Funf- 
 kirchen; pupil of Leon Pohle and Gotthardt Kuehl at the 
 Dresden Academy of Art. Distinctions: Small gold medal, 
 Dresden. 
 
 "In the Dining Room" — oil painting. 
 
 ENGEL, OTTO H., 
 
 Professor; painter in Berlin. Born on the 27 th December 1866 
 at Erbach in the Oden Forest; studied at the Academies in 
 Berlin, Carlsruhe and Munich. Distinctions: Member of the 
 Berlin Academy, possessor of the Prussian large gold medal 
 for Art, gold plaque Dresden and numerous other exhibition 
 medals. 
 
 "Frisian girl" — oil painting. 
 
 ERLER, FRITZ, 
 
 Professor; painter at Munich. Born on the 15 th December 
 1868 at Frankenstein in Silesia; studied at the Art School in 
 Breslau and at the Academy Julian in Paris. Distinctions: 
 Small gold medal, Munich. 
 
 "Lady with feather hat" — oil painting. 
 
 "Lady with black gloves" — oil painting. 
 
 "The Plague" (Tryptichon) — distemper colours. 
 
FRENZEL, OSKAR, 
 
 Professor; painter in Berlin. Born on the 12 th November 1885 
 in Berlin; studied at the Berlin Academy under Meyerheim 
 and Bracht. Distinctions: Member of the Berlin Academy, 
 possessor of the Prussian large gold medal for Art and nu- 
 merous exhibition medals. 
 
 "Forest meadow" — oil painting. 
 
 VON GEBHARDT, EDUARD, 
 
 Dr., Professor; painter at Diisseldorf; teacher at the Diissel- 
 dorf Royal Academy of Art. Born on the 13 th June 1838 at 
 St. Johann in Esthland; pupil at the Academies of St. Peters- 
 burg, Carlsruhe, Diisseldorf (Wilh.Sohn). Distinctions: Mem- 
 ber or honorary member, of the Academies of Antwerp, 
 Berlin, Brussels, Munich and Vienna. Honorary Doctor of 
 the University of Strassburg. Possessor of the Prussian Order 
 pour le merite for Science and Art, of the Prussian large 
 gold medal for Art, the large gold medal Dresden, Munich, 
 Vienna and Paris as well as of numerous other exhibition 
 medals. 
 
 "Christ and Nicodemus" — oil painting. 
 
 Owner: Edward Schulte, Art Gallery in Berlin. 
 
 "The death of Lazarus". 
 
 Owner: Herr Georg Oeder, Diisseldorf. 
 
 43 
 
GROEBER, HERMANN, 
 
 painter at Munich; teacher at the Royal Academy of Fine 
 Arts in that town. Born on the 1 6 th June 1865 at Wartenberg; 
 received his art education under von Lofftz at the Academy 
 of Art at Munich. Distinctions : Various exhibition medals. 
 
 d 
 
 Portrait of Miss Luccars" — oil painting. 
 "Portrait of Professor Mysz" — oil painting. 
 "Bavarian peasants" — oil painting. 
 
 VON HABERMANN, HUGO, BARON, 
 
 Professor; painter at Munich ; professor at the Royal Academy 
 of Fine Arts in Munich. Born on the 14 th Juni 1849 atDillingen 
 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. 
 
 "Portrait of a woman" (head and hand) — oil painting. 
 "Lady's portrait" (sitting) — oil painting. 
 
 HARTIG, HANS, 
 
 painter in Berlin. Born on the 6 th October 1873 at Carwin in 
 Pomerania; studied under Bracht at the Berlin Academy. 
 
 "In a Winter Port"— oil painting. 
 44 
 
VON HAYEK, HANS, 
 
 painter at Dachau, near Munich. Born on the 19 th December 
 1869 at Vienna; studied at the Art Academy of that town 
 and became a pupil of Marr and Ztigel later on at the Art 
 Academy in Munich. Distinctions: Various exhibition medals. 
 
 "Snowed up peasants farm" — oil painting. 
 "Port in Brittany 1 ' — oil painting. 
 
 H EI CHERT, OTTO, 
 
 Professor; painter at Konigsberg in Prussia; teacher at the 
 Konigsberg Royal Academy of Art. Born on the 27 th Fe- 
 bruary 1868 at the village of Kloster-Groningen nearHalber- 
 stadt; studied at the Dusseldorf Academy of Art and at the 
 Academy Julian in Paris. Distinctions : Prussian gold medal 
 for Art and other exhibition medals. 
 
 "Own portrait" — oil painting. 
 
 HENGELER, ADOLF, 
 
 Professor; painter at Munich. Born on the 1 I th February 1863 
 at Kempten; studied at the Polytechnic and the Academy at 
 Munich. Distinctions : Large gold medal, Salzburg, and various 
 other exhibition medals. 
 
 "Nymph at the Spring" — oil painting. 
 "Sketch of an interior" — oil painting. 
 "Summer-day on the Chiem Lake" — oil painting. 
 
 45 
 
HERRMANN, HANS, 
 
 Professor; painter in Berlin. Born on the 8 th March 1858 in 
 Berlin ; studied at the Berlin and Diisseldorf Academy (tea- 
 chers: Knille, Gussow, and Wilberg in Berlin, and Ducker in 
 Diisseldorf). 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, LUDWIG, 
 
 Professor; painter at Munich; Professor at the Munich Royal 
 Academy of Fine Arts. Born on the 13 th October 1856 at 
 Ansbach; studied under Diez at Munich. Distinctions: Ho- 
 norary member of the Academy at Munich; large gold medal 
 Dresden, Munich, Paris and other exhibition medals. 
 
