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Not only as a scientific financier has he helped, not only has he provided ammunition when German industrial undertakings were weak and stumbling, but along the lines of scientific research, as chemists, physicists, artists perhaps no one stands higher than the Jew Liebermann as a painter the Jew has done yeoman service to the country in return for the high wages that he has taken.

As a matter of fact he is not as accomplished a master of the medium as is Anders Zorn; many a smaller man, artistically speaking, handles the needle with more deftness than Liebermann. His skill in black and white is best seen when he holds a pencil, charcoal, or pen in his hand.

Three scholars whose work does not bear immediately upon the political history, or bears only upon portions of it, but who have yet contributed greatly by their studies to our understanding of it, are Professor F.W. MAITLAND, Professor FELIX LIEBERMANN, and Mr.

Their eyes are open upon the aspect of material things and they paint flesh that is palpitating with life, forms that live and move, and color that vibrates. Here again as with Liebermann and Truebner the idea and the execution are in harmony, but with the Scholle painters the idea is apt to be a very simple one, depending upon straightforward representation for its impressiveness.

Fleischmann involuntarily and unconsciously danced to the tune that Stoss in perfect good humour intentionally piped. It was most amusing when the man with black locks, dressed in a black velvet suit saturated with salt water, swaggeringly passed judgment upon Adolf Menzel, Böcklin, Liebermann, and other celebrated German masters.

But one feels the lack of those others who have lately lifted Germany back among the greatest nations artistically: von Uhde, Liebermann, von Gebhardt, Klinger, Erler, and von Hofmann. In the same way the young and virile English group is not represented, though in this room is a passable portrait by the great John Lavery.

He is easily the foremost of living composers, and after he is dead the whirligig of fortune which has so favoured him may pronounce him dead for ever. But I doubt it. The importance of Max Liebermann in any critical consideration of modern German art is prime.

Professor Max Liebermann is one of the most distinguished of the modern group, and his large, cool, definite art is innocent of the moving quality. He was represented in the exhibition by a portrait of Dr. Bode, a vigorous little composition called "The Polo-players," the "Flax Barn at Laren," and "The Lace Maker." The last two were especially typical of his steady detachment from his subject.

But she is intensely real, more real, even, than Menzel's closely observed individuals. Liebermann, born in 1847, was the leader of the new tendency characterizing the Germany of the seventies, the tendency toward constant reference to nature as opposed to the old-fashioned conventionalism and Academic methods.

A case of defrauding one Sophie Liebermann, or Laubermann, or some such foreign name, by giving her one of those five-pound Christmas-card banknotes just then in fashion, and receiving from her, as she alleged, three real sovereigns change.