The evening telegraph. [volume] (Philadelphia [Pa.]) 1864-1918, 1869-08-18
Art ira Munich.


Munich
During the prevalence of "high art" in it's
various forms strict technical discipline ex-
listed in the German workshops to which their
artists owe much. All that can be communi-
Gated of drawing, composition, and light and
shade, is part of the stock with which they
start. wall covered with modern German
pictures strikes the eye at once by correctness
and moderation in these respects Except
among the most recent innovators, color
seems to have been less valued. If there are
few discords there is o remarkable dulness
and coldness in their color to which the
French pictures offer a remarkable contrast.
At the present moment these negative techni-
cal merits-and they are not without eminent
exceptions both for good and for evll-con-
stitute the only bond of union among German
painters. Here, as elsewhere, artists are
striving to bring about a contact between life
and art, or, in less obscure terms, to find
some means of representing in the forms of
art the strongest and most cherished impress
sions. Here, as elsewhere, this is yet far
from being reached, even farther, perhaps,
than in France or England. Conventional
rules (Which are only good to keep on con-
diton that they may be regarded as also good
to break hold the greater number of German
artists enthralled. They seem to think more
of avoiding reproach than Of giving express
sion to personal observation or experience.
The visitor to Munich who wishes to do
justice to the present condition OF German
art should procure admission-lt IS readily
and courteously granted-to the gallery OF
Baron Schach, a little beyond the Propyipa.
His pictures are principally OF the Munlch
school and include further examples of the
three most noticeable artists in the whole
German department of the Exhibition, NM.
Mo1yoyt FpuerbaCh and BOCklln.
An important decorative work by the first
of these was exhibited in London last year,
and noticed in your journal. The present
collection contains an oil painting of the
whole wall. which the artist had decorated
with the fantastic carved frames between the
panels. There are three of these, the middle
one being higher and narrower than the
others The foreground of each is occupied
bv q group, or garland of children mature
only in their fantastic Louis XIV dresses, and
in the swimming minuet-lille grace of their
movements in dance, procession, flight, or
pursuit A background of tropical LEAKAGE,
strikingly imagined and drawn, shows through
it at the top a background of brownish gold
real gold--which serves for the sky. The
color owes its beauty chiefly to harmOnies of
gold brown, olive green, and other cognate
tints. TO find faults in NJ. Makarts works,
one should be better acquainted with them OF
lcSS SlSCCpIlDlG " IlGll DCuCJIdUlllB CudIlll.
In drawing the figure he undoubtedly is led
to take great liberties by the vividness of his
sympathy with the expressive force Of each
part, and probably SO powerful an artist will
in time succeed in cOnciliating accuracy with
out alternating fancy. His most important
work, representing the plague at Florence
as it is described by Boccacco, has left
Munich for Vienna, where NJ. Makart himself
has accepted an appointment.
NJ A18elm Feuerbach is represented by a
large and important work, very different, ex-
cept in its faultless drawing and harmonious
composition, from the delightful pastorals,
which are the most successful of his works in
Baron Schachs collection. The immense
canvas represents the hall of an Athenian
house. On the right hand Of the central door
Socrates is seated at table in . space fenced
off by q couch 50 as to form almost a separate
room. He is seen in profile, with head bent
forward and left hand raised to his beard, in
an attitude Of attention, listening to the eager
argument of another disputant (As the cata-
logue is not yet printed it is impossible to- say
more exactly what the moment chosen
is Two youths are listening with intelli-
be the host has risen up and turned to meet
noisy company who are descending the steps
on the other side Of the hall, though the rout
has not yet disturbed the attention of those
round Socrates 1t is evidently Alcibiades
who is entering, full Of wine, each arm thrown
round the neck of a dancing girl, while
another, a lovely figure, moves half reverted
in front beating timbrel. 1t is a summary
view of Athenian life in one aspect Rarely
has a finer intellectual sympathy expressed
itself in art; very rarely with equal mastery
of all technical conditions. The color, though
extremely fine in parts, is as a whole less
satisfying. A greenish moonlight tinge diff
fused over the whole picture disapponts and
wearies the eye in spite of the skill with viii ch
it is executed.
Like MN. Makart and Feuerbach NJ. Arnold
Bocklin is of the Munich school, but he is
native of Basle. A fine work by him Cleft
unfinished at the desire of the late King
Iouis) is in the new Pinakotholl; others NAV
be seen in Baron Schach's collection. The
chief characteristic of this charming artist is
a fruitful and erlceful fancy. His color is his
own, and, especially in his later works, shocks
not a little the Purists of Munich by its luxu-
rious brightness. Leaving his other works to
be studied and enjoyed by those who may
visit Munich on this OCCASION | will ATTEMPT
to describe that by which he is represented in
the Exhibition. On the grassy slope of a
little hill, which just at her feet breaks into a
precipice, the tutelary nymph of q spring sits
holding lightly the overturned vase from
which thread of water leaps to the ground
below. A rope Of gauzy violet is wrapt about
her like cloud, and she seems to dream with
open eyes. On the other side, at the same
elevation, Pan lies back his face cleaning
purple below his scanty white locks. Under
them both is lanlly youthful satyr wonder
fully real, his long goats legs clothed with
yellow hair He is catching in his hand some
OF the water which falls from above At the
top OF the picture, against the bright blue
sky, ring of white Loves, hand in hand