 "Autumn" — oil painting. 
 
 nuiuuiu - — wn pcuiiLiiig. 
 
 "In the morning" — oil painting. 
 "The Joiners" — oil painting. 
 
 VON HOFMANN, LUDWIG, 
 
 Professor; painter at Weimar; teacher at the Grand Ducal 
 School of Art at Weimar. Born on the 17 th August 1861 at 
 Darmstadt; studied at the Dresden Academy and also at 
 Carlsruhe under Ferdinand Keller and finally at Paris. Dis- 
 
 46 
 
tinctions: Prussia gold medal for Art, diploma of honour 
 Dresden, various exhibition medals. 
 "Dance" — oil painting. 
 "Dance" — oil painting. 
 
 Owned by the Grand Ducal Museum for Art at 
 Weimar. 
 
 HOLZEL, ADOLF, 
 
 Professor; painter at Stuttgart; teacher at the Stuttgart Royal 
 Academy for Fine Arts. Born on the 13 th May 1853 at Ol- 
 miitz; received his art education an Vienna and studied 
 under W. von Diez at the Munich Academy. Distinctions: 
 Gold medal, Munich. 
 
 "Garden Restaurant" — oil painting. 
 
 JANK, ANGELO, 
 
 Professor, painter at Munich; teacher at the Royal Academy 
 for Fine Arts of that town; studied at the Munich Academy 
 under Hocker and Lofftz. Distinctions: Large gold medal, 
 Munich and various other exhibition medals. 
 
 "The Hunt" — oil painting. 
 
 "The Horsewoman" — oil painting. 
 
 JANSSEN, GERHARD, 
 
 painter at Diisseldorf. Born on the 26 th September 1863 at 
 Calcar o/Rhine; studied under Peter Janssen, Diisseldorf. 
 "Dolle Boel"— oil painting. 
 
 Owned by the Municipal Art Gallery, Wiesbaden. 
 
 47 
 
JERNBERG, OLOF, 
 
 Professor; painter at Konigsberg in Prussia; teacher at the 
 Konigsberg Royal Academy of Art. Born on the 23 rd May 
 1855 at Diisseldorf. His teacher was Diicker at Diisseldorf. 
 Distinctions : Prussian gold medal for Art. Various exhibi- 
 tion medals. 
 
 "House on the slope of the Sands" — oil painting. 
 
 KAISER, RICHARD, 
 
 painter at Munich. Born on the 13 th August 1868 at Magde- 
 burg; studied at the Berlin Academy and then continued his 
 studies independently. Distinctions: Gold medal Munich. 
 
 "Field loneliness" — oil painting. 
 
 KALLMORGEN, FRIEDRICH, 
 
 Professor; painter in Berlin; teacher at the High School for 
 Fine Arts connected with the Royal Academy of Art in Berlin. 
 Born on the 15 th November 1856 at Altona; studied at the 
 Academies of Diisseldorf, Carlsruhe (Schonleber, Baisch), 
 Berlin (Hans Gude). Distinctions: Member of the Berlin Aca- 
 demy; possessor of the large Prussian gold medal for Art, 
 the Bavarian gold Ludwigs medal for Art, the large gold 
 medal Melbourne, Munich and other exhibition medals. 
 
 "Gusty "Weather, the Elbe near Altona- Hamburg" — 
 oil painting. 
 
 48 
 
KAMPF, ARTHUR, 
 
 Professor; painter in Berlin, President of the Royal Academy 
 of Art in Berlin, Director of a masters studio for historical 
 painting connected with the Academy. Born on the 28 th 
 September 1864 at Aix-la-Chapelle; studied under Peter 
 Janssen at the Academy of Arts at Diisseldorf. Distinctions: 
 Member of the Academies in Berlin and Dresden; possessor 
 of the Prussian gold medal for Art, the large gold medals 
 Dresden and Barcelona as well as of numerous other exhi- 
 bition medals. 
 
 "Portrait" — oil painting. 
 
 "Portrait of Emperor William II." — oil painting. 
 
 "Benevolence" — oil painting. 
 
 "The two Sisters" — oil painting. 
 
 Owned by Geheimrat Louis Ravene, Berlin. 
 
 KAMPF, EUGEN, 
 
 Professor; painter at Diisseldorf Born on the 16 th March 1861 
 at Aix-la-Chapelle; studied at the Academy of Antwerp. 
 Distinctions : Prussian gold medal for Art, numerous exhibi- 
 tion medals. 
 
 "November" — oil painting. 
 
 VON KAULBACH, FRIEDRICH AUGUST, 
 
 Professor at Munich. Born on the 2 nd June 1850 at Hanover; 
 studied under his father, Professor Friedrich Kaulbach. 
 
 7 49 
 
Distinctions : Member of the Academy in Berlin, honorary 
 member of the Academy at Munich; possessor of the Bava- 
 rian Maximilian Order for Science and Art, of the Bavarian 
 Prince-Regent Luitpold medal, of the large Prussian gold 
 medal for Art and of numerous exhibition medals. 
 
 "Miss Ruth St. Denis" — oil painting. 
 "Miss Geraldine Farrar" — oil painting. 
 "Child and Cherries" — oil painting. 
 
 VON KELLER, ALBERT, 
 
 Professor; painter at Munich. Born on the 27 th April 1844 at 
 Gais Switzerland); studied at the Munich Academy under 
 Lenbach and Ramberg. Distinctions: Bavarian Maximilian 
 Order for Science and Art, Prussian gold medal for Art, 
 large gold medal Munich, and various other exhibition me- 
 dals. Honorary member of the Academy in Munich. 
 
 "The happy Sister" — study in oil. 
 
