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A PAINTING BY LEO PUTZ Author(s): C. H. B. Source: Bulletin of the Detroit Museum of Art, Vol. 11, No. 1 (OCTOBER, 1916), pp. 1-2 Published by: Detroit Institute of Arts Stable URL: http://www.jstor.org/stable/41934591 . Accessed: 14/05/2014 09:37 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. . Detroit Institute of Arts is collaborating with JSTOR to digitize, preserve and extend access to Bulletin of the Detroit Museum of Art. http://www.jstor.org This content downloaded from 194.29.185.36 on Wed, 14 May 2014 09:37:08 AM All use subject to JSTOR Terms and Conditions

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Page 1: A PAINTING BY LEO PUTZ

A PAINTING BY LEO PUTZAuthor(s): C. H. B.Source: Bulletin of the Detroit Museum of Art, Vol. 11, No. 1 (OCTOBER, 1916), pp. 1-2Published by: Detroit Institute of ArtsStable URL: http://www.jstor.org/stable/41934591 .

Accessed: 14/05/2014 09:37

Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at .http://www.jstor.org/page/info/about/policies/terms.jsp

.JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range ofcontent in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new formsof scholarship. For more information about JSTOR, please contact [email protected].

.

Detroit Institute of Arts is collaborating with JSTOR to digitize, preserve and extend access to Bulletin of theDetroit Museum of Art.

http://www.jstor.org

This content downloaded from 194.29.185.36 on Wed, 14 May 2014 09:37:08 AMAll use subject to JSTOR Terms and Conditions

Page 2: A PAINTING BY LEO PUTZ

Bulletin of

The Detroit Museum of Art

Vol. XI OCTOBER, 1916 No. 1

ACCESSIONS

A PAINTING BY LEO PUTZ

THROUGH man periodicals, the excellent

"Die Kunst Ger-

99 man periodicals, "Die Kunst 99

and others with their admirable color illustrations, and through one

of Leo Putz, one of the most con- spicuous of modern German painters, and it is with satisfaction that we record the purchase of his

"HOCHSOMMER "-By LEO PUTZ Purchased from the Octavia W. Bates Fund

exhibition of contemporary German art held in this country in 1909, American art lovers have become somewhat familiar with the works

important work " Hochsommer 99 for the Museum's permanent collec- tion.

The picture portrays a woman

This content downloaded from 194.29.185.36 on Wed, 14 May 2014 09:37:08 AMAll use subject to JSTOR Terms and Conditions

Page 3: A PAINTING BY LEO PUTZ

BULLETIN OF THE DETROIT MUSEUM OF ART

partially nude lying out of doors on a midsummer day. A plum colored wrap has been spread upon the ground in the shade of sug- gested foliage, a white pillow under her head and a small parasol back of her. A gray skirt with blue stripes covers her waist and limbs, the upper part of her body being nude.

The picture was first exhibited at the Munchener Kunstler Genos- senschaft in Munich in 1907 where it was purchased by the late Hugo Reisinger at the sale of whose works it was acquired for the Detroit Museum of Art,

Putz strikes an original note in his technical method of expression

and in the broad masses of color. " Hochsommer " represents that period of his work when he was ex- ceptionally proficient in the pro- trayal of the nude. His work gives a cheerful denial of ever having studied with Bouguereau, yet it was in the Academy Julian in Paris under this master that he received his early instruction. He completed his art education in the "Atelier Hoecker" from which came other colleagues of the "Scholle," a well known group of Munich artists. Marvellously brilliant and luminous are his pictures of women in negligee in the open air, of which " Hochsom- mer 99 is an example.

C. H. B.

A PAINTING BY ROBERT SPENCER

Through the gift of Miss Julia Peck, Robert Spencer's painting "On ihe Canal , New Hope,99 has been purchased and added to the Museum's permanent collection. This painting is strongly marked with the personality of the artist. Vision - "the power to see with the eyes of the soul" as Birge Harrison so aptly defines it - is his to remarkable degree. He shows the back of dilapidated houses bordering on the canal in a most interesting pattern. The buildings, their lower stories whitewashed, are bathed in morning sunlight and women may be seen about their domestic duties.

Interpreted thro' the tempera- ment of Robert Spencer a squalid motive which most of us would

pass daily and regard as hopelessly commonplace is presented in a way to stir our emotions and with- out losing anything of its truth. His admirable selection of a group of houses which make a charming pattern, the atmospheric envelope of light and color in which they are encased and the distinguished method of expression, gives a vital aesthetic value to the subject.

Robert Spencer was born in Harvard, Neb., in 1879. His art instruction has been entirely ob- tained in this country under Chase, DuMond, Henri and Garber. The number of awards which he has received thus far is most flattering to a painter of his age; among them he numbers the Second Halgarten Prize, National Academy of De-

This content downloaded from 194.29.185.36 on Wed, 14 May 2014 09:37:08 AMAll use subject to JSTOR Terms and Conditions