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Page Twelve

Shows That Vary from Floral Art to Abstraction

Water Color and Lithographs, Art Club Exhibit, German Work, Current List

By William Germain Dooley

Two strange and stimulating contrasts are to be found in the work of Hubert Landau and Josef Albers at the Germanic Museum, where an exhibition of their painting has just opened. Where Albers is a workmanlike and not very provocative abstractionist, Landau reveals himself as a sensitive, eclectic draughtsman and colorist. Neither of them seem to be engaged with the charlatan showmanship that is found on the fringe of the modern movement, and their work conveys a feeling of honest interest in their method of expression.

As an exhibition new to this country, it has importance as a generous showing of two fully representative Hyling German painters, which of course their contemporaries, the French school is obvious. It may be for this reason that one can guess that their art does not coincide with the aesthetic tenets of Der Fuehrer and Herr Doktor Goebbels. At any rate they fill the complete range of small galleries in the Germanic with items that are somewhat outside the routine of local shows.

Water colors and crayon drawings form the bulk of the Landau display, and bring a gentle shadowless color to slight paintings, many of which are bolstered up by decisive preliminary work in pen or pencil sketches, to which the color is then swiftly added. There is a later phase of pure brushwork, the strokes themselves providing the linear framework. There are careful still lifes and competent drawings to which, as in all the work, he brings recognizable but not insistent traces of personality, with obvious bows and credits on the way to Cezanne, Renoir, and Utrillo.

Josef Albers, on the other hand, is a more German expressionist as Pechstein and Heckel. There is also recent work done in this country which indicates his affinity for assimilation of new ideas. Herbert Landau, however, is the

The image is a page from a newspaper, specifically page twelve, featuring an article titled "Shows That Vary from Floral Art to Abstraction." The article is written by William Germain Dooley and discusses an exhibition of contemporary German art.

The article highlights two artists, Hubert Landau and Josef Albers, and their contrasting styles within the exhibition titled "Water Color and Lithographs, Art Club Exhibit, German Work, Current List."

Key Points from the Article:

1. Artistic Styles:

   • Hubert Landau: Known for his work that combines elements of realism and abstraction. Landau is described as a sensitive, eclectic draughtsman and colorist, creating a charming yet unconventional style.
   • Josef Albers: His art is more traditional, workmanlike, and less provocative compared to Landau's.

2. Contrast in Work:

   • The article points out the contrast between Landau’s and Albers’ styles, which show a blend of traditional and modern techniques.
   • Landau’s work conveys a genuine interest in the method of expression and is notable for its eclectic nature, drawing from diverse influences.

3. Exhibition Details:

   • The exhibition is part of a broader appreciation for contemporary German art, showing both traditional and avant-garde works.
   • Landau’s watercolors and crayon drawings are detailed, with a mix of preliminary sketches and finished pieces, often combining preparatory work with final brushwork.

4. Debt to French School:

   • The article suggests that Landau’s work might reflect a debt to the French school, hinting at influences from artists like Cézanne, whose linear framework and expressive strokes are evident in Landau’s pieces.

5. Artistic Context:

   • The exhibit includes work by other notable German artists like Pechstein and Heckel, indicating a broader trend in contemporary German art that explores a range of styles and influences.

The article emphasizes the artistic diversity and innovative approaches within this exhibition, providing insight into how German contemporary art varies from floral realism to abstract expressionism.

The image is a scanned newspaper clipping from "Page Twelve" titled "Shows That Vary from Floral Art to Abstraction." The article is titled "Water Color and Lithographs, Art Club Exhibit, German Work, Current List" and was written by William Germain Dooley.

The article discusses two German artists, Hubert Landau and Josef Albers, whose contrasting styles are featured in an exhibition at the Germanic Museum. The piece highlights the differences between their works:

• Josef Albers' work is described as workmanlike and not very provocative.
• Hubert Landau's work is characterized as a sensitive, eclectic draughtsman and colorist, yet neither artist is seen as part of the charlatan showmanship typical of the modern movement.

The article emphasizes the importance of this exhibition as it presents two fairly distinct approaches to German art, with a focus on the influence of French school aesthetics. The exhibit includes a range of small galleries with watercolors and crayon drawings by Landau, which display a gentle shadowy color and slight paintings that are bolstered by decisive preliminary sketches. The drawings are noted for their linear framework, personality, and references to artists like Cézanne, Rouault, and Heckel.

The text also mentions that there is recent work in this country indicating an assimilation of new ideas from German art, specifically from Hubert Landau.

The image is a black-and-white newspaper clipping from Page Twelve, featuring an article titled "Shows That Vary from Floral Art to Abstraction." The article is written by William Germain Dooley and discusses an exhibition of contemporary German art by Hubert Landau and Josef Albers at the Germanic Museum.