 Owner: The Secession Gallery at Munich. 
 "Versailles" — oil painting. 
 
 Owned by the Bavarian State. 
 
 KLEIN- CHEVALIER, FRIEDRICH, 
 
 Professor; painter in Berlin. Born on the 18 th June 1862 at 
 Diisseldorf; studied under Peter Janssen at the Academy at 
 Diisseldorf. 
 
 "German Fishermen" — oil painting. 
 TO 
 
KLINGER. MAX. 
 
 Dr.. Professor; painter, engraver and sculptor at Leipsic. 
 Born on the 1 8 th February 1857 at Leipsic. Studied as a painter 
 at the Academies of Carlsruhe and Berlin under Grussow 
 and as engraver and sculptor independently. Distinctions: 
 Member or honorary member of the Academies of Berlin. 
 Dresden. Munich, Stockholm. Honorary Doctor of the Uni- 
 versities of Greifswald, Munster and possessor of the Prussian 
 gold medal for Art, large gold medals Vienna, Dresden. 
 Munich and numerous other exhibition medal§. 
 
 A sequel to Brahm's Fantasia — 18 engravings. 
 
 From the Printroom of the Roval Museum in Berlin. 
 
 KOEPPING, KARL, 
 
 Professor; copperplate engraver in Berlin. Director of the 
 masters studio for copperplate engraving and etching con- 
 nected with the Berlin Academy of Arts. Born on the 24 th 
 June 1848 at Dresden: studied at the Munich Academy, and 
 continued his studies under Waltner (etching] in Paris. 
 Distinctions: Member of the Academies in Berlin and Dres- 
 den; possessor of the Prussian large gold medal for Art. of 
 the large gold medals Dresden. Munich, Vienna. Grand Prix 
 Paris 1889 and 1900 as well as of numerous other exhibition 
 medals. 
 
 "Girl at a Pond" — engraving. 
 
 5 1 
 
KUEHL, GOTTHARDT, 
 
 Geheimrat, Professor; painter at Dresden. Director of a 
 masters studio and member of the Academic Council of the 
 Royal Academy of Fine Arts in Dresden. Born on the 28 th No- 
 vember 1 850 at Ltibeck ; studied at the Munich Academy under 
 W. von Diez and afterwards in Paris. Distinctions: Member 
 and honorary member of the Academies at Dresden and Mu- 
 nich. Possessor of the Prussian larg gold medal for Art, of the 
 gold medals Dresden, Munich, as well as of numerous other 
 home and foreign exhibition medals. 
 
 "Corner of a Drawing Room" — oil painting. 
 Owner: Mr. Hugo Reisinger of New York. 
 
 "Girl on a green box" — oil painting. 
 
 Owned by Herr F. Kiihne of Dresden. 
 
 LANGHAMMER, ARTHUR, 
 
 Professor; painter. Born on the 6 th July 1855 at Liitzen and 
 died on the 4 th July 1901 at Dachau near Munich. Studied at 
 the Academies of Munich and Leipsic. 
 
 "Girl with sheaves of corn" — oil painting. 
 
 Owned by the Secession Gallery at Munich. 
 
 5 2 
 
LEIBL, WILHELM, 
 
 Professor; painter. Born on the 23 rd October 1844 at Cologne 
 on the Rhine, died on the 5 th December 1900 at Wiirzburg. 
 Studied at the Munich Academy under Piloty and Ram- 
 berg and continued his studies in Paris. Domiciled himself 
 later on at Aibling. Distinctions: Member of the Academy 
 in Berlin, Prussian large gold medal for Art. and various 
 exhibition medals. 
 
 "Dachauer women" — oil painting. 
 
 "Burgomaster Klein" — oil painting. 
 
 "Man's portrait" — oil painting. 
 
 Owned by the Royal National Gallery in Berlin. 
 
 "Dachauer woman" 
 
 Owned by Geheimrat Dr. Ed. Simon, Berlin. 
 
 LEISTIKOW, WALTER, 
 
 Professor; painter. Born on the 25 th October 1865 at Brom- 
 berg; died on the 24 th July 1908 in Berlin. Studied at the Ber- 
 lin Academy (Hans Gude). Distinctions: Numerous exhibition 
 medals. 
 
 "Landscape inThuringia" — oil painting. 
 
 Owned by Geheimrat Eduard Arnhold, Berlin. 
 
 53 
 
VON LENBACH, FRANZ, 
 
 Professor; painter. Born on the 13 th December 1836 at Schro- 
 benhausen in Upper Bavaria, died on the 6 th May 1904 at 
 Munich. Attended the polytechnical School at Augsburg 
 and a wood carving studio at Munich. Studied at the Aca- 
 demy there under Grafle and Piloty. Distinctions: Member 
 of the Academies in Berlin, Dresden, Munich, Paris, and of 
 the Institute of France, &c. Honorary doctor of the Univer- 
 sity of Halle; possessor of the Bavarian Maximilian Order 
 for Science and Art, diploma of honour, Berlin 1891, and 
 numerous other gold medals and exhibition medals. 
 
 "Ecstasy" — oil painting. 
 "Bismarck" — oil painting. 
 
 Owner: Mr. Hugo Reisinger of New York. 
 Portrait "Theodore Mommsen" — oil painting. 
 
 Owned by the Royal National Gallery in Berlin. 
 Portrait of "Frau Knorr" — oil painting. 
 "An old Lady" — oil painting. 
 "Moltke" — oil painting. 
 "Ignaz Dollinger" — pastel. 
 
 LEPSIUS, REINHOLD, 
 
 painter in Berlin. Born on the 14 th June 1857 in Berlin. Studied 
 under Lofftz and Lenbach at Munich. Distinctions: Large 
 gold medal Florence, gold plaque Dresden. 
 
