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The article focuses on issues related to art in Germany. The exposition at the Cantian Place is the fifty-first of its kind, yet outside of Germany, and perhaps even in Germany, it has never been able to receive from either the artists or the general public a tenth part of the attention which is regularly bestowed on the Paris, France Salon. Thus, this time there are hardly any works by foreign artists. There is at present much outcry in the German papers about the degeneracy of the modern stage and the decline of the drama. That this is not an unusual thing, and that the literature of all ages is full of such complaints, are well-known facts, alluded to in an article in a recent number of the journal North American Review.

The article features master draughtsman Hans Holbein. He was born in 1497 or 1498 in Augsburg, Germany, and was married to Elizabeth Schmidt, whom he had four children. It says that he left his native city because his father, late Gothic painter Hans Holbein the Elder, did not have financial success. Samples of drawings that Holbein produced in his thirty years of career are also shown.

The article presents information on the book "A Little Journey to the Home of Albrecht Durer," the old German artist who lived in the "toy" city of Nürnberg, where Hans Sachs and the Meistersingers loved and joked. The book presents information on a visit to Albrecht Dürer's home town to inspect the office of Julius Streicher who already on November 9, 1923, had marched with Adolf Hitler to the Feidhermhelle in Munich, at the demonstration of premature power which was: the baptism by fire of the Nazi movement. Even then he was well known for his anti-semitic obsession. In the years to come his newspaper, Der Stunner, would be the chief weapon against the Jewish peril. Hitler appointed him Gauleiter of Franconia.

The article discusses the contribution of German artist Kurt Schwitters in the area of assemblage art. As stated, while he was alive no one understood his concept of the all-enveloping work of art that could draw on a whole range of media including paint, sculpture and architecture. As stated, it was only after his death in isolation in 1948 did he get credit for his collages and his contribution in the development of art.

The article presents information about the International exhibition at Berlin, Germany. The fact that this summer's Internationale Kunst-Ausstellung in Berlin is of far less artistic importance than the exhibition in Paris two years ago really gives it its chief value, paradoxical as it may sound. As a whole, the exhibition is dull and life-less. Most of the exhibiting nations can boast of a fair, technical average and even of one or two artists of individuality and power; the average, however, is that of men who have learned their trade very thoroughly, but who have no special use for their knowledge, and can only do what has already been, done again and again.

The article profiles painter Werner Groshans. Born in Eutingen, Germany in the Black Forest, Groshans' father was a jewelry designer. He came to the U.S. at age 13 and learned the English language in two years. He studied at the Newark School of Fine and Industrial Arts with fellow artist Bernar Gussow. Groshans married in 1944, and with the understanding and support of his wife, he devoted all his time to art. Some of Groshans' work are featured including "The Sunbathers II."

The article provides information about sculptor Tylman Rymenschneyder, also known as Riemenschneider. It is stated that he was born in a small Thuringian