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THE COURIER
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ARNOLD BOEKLIN.
Araold Boeklin m to German art what
Wagner is to German ramie and strange
to say both owe to the artistic, crazy
Ludwig of Bavaria the means of accom
plishing their ideals.
As a youth in the Academy, Boeklin
was aoted for hie wonderful memory.
When the students were given a bit of
landscape to sketch be would lean com
fortably against a treo apparently en
grossed with the panoramc before him
bat not doing a stroke of work. Later in
the day when he returned to his room
his brashes flew over the canvas anr. he
soon shoved bis fellow students how
deeply thescene was impressed upon his
aaiad. Each tree seemed to be repro
duced with i correctness of line that
could scarely -be credited by his fellow
workers when they saw it the following
day. This did well enough for the limbs
of trees bat when it came to the human
body hard study from life was necessrry
to reach perfection and Boeklin'a draw
ing is far from faultless. Some say he
lacked the money for study in his youth.
Others that the jealousy of his wife
would allow no model in his studic. Be
that as it aaay I soon forget everything
but the poetry of the conception when
looking at his work.
His work may be divided into three
subjects mythical, allegorical and re
. ligioue. The first named are his great
eat. They contain a sympathy with na
ture which is seldom found except ia
Greek statues. Hawthorne felt its sub
tlety standing before Praxiteles' faun
and called it "neither man nor animal,
and yet no monster, but a being in whom
both races meet on friendly ground.
The idea grows coarse as we handle it,
and hardens in our grasp. But, if the
spectator broods long over the statue, he
Will be conscious of its spell; all the
pleasantness of Sylvan life will seem to
be mingled and kneaded into one sub
stance, along with the kindred qualities
in the human soul."
"The Play of the Waves." a picture
which hangs in the new Pinakothek of
Munich, is abhorred by some people be
cause of the hideous figures which sport
through the cold blue water but yet
there is a charm about it like one of An
dersen's fairy stories and everyone feels
it in time.
Boeklin was born at Bazii and in his
religious paintings can be traced the in
fluence of the early German masters
whose work he studied in his youth. In
these he has simplified his coloring and
has depicted in a realistic manner the
drawn, agonized faces around the Christ.
A thing which modern artists have not
attempted.
The "Dance of Death," which figured
in all literature and and art of Holbein's
time, has also been a favorite subject of
Boeklin. Of the many treatments of
The Nebraska Sanitarium.
T
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College View, Nebraska.
this theme his portrait of himself is more
in demand than any other. The artist
is standing playing on the one string
left on his violin while back of him
looking over his shoulder is a skeleton.
The picture seems prophetic of the life
of the man. Boeklin is now para'yzed
but works on for a few hours each day
with the one band that can hold a brush
while he says he knows death waits back
of his chair.
Perhaps a little gossip as to Boeklin's
life romance as it is retailed at the Ber
lin studios may be of' interest. While
yet a young man, poor and unknown, he
was wandering in Italy and stopped for
the night at a small inn on the Campag
na. A peasant girl who was serving the
guests attracted his artistic eye. She
seemed so strong, so perfect in form and
such a true child of nature, but lacking
altogether a soul to understand its beau
ties. There is a deeply sentimental
vein in all Germans and the wish came
to Boeklin to train this untouched and
perfect piece of nature until the soul
ehould respond to the beauty without
and make the being complete.
The maiden of the Campagna became
the wife of the artist but her heart re
mained stone and the dream vanished.
However, they live now in a villa in
Italy and I have no doubt but that Ma
dame Boeklin has learned to cook
"Eartoffeln und apfeln" to the taste of
everybody so the absence of soul is not
especially regretted.
The greatest thing about Arnold
Boeklin as an artist is that he is nation
al "Echt Deutsch' as the Germans
would say. He has never beeD influeuc-.
ed by Paris. His coloring is heavy and
intense. His conceptions are practical
and deeply sentimental and mingled
with this is something brutal the re
mains, perhaps, of his northern blood.
The Germans say the French cannot
understand him but that they will give
them an opportunity in nineteen hun
dred and I have no doubt but what the
French will rise equal to the occasion.
J. Russell.
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