 "Portrait of a Lady" — oil painting. 
 
 Owned by Dr. "Werner Weisbach in Berlin. 
 
 54 
 
LIEBERMANN, MAX, 
 
 Professor; painter in Berlin. Born on the 20 th July 1847 in 
 Berlin; studied at the Grand Ducal School of Art at Weimar 
 and under vonMunkacsy. Distinctions: Member or honorary 
 member of the Academies in Berlin, Dresden and Munich, 
 of the Societe Nationale des Artistes Francais, of the Societe 
 Royale des Aquarellistes en Bruxelles, possessor of the Pruss- 
 ian large gold medal for Art, the Grand Prix Paris, Venice 
 and of the large gold medals Dresden, Vienna, Munich and 
 of numerous other exhibition medals. 
 
 "Portrait of Dr. W. Bode" — pastel study. 
 
 Owned by Geheimrat Dr. W. Bode, Charlottenburg. 
 "Flax barn at Laren (Holland)". 
 
 Owned by the Royal National Gallery in Berlin. 
 "Polo-players". 
 
 Owned by Hugo Reisinger. 
 
 VON LOFFTZ. LUDWIG, 
 
 Professor; painter at Munich. Professor at the Munich 
 Academy of Fine Arts. Born on the 21 st June 1845 at Darm- 
 stadt; studied under Hoffmann at Darmstadt, Raup and Kre- 
 ling at Nuremberg, and at the Munich Academy. Distinctions : 
 Member, or honorary member, of the Academies at Antwerp, 
 London, Munich and Vienna; possessor of the BavarianMaxi- 
 milian Order for Science and Arts, the large gold medals 
 Antwerp, London, Munich, Vienna, and of numerous other 
 exhibition medals. 
 
 "Cardinal playing music" — oil painting. 
 Owned by Baron von Wendelstadt. 
 
 55 
 
LOOSCHEN, HANS, 
 
 Professor; painter in Berlin. Born on the 23 rd June 1859 in 
 Berlin. Studied at the Academy in Berlin. Distinction: Prussian 
 gold medal for Art. 
 
 "The blue Clock". 
 
 VON MENZEL, ADOLF, 
 
 Dr. , Wirklicher Geheimrat; Professor; painter. Born on the 
 8 th December 18 15 at Breslau, died on the 9 th February 1905 
 in Berlin. Studied for a short time at the Berlin Academy, 
 and afterwards by himself. Distinctions: Honorary Senator 
 and member of the Berlin Academy, member, or honorary 
 member, of numerous Academies at home and abroad, ho- 
 norary doctor of the University in Berlin; possessor of the 
 Bavarian Maximilian Order for Science and Art, the Austrian 
 decoration for Art and Science, the Prussian Orders of the 
 Black Eagle and pour le merite for Science and Art, the 
 Prussian large gold medal for Art, of numerous first awards 
 at all large exhibitions at home and abroad. 
 
 ■'The Garden of Prince Albrecht's Palace" — oil painting. 
 
 "A Ball Supper" — oil painting. 
 
 "Building site with willows" — oil painting. 
 
 "The Theatre Gymnase" — oil painting. 
 
 Three studies for the painting "Coronation of King 
 
 Wilhelml. at Konigsberg, 1861": 
 
 a. Minister of State von Bernuth. 
 
 b. Minister of State von der Heydt. 
 
 c. Prince Kraft Hohenlohe. 
 
 56 
 
a. "Old man with hat in the right hand" — pencil drawing. 
 
 b. "Italian workman" — pencil drawing. 
 
 "Officer with hat and stick sitting at a table" — pencil 
 
 drawing. 
 "Man in a laced coat sitting on a sofa" — coloured chalks. 
 "Study of a Court Festival (Concert)" — pencil drawing. 
 
 a. "Elk in the Munich Museum" — pencil drawing. 
 
 b. "Yoked oxen" — pencil drawing. 
 
 a. "Street in a mountain village" — pencil drawing. 
 
 b. "Houses in the mountains" — pencil drawing. 
 
 a. "Staircase in a Gothic House" — pencil drawing. 
 
 b. "Violins and details" — pencil drawings. 
 
 Owned by the Royal National Gallery in Berlin. 
 
 MEYERHEIM, PAUL, 
 
 Professor; painter in Berlin. Teacher at the High School for 
 Fine Arts connected with the Berlin Royal Academy. Born 
 on the 13 th July 1842 in Berlin; studied under his father Fre- 
 derick Eduard Meyerheim and at the Academy in Berlin. Dis- 
 tinctions: Member of the Academies in Berlin and Antwerp; 
 possessor of the Prussian large gold medal for Art, honorary 
 diploma Dresden, the large gold medals Munich and Paris 
 and of numerous other exhibition medals. 
 
 "Luxor" — oil painting. 
 
 "Street in Cairo" — oil painting. 
 
 MODERSOHN, OTTO, 
 
 painter at Worpswede, near Bremen. Born on the 22 nd Fe- 
 bruary 1865 atSolst. Studied at the Academies of Diisseldorf, 
 
 8 57 
 
Carlsruhe (Baisch) and Berlin (Bracht). Distinctions : Various 
 exhibition medals. 
 
 "Evening Sun" — oil painting - . 
 
 MUNZER, ADOLF, 
 
 painter at Munich. Born on the 5 th December 1870 at Pless 
 in Upper Silesia; studied at the Polytechnic at Breslau and 
 the Munich Academy under Hocker. Distinctions: Gold me- 
 dal Munich. 
 
 "Costume sketch' 1 — oil painting. 
 