The article highlights the contrasting styles of the two artists. Josef Albers' work is described as workmanlike and not very provocative, characterized by a straightforward, abstract approach. On the other hand, Hubert Landau's work is depicted as more sensitive and colorful, revealing an eclectic draughtsmanship and a focus on watercolors and lithographs. The article mentions that neither artist fits neatly into the avant-garde or traditional categories, but both exhibit a genuine interest in their methods of expression.

The article also notes the importance of this exhibition for showcasing two distinct approaches to art that are not typically associated with the French school of art, which is more commonly discussed. The work of Landau and Albers is said to be outside the usual routes of local shows, providing a refreshing contrast.

The exhibition features watercolors and crayon drawings by Landau, which are described as gentle shadowless colors, often bolstered by decisive preliminary sketches. The drawings exhibit a range of linear frameworks and still life subjects, with an emphasis on brushwork and the use of color. The article concludes by mentioning that the works of both artists are available for viewing at the Germanic Museum.

The image is a scanned page from a publication, specifically Page Twelve of an article titled "Shows That Vary from Floral Art to Abstraction." The article, written by William Germain Dooley, discusses a current exhibition at the Art Club featuring works by two German artists: Hubert Landau and Josef Albers.

Here is a detailed summary:

1. Introduction to the Artists and Their Work:

   • The article highlights two contrasting yet stimulating artists in contemporary German art: Hubert Landau and Josef Albers.
   • Their exhibition opened at the Germanic Museum.

2. Josef Albers:

   • Albers' work is described as workmanlike rather than provocative.
   • His art is not very abstract; instead, it is characterized by a sensitive, eclectic daintiness and colorist approach.
   • Albers’ works do not display the chaotic modernism seen in other contemporary pieces, but they exhibit a sincere interest in their method of expression.

3. Hubert Landau:

   • Landau's work is noted for its unique approach, which is somewhat outside typical local exhibitions.
   • His watercolors and crayon drawings depict the bulk of the Landau display.
   • The works feature gentle, shadowless colors, often brightened up with decorative preliminary sketches in pen or pencil.
   • The color in Landau's work appears swiftly applied, with the strokes providing a linear framework.
   • The drawings are meticulous and lifelike, capturing personality with an almost photographic precision.
   • His subjects range from recognizable individuals to recent German Expressionists like Pechstein and Heckel.
   • There are also recent works inspired by the country's new political influences, specifically referencing Adolf Hitler.

4. Conclusion:

   • The article concludes by mentioning that the works of both Landau and Albers offer a varied and intriguing exhibition experience.

The text gives an insightful look into the contrasting styles and themes present in the works of these two German artists at the time of the exhibition.

The image is a newspaper clipping from "Page Twelve" featuring an article titled "Shows That Vary from Floral Art to Abstraction." The article discusses an art exhibit at the Germanic Museum, focusing on the works of Hubert Landau and Josef Albers. The author, William Germain Dooley, highlights the contrasting styles of the two artists.

Key points from the article include:

1. Hubert Landau: Described as a sensitive, eclectic draftsman and colorist. His work is noted for its connection to the modern movement, yet it also conveys a sense of honest interest in traditional methods of expression. Landau's work includes watercolors and lithographs, with a focus on floral art and gentle, shadowless colors. His pieces range from preliminary sketches to more finished works, showing a progression in his artistic process.

2. Josef Albers: Characterized as a workmanlike abstractionist, though not very provocative. His work is noted for its aesthetic similarities to German artists like Der Fuehrer and George Grosz. Albers' pieces are described as filling complete rooms in small galleries with items that are "somewhat outside the usual run."

The article also mentions the importance of showing contemporary German painters, even if their work does not align with mainstream aesthetic trends. It concludes by noting the careful and competent nature of Landau's drawings, which bring recognizable but not insistent traces of his personality to his work. The article credits the Germanic Museum for showing recent work by abstractionists like Pechstein and Hoecke, indicating a shift towards new ideas in German art.

The image is a vintage newspaper clipping titled "Shows That Vary from Floral Art to Abstraction." It includes a subheading: "Water Color and Lithographs, Art Club Exhibit, German Work, Current List," and is authored by William Germain Dooley.

The article discusses an exhibition of contemporary German art at the Germanic Museum, highlighting the contrasting works of Hubert Landau and Josef Albers. It describes Albers as a workmanlike and not very provocative abstractionist, while Landau is portrayed as a sensitive and eclectic draftsman and colorist. The article notes that neither artist engages in showmanship typical of the modern movement's fringe, and both convey an honest interest in their expression method.

The exhibition is noted as important and generous in scope, showing fairly representative living German painters, with a clear French school influence. It is suggested that their art does not align with the aesthetic tenets of Adolf Hitler and Joseph Goebbels. The show fills a range of small galleries at the Germanic, offering items somewhat outside local show routes.

Watercolors and crayon drawings dominate Landau's display, noted for gentle, shadowless color and support from preliminary pen or pencil sketches. A later phase of pure brushwork provides linear framework. The article mentions careful still lifes and competent drawings that carry recognizable, though not insistent, personality traces, with references to artists like Cezanne, and mentions connections to German Expressionists such as Pechstein and Heckel.

