Identifier: artofdresdengall00addi (find matches)
Title: The art of the Dresden gallery; notes and observations upon the old and modern masters and paintings in the royal collection
Year: 1907 (1900s)
Authors: Addison, Julia de Wolf Gibbs, 1866-
Subjects: Gemäldegalerie (Dresden, Germany) Painting -- History Painting -- Germany History
Publisher: Boston : L.C. Page & Company
Contributing Library: University of California Libraries
Digitizing Sponsor: MSN

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dis-tance rounding the edge of a white wall which istopped by dark foliage, the valley behind them fullof sombre tints. Over the brow of a craggy hillon the right, the moon is just beginning to rise,showing silver and sharp behind the black ridge.The whole is full of the tragedy of betrayal, —subtle, forceful, and suggestive. Theodor Hagen is the disciple of individual ex-pression. He is broad and progressive, both aspainter and instructor. Born in Diisseldorf, andliving there as professor, he has been of inestimablehelp and encouragement to many young artists.His only picture here is No. 2380, the Little Townof Zons on the Lower Rhine. Stealthily, and with a soft creeping feline mo-tion, the lion and lioness await their prey in the pic-ture by Richard Friese, called Desert Marauders.There is an atmosphere of hush, of low-lying an-ticipation, and a golden glow on the gray of thedesert, which must be watched for a few minutesbefore it is clearly apprehended in its full signifi-cance.
Text Appearing After Image:
/IDo&ern (Berman /IDasters 441 It would not be fair to pass over Gustav Schon-lebers Low Tide at Flushing; the texture is verycharming, and the atmosphere vapourous and trem-bling. The graceful figures of eight girls, by HansMakart, in a picture called Summer, attracts ourattention in the thirty-eighth room. The youngwomen with two children are diverting themselvesin a summer-house, passing the time in listeningto the plash of a cooling fountain during the heatof the day. Hans Makart was born in 1840 atSalzburg. He was a great costumer and propertyman in his art, a good colourist, in fact, the firstof the nineteenth-century men to employ strongdecorative schemes in the popular sense; he wastheatrical, he set splendid scenes, and made hispeople up in true enamelled style, their complex-ions being suggestive of the use of the customarygreenroom commodities, while their shimmeringhair has frequently been blondined and ondulee,and shows a faithful application of what are usuallyadvert

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