 "Study of a portrait" — oil painting. 
 
 "Young woman from Upper Bavaria" — oil painting. 
 
 NISSL, RUDOLF, 
 
 painter at Munich. Born on the 13 th April 1870 at Fiigen 
 in the Tyrol; studied under Joh. Herterich, P. Hocker and 
 L. von Lofftz at the Munich Academy. Distinctions: Various 
 exhibition medals. 
 
 "Interior"— oil painting. 
 
 "Still life. Nosegay of flowers" — oil painting. 
 
 OLDE, HANS, 
 
 Professor; painter at Weimar, Director of the Grand Ducal 
 School of Art at Weimar. Born on the 27 th April 1855 at 
 Siiderau in Holstein; studied at the Academy in Munich under 
 Lofftz and at the Ecole Julian in Paris. Distinctions : Prussian 
 gold medal for Art and various exhibition medals. 
 "Winter Sun" — oil painting. 
 
 Owner: The Royal National Gallery Berlin. 
 
 58 
 
VON PETERSEN, HANS, 
 
 Professor; painter at Munich. Born on the 24 th February 1850 
 at Husum (Schleswig); studied in London and Paris. Distinc- 
 tions: Prussian gold medal for Art, large gold medal Munich 
 and numerous other exhibition medals. 
 
 "A thaw" — oil painting. 
 
 PLEUER, HERMANN, 
 
 Professor; painter at Stuttgart. Born on the 5 th April 1863 
 at Schwabisch Gmiind. Studied at the Academies of Stutt- 
 gart and Munich. 
 
 "Evening" — oil painting. 
 
 PUTTNER, WALTER, 
 
 painter at Munich. Born on the 9 th October 1872 at Leipsic. 
 Studied under Hocker at Munich. Distinctions : Various ex- 
 hibition medals. 
 
 "Interior" — oil painting. 
 
 PUTZ, LEO, 
 
 painter at Munich. Born in 1869 at Meran; studied at the 
 Munich Academy and at the Academy Julian in Paris. 
 
 "Pauline" — oil painting. 
 "Flowers" — oil painting. 
 "Flowers" — oil painting. 
 
 8 * 59 
 
REINICKE, REN£, 
 
 painter at Munich. Born on the 22 nd March i860 at Strenz- 
 Naundorf in Saxony; studied at the Grand Ducal School of 
 Art at Weimar and then under von 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 Cafe" — water colour painting. 
 
 "The Paintress" — drawing. 
 
 "Depressed" — drawing. 
 
 "Gossip" — drawing. 
 
 SAMBERGER, LEO, 
 
 Professor; painter at Munich. Born on the 14 th August 1861 
 at Ingolstadt. His teachers were Benczur and Lindenschmit 
 at the Munich Academy. Various exhibition medals. 
 
 "Portrait of my Father" — oil painting. 
 
 "Portrait of Dr. Schnitzler" — oil painting. 
 
 "Portrait of the painter Wopfner" — oil painting. 
 
 SCHOENLEBER, GUSTAV, 
 
 Professor; painter at Carlsruhe; teacher at the Carlsruhe 
 Grand Ducal Academy for Fine Arts. Born on the 3 rd De- 
 cember 1 85 1 at Bietigheim in Wtirttemberg; studied under 
 A.Lier at Munich. Distinctions: Member of the Academies in 
 Berlin, Dresden and Munich; possessor of the Baden gold 
 medal for Art and Science, the Prussian large gold medal 
 
 60 
 
for Art, the large gold medals Munich and Vienna and nume- 
 rous other exhibition medals. 
 
 •'Italian Landscape" — oil painting. 
 
 Owned by the Prince-Regent of Bavaria. 
 
 SCHRAMM-ZITTAU, RUDOLF, 
 
 Professor; painter at Munich. Born on the i st March 1874 at 
 Zittau; attended the Academies at Dresden, Carlsruhe, and 
 Munich (Ziigel). Distinctions: Large gold medal Venice and 
 various exhibition medals. 
 
 "Ducks' 1 — oil painting. 
 
 "Ducks" — oil painting. 
 
 "Feeding hens" — oil painting. 
 
 SCHULTE IM HOFE, RUDOLF, 
 
 Professor; painter in Berlin. Born on the 9 th January 1865 at 
 Ueckendorf in Westphalia; studied under Schmid-Reutte at 
 Munich and at the Academy in that town under Lofftz. Dis- 
 tinctions: Prussian gold medal for Art. 
 "Menzel" — oil painting. 
 
 Owned by Herr Franz Kiihne at Dresden. 
 
 SKARBINA, FRANZ, 
 
 Professor; painter in Berlin. Born on the 24 th February 1849 
 in Berlin; studied at the Berlin Academy and in Paris. Distinc- 
 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. 
 
 61 
 
SPERL, JOHANN, 
 
 painter at Bad Aibling in Upper Bavaria. Born on the 3 rd No- 
 vember 1840 at Buch (District Fiirth in Bavaria); studied un- 
 der Kreling, Anschiitz, and Bamberg at Munich. 
 
 "Village in Upper Bavaria (Garden in Kutterling)" — oil 
 painting. 
 
 STADLER, TONL 
 
 Professor; painter at Munich. Born on theo, th July i85oatGol- 
 lersdorf 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" — oil painting. 
 
 "Bridge by the Villages" — oil painting. 
 
 VON STUCK, FRANZ, 
 
 Professor; painter at Munich. Professor at the Munich Royal 
 Academy for Fine Arts. Born on the 23 rd February 1863 at 
 Tettenweis; studied at the Munich Academy. Distinctions: 
 Honorary member of the Dresden Academy and possessor of 
 the large gold medals Budapesth, Dresden, Munich, and Paris, 
 and of the Bavarian Maximilian Order for Science and Art. 
 