The article also refers to recent work in the country that shows an affinity for new ideas, though the clipping cuts off before completing this thought.

This image shows a segment of a newspaper page, specifically page twelve. The top of the page contains a headline that reads, "Shows That Vary from Floral Art to Abstraction." Just below the headline is a subheading that includes "Water Color and Lithographs, Art Club Exhibit German Work, Current List."

The article is attributed to an author named William Germain Dooley. It begins with an analysis of two contrasting contemporary German artists, Hubert Landau and Josef Albers, and their exhibition at the Germanic Museum. The text describes the nature of their artwork and contrasts their styles, with specific mention of Albers being a "workmanlike and not very provocative abstractionist" and Landau as a "sensitive, eclectic draughtsman and colorist."

The article also touches on the broader context of the artists' relation to German political aesthetics at the time, citing the influence of or deviation from the ideals of "Der Fuehrer and Herr Doktor Goebbels." Furthermore, the article notes that Landau's work comprises watercolor and crayon drawings that hint at an openness to new ideas.

The print's visibility on the page suggests it's an aged document, with slight discoloration and fraying edges indicating wear or the passage of time. The font used in the article is consistent with typical newspaper typesettings of the past, contributing to the historical feel of the document.

The image shows a newspaper article titled "Shows That Vary from Floral Art to Abstraction." The article appears on page twelve and discusses an art exhibit featuring contemporary German art by artists Hubert Landau and Josef Albers at the Germanic Museum. William Germain Dooley authored the article, which contrasts the artistic styles of Landau and Albers.

Landau is described as a sensitive, eclectic draftsman and colorist, while Albers is characterized as a workmanlike and relatively unprovocative abstractionist. The article mentions the influence of the French school on their work and suggests that their art does not align with the aesthetic tenets of Der Fuehrer and Herr Doktor Goebbels.

The exhibition features watercolors and crayon drawings by Landau, notable for their gentle shadowless color, preliminary sketches, and later phases of pure brushwork. The article highlights Landau’s still lifes and competent drawings, referring to influences from Cezanne, Charles L. Kuhn, and German Expressionists such as Pechstein and Heckel. The article also notes Landau’s recent work in the United States, indicating his affinity for assimilating new ideas.

Description of the Image:

The image shows a page from a newspaper or magazine, specifically Page Twelve, featuring an article titled "Shows That Vary from Floral Art to Abstraction". The subtitle reads: "Water Color and Lithographs, Art Club Exhibit, German Work, Current List", and the byline credits William Germain Dooley as the author.

Content Overview:

The article discusses contemporary German artists, Hubert Landau and Josef Albers, whose works are being exhibited at the Germania Museum in Albers at the Germanic Museum, Josef Albers Exhibition. The author describes the exhibition as featuring "strange and stimulating contrasts in contemporary German art."

Key Points from the Article:

1. Hubert Landau:

   • Landau's work is described as "provocative abstractionist."
   • He is portrayed as a "sensitive, eclectic humanist" who is "in tune with the charlatanism that is found on the fringe of the modern movement."
   • His work is said to "convey a feeling of honest interest in their method of expression."

2. Josef Albers:

   • Albers is noted for his "workmanlike and not very provocative" style.
   • His work is characterized by "gentle shadowless color" and "bright paintings" that are "bolstered up by decisive preliminary work in pen or pencil sketches."
   • The article emphasizes that Albers' work evolves from "careful still lifes" to "competent drawings" that show "recognizable but not insistent traces of personality."
   • Albers is compared to Cézanne and Bonnard, with his work showing "obvious bows and credits on the way to Cézanne."

3. General Observations:

   • The article highlights the diversity of German art, ranging from "floral art to abstraction."
   • It notes that the exhibition is "new to this country" and suggests that the artists' work may not align with the "aesthetic tenets of Der Fuhrer and Herr Doktor Goebbels."
   • The article also mentions that the works "fill the complete range of items that are somewhat outside the route of local shows."
   • There is a mention of Herbert Landau having new ideas and recent works done in this country, indicating his continued artistic development.

Visual Elements:

• The text is presented in a classic newspaper or magazine layout, with clear typography and structured paragraphs.
• The headline is bold and prominently displayed at the top, drawing attention to the article's theme.
• The article is concise and informative, aimed at readers interested in contemporary art and German artists.

Contextual Notes:

• The article reflects a period of interest in modern and abstract art, particularly from Germany, during a time when such styles might have been viewed with skepticism or political scrutiny (as hinted by references to "Der Fuhrer" and "Herr Doktor Goebbels").
• The focus on Hubert Landau and Josef Albers suggests an appreciation for innovative and expressive artistic approaches, even if they deviate from traditional or state-sanctioned styles.

Overall, the image captures a thoughtful critique and appreciation of contemporary German art, highlighting the diversity and evolution of artistic expression during a specific historical period.