 "Own portrait" — oil painting. 
 
 "Study for a portrait" — oil painting. 
 
 "Infernal Regions" — oil painting. 
 
 "Pan" — oil painting. 
 
 "Listening Fauns" — oil painting. 
 
 Owned by Mr. Hugo Reisinger of New York. 
 
 62 
 
THOMA, HANS, 
 
 Dr., Professor; painter at Carlsruhe. Director of the Grand 
 Ducal Picture Gallery and teacher at the Grand Ducal Aca- 
 demy of Fine Arts at Carlsruhe. Born on the 2 nd October 
 1839 at Bernau in Baden. Studied under Schirmer at the 
 Carlsruhe Academy. Distinctions: Member or honorary 
 member of the Academies at Dresden and Munich; Ho- 
 norary Doctor of the Heidelberg University; possessor of 
 the Badenese gold medal for Art, the Bavarian Maximilian 
 Order for Science and Art, and the Prussian gold medal 
 for Art. 
 
 "Lago Maggiore 1880" — oil painting. 
 "Valley near Bernau, the home of the artist 1905" — oil 
 painting. 
 "Midsummers Day" — oil painting. 
 
 Owned by Herr Heinrich Strauss at Magdeburg. 
 
 THONY, EDUARD, 
 
 painter at Munich. Born in 1866 at Brixen; studied at the 
 Munich Academy. 
 
 "Shooting ice"— drawing. 
 "In the Peasant Inn" — drawing. 
 "In Port" — drawing. 
 "Presentiment" — drawing. 
 "Indignation" — drawing. 
 "Appendages" — drawing. 
 "After the Sermon" — drawing. 
 
 63 
 
TRUBNER, WILHELM, 
 
 Professor; painter at Carlsruhe; teacher at the Grand Ducal 
 Academy for Fine Arts at Carlsruhe. Born on the 2 nd February 
 1 85 1 at Heidelberg; studied under Canon (Straschiripka) at 
 Stuttgart, Leibl at Munich and at the Academies for Fine Arts 
 at Carlsruhe and Munich. Distinctions: The Hessian medal 
 for Art and Science, the Wiirttemberg medal for Art and 
 Science, large gold medal Chicago and various other Ex- 
 hibition medals. 
 
 "The Watchman' 1 — oil painting. 
 
 "View from the Heidelberg Castle" — oil painting. 
 
 "Castle Heimsbach" — oil painting. 
 
 Owned by Mr. Hugo Reisinger of New York. 
 
 VON UHDE, FRITZ, 
 
 Professor; painter at Munich. Born on the 22 nd May 1848 at 
 Wolkenburg in Saxony; was an officer until 1877 and became 
 a pupil of 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, 
 Vienna, &c, the Grand Prix Paris 1889 and 1900 as well as 
 numerous other exhibition medals. 
 
 "Evening Music" — oil painting. 
 "Going Home" — oil painting. 
 
 "Suffer little Children to come unto Me" — oil painting. 
 Owned by Frau Tina Schoen-Renz in Worms. 
 
 64 
 
VINNEN, KARL, 
 
 painter at Osterndorf in Hanover. Born on the 28 th August 
 1863 at Bremen; studied at the Diisseldorf Academy of Art 
 and at Carlsruhe. Distinctions: Prussian gold medal for Art, 
 the large gold medals Dresden and Vienna, and other exhi- 
 bition medals. 
 
 "Spring in the Forest" — oil painting. 
 
 VOGEL, HUGO, 
 
 Professor; painter in Berlin. Born on the 15 th February 1855 
 at Magdeburg; studied at the Academy at Diisseldorf (v. Geb- 
 hardt and Wilh. Sohn) and in Paris (Lefebvre). Distinctions: 
 Member of the Academy in Berlin and possessor of the 
 Prussian large gold medal for Art and numerous exhibition 
 medals. 
 
 "Portrait of a Boy" — oil painting. 
 Owned privately. 
 
 ZUGEL, HEINRICH, 
 
 Professor; painter at Munich; teacher at the Royal Aca- 
 demy for Fine Arts in Munich. Born on the 22 nd October 1850 
 at Murrhardt in "Wiirttemberg. Studied under Holder and at 
 the Stuttgart Academy of Art. Distinctions: Member of the 
 Academy in Berlin and possessor of the Maximilian Order 
 for Science and Art, the Prussian gold medal for Art, and 
 numerous exhibition medals. 
 
 "Oxen going through Water" — oil painting. 
 "Salzen (sheep)" — oil painting. 
 
 9 65 
 
SCULPTURE 
 
 BERMANN, CIPRI ADOLF, 
 
 Professor; sculptor at Munich. Born on the 25 th August 1862 
 atVohrenbach in the Black Forest; studied at the Grand 
 Ducal Academy of Art at Carlsruhe. Distinctions: Numerous 
 exhibition medals. 
 
 "Old man's head" — bronze. 
 "Women's head" — marble. 
 "Huntress" — statuette, bronze. 
 
 FASSNACHT, JOSEF, 
 
 sculptor at Munich. Born on the 1 I th January 1873 atMittel- 
 streu; studied at the Academy at Munich. Distinctions: 
 Various medals. 
 
 "The Pet"— marble bust. 
 
 GAUL, AUGUST, 
 
 Professor; sculptor at Grunewald near Berlin. Born on the 
 22 nd October 1869 at Gross- Auheim near Hanau; studied at 
 the Berlin Academy (Reinhold Begas). Distinctions: Member 
 of the Berlin Academy. 
 
 "Ostrich" — bronze. 
 "Otters" — bronze. 
 
 Owned by Herr Paul Cassirer, Berlin. 
 
 66 
 
VON GOSEN, THEODOR, 
 
 Professor; sculptor. Born on the io th Januar 1873 at Augs- 
 burg; studied and W. von Ruemann at Munich 1895 — 1896 at 
 Nuremberg. Since 1906 teacher at the Breslau Royal School 
 of Art. 
 
 "Presentation gift for Professor William Burges". 
 
 HAHN, HERMANN, 
 
 Professor; sculptor at Munich. Born on the 28 th Novem- 
 ber 1868 at Kloster Veilsdorf in Saxe-Meiningen; pupil of 
 Ruemann's at Munich. Distinctions : Honorary member of the 
 Academy at Munich; possessor of various exhibition medals. 
 
 "Adam" — statuette, bronze. 
 
 "Eve" — statuette, bronze. 
 
 VON HILDEBRAND, ADOLF, 
 
 Dr., Professor; sculptor at Munich. Born on the 6 th October 
 1847 at Marburg; studied under Kreling at Nuremberg. 
 Distinctions: Member, or honorary member, of the Acade- 
 mies in Berlin, Dresden, Munich, and of the Grand Ducal 
 Art School at "Weimar. Honorary doctor of the Universities 
 of Erlangen and Marburg; possessor of the Bavarian Maxi- 
 milian Order for Science and Art, the Prussian Order pour 
 le merite for Science and Art, the Prussian large gold medal 
 for Art, the Grand Ducal Saxon Order pour le merite for 
 Art and Science, as well as of numerous exhibition medals. 
 "Professor Flossmann"— bust in bronze. 
 Owned by the Bavarian State. 
 
 9* 67 
 
JANSSEN, ULFERT, 
 
 sculptor at Munich. Born on the 11 th December 1878 at 
 Bielawe in Silesia; pupil of Ruemann at Munich. 
 "Bust"— bronze. 
 
 KLIMSCH, FRITZ, 
 
 sculptor at Charlottenburg, near Berlin. Born on the 10 th Fe- 
 bruary 1870 at Frankfort on-the-Maine. Studied at the Berlin 
 Academy. 
 
 "Geheimrat Professor Dr. Karl Binding, Rector of the 
 University of Leipsic" — bronze bust. 
 "Frau Victoria Exner" — marble bust. 
 
 Owner: Dr. W. Lauter, Frankfort on-the-Maine. 
 
 KRAUS, AUGUST, 
 
 sculptor at Grunewald, near Berlin. Born on the 9 th July 1868 
 at Ruhrort; studied under Reinhold Beg-as at the Academy 
 in Berlin. Distinctions: Prussian gold medal for Art. 
 
 "Child, running" — bronze. 
 
 "Cat, running" — bronze. 
 
 LEDERER, HUGO, 
 
 sculptor in Berlin. Born on the 16 th November 187 1 at Znaim; 
 pupil of the Technical School for Ceramics at that place; 
 studied under Schilling at Dresden, Behrens at Breslau, and 
 Toberentz in Berlin. 
 
 "Bowl" — bronze. 
 
 "Pfitzner" — marble bust. 
 
 68 
 
LEWIN-FUNCKE, ARTHUR, 
 
 sculptor in Charlottenburg. Born on the 9 th November 1866 
 at Dresden; studied at the Berlin Academy under Herter and 
 at the Academie Julian in Paris. Distinctions: Prussian gold 
 medal for Art and various exhibition medals. 
 "Mother". 
 
 Owned by Mr. Edward D. Adams of New York. 
 
 NETZER, HUBERT, 
 
 Professor; sculptor at Munich. Born on the 5 th October 1865 
 at Isny in Wiirttemberg; studied at the Munich Academy 
 (Ruemann). Distinctions: Various exhibition medals. 
 "Diana" — statuette, bronze. 
 
 SCHAPER, FRITZ, 
 
 Dr., Professor; sculptor in Berlin. Born on the 31 st July 1841 
 at Alsleben on the Saale. Studied under Albert Wolff and at 
 the Berlin Academy. Distinctions: Member of the Art Aca- 
 demies Berlin, Dresden, Munich, and Vienna and of the Aca- 
 demy for Architecture in Berlin; Honorary Doctor of the 
 University of Pittsburg in America; possessor of the Prussian 
 order pour le merite for Science and Art, the Prussian large 
 gold medal for Art, and of numerous exhibition medals. 
 "Lessing" — statuette. 
 
 SCHWEGERLE, HANS, 
 
 Sculptor and painter at Munich. Born on the 2 nd May 1882 
 at Liibeck; studied at the Art School at Liibeck and at the 
 Academy at Munich (Ruemann, Kurz and Hildebrand). 
 "Fraulein J. H." — bust in shell lime stone. 
 
 69 
 
VON STUCK, FRANZ, 
 
 Professor (see "Painters"). 
 
 ' 'Athlete 1 ' — bronze . 
 "Amazon"- — bronze. 
 "Dancing woman" — bronze. 
 
 TASCHNER, IGNATIUS, 
 
 Professor; painter at Munich. Born on the 9 th April 1871 at 
 Kissingen. Studied at the Munich Academy. Distinctions: 
 Various exhibition medals. 
 
 "Christ" — in silver. 
 
 "Schiller" — bronze with stone pedestal. 
 
 "Group of Stags" — silver with wooden pedestal. 
 
 TUAILLON, LOUIS, 
 
 Professor; sculptor in Berlin, director of a masters studio 
 for sculpture connected with the Royal Academy of Arts in 
 Berlin. Born on the 7 th September 1862 in Berlin. Studied at 
 the Academy in Berlin. Distinctions: Member of the Berlin 
 Academy; possessor of the Bavarian Maximilian Order for 
 Science and Arts, the Prussian large gold medal for Art, and 
 numerous exhibition medals. 
 
 "Emperor Frederick III" — bronze. 
 "Stag"— bronze. 
 
 70 
 
NOTICE 
 
 For a long time past the idea has been entertained of exhi- 
 biting in New York to the General Public a small and select 
 collection of works representing German contemporary Art. 
 The great difficulty that lays in the way of the execution of the 
 idea was the finding of a suitable place for such an Exhibition. 
 When, therefore, in response to an application made by 
 Mr.Buenz, Imperial Consul General, to the Metropolitan Mu- 
 seum of Art the management was kind enough to consent to a 
 series of rooms in the new building of the Museum being used 
 for 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 
 in New York. Mr. Hugo Reisinger of New York, a connoisseur 
 and warm patron of German Art, as well as the owner of an 
 excellent collection of German Art Works, offered to defray 
 the expenses connected with the Exhibition and to use his 
 influence in German Art circles to induce an active partici- 
 pation in the same. The idea was warmly supported by the 
 Imperial Government, which called upon two wellknown Ger- 
 man Artists, Professor Arthur Kampf in Berlin, the President 
 of the Royal Academy of 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 of many valuable works from the Royal National 
 Gallery in Berlin, including some by Bocklin, Leibl, Lenbach 
 and Menzel for the purposes of the Exhibition. The govern- 
 ments of various Federal States, as well as the proprietors of 
 
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- 
 mission comprising Dr.Wilhelm Bode, the Director-General 
 of the Royal Museums in Berlin, Herr Goetsch of the Fo- 
 reign Office, Dr. Theodore Lewald, Privy Councillor, for- 
 merly Commissioner General of Germany to the Universal 
 Exhibition at St. Louis 1904 and Dr. Friedrich Schmidt, the 
 chief of the department for Science and Art in the Prussian 
 Ministry of Education. The publication of the Catalogue has 
 been effected by Dr. Lewald in conjunction with the above 
 mentioned gentlemen. 
 
 Complying with a wish expressed, the collection will also 
 be exhibited in Boston in the Building of the Copley Society 
 and in Chicago at the Art Institute. 
 
 72 
 

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Carl Bios 
 
 Portrait of the Regent 
 
Carl Albrecht 
 
 In thought 
 
Carl Bantzer 
 
 Hessian peasant girl 
 
Hans von Bartels 
 
 Pardon, in Brittany 
 
By permission of Amsler A Ruthardt, Berlin. 
 
 Benno Becker 
 
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 Julius Bergmann 
 
 On the way 
 
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 Arnold Boecklin 
 
 Own portrait, with fiddling: Death 
 
Arnold BocckHn 
 
 A: :zc - ; ?ring 
 
Br permission or K. Hriifkinann A.G., Munich. 
 
 Arnold Boecklin 
 
 Surging: Sea 
 
Fritz Burger 
 
 The white chair (childrens portrait) 
 
Oscar Frenzel 
 
 Forest meadow 
 
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 Eduard von Gebhardt 
 
 Christ and Nicodemus 
 
By permission of F. Bruckmann A.-G., Munich. 
 
 Hermann Groeber 
 
 Bavarian peasants 
 
By permission or F. Brockmann A.-G., Munich. 
 
 Hugo von Habermann 
 
 Portrait of a woman (head and hand) 
 
Hans Hartigf 
 
 In a winter port 
 
Adolf Hengeler 
 
 Nymph at the Spring 
 
Hans Herrmann 
 
 Rotterdam 
 
Ludwig Herterkh 
 
 Autumn 
 
Ludwigf von Hofmann 
 
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Angelo Jank 
 
 The Hunt 
 
Arthur Kampf 
 
 Benevolence 
 
Eugen Kampf 
 
 November 
 
By permission of MUnchener Graulilscho Gesellschnrt Pick A Co., Munich. 
 
 F. A. von Kaulbach 
 
 Miss Ruth St. Denis 
 
Friedrich Klein-Chevalier 
 
 German fishermen 
 
Max Klinger 
 
 Prometheus Liberated 
 
By permission of Amsler & Rutharctt, Berlin. 
 
 Max Klinger 
 
 Brahms Phantasy: „Titans' 
 
Karl Koepping 
 
 Girl at a pond 
 
Wilhelm Leibl 
 
 Burgomaster Klein 
 
By permission of PliotograpIilsHif Gesellschaft Beri 
 
 Wilhelm Leibl 
 
 Dach 
 
 auer women 
 
Franr von Lenbach 
 
 Bisrr.arck 
 
Franz von Lenbach 
 
 Portrait of Frau Knorr 
 
Reinhold Lepsius 
 
 Portrait of a lady 
 
Max Liebermann 
 
 Dr. W. Bode, Study 
 
St c«rmissioa of F. BzucJunaiui A.-G 
 
 Max Liebermann 
 
 Flax barn in Laren (.Holland) 
 
Hans Looschen 
 
 The blue clock 
 
By permission of F. Bruckmnnn A.-G., Munich. 
 
 Adolph von Menzel 
 
 The Theatre Gymnase 
 
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 Adolph von Menzel 
 
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 Adolph von Menzel 
 
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Ad. Miinzer 
 
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Leo Samberger 
 
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Karl Schonleber 
 
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Rud. Schramm-Zittau 
 
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Heinrich von Zikgel 
 
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C. A. Bermann 
 
 Huntress 
 
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 Diana 
 
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 Athlete 
 

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 „The Silver Christ" 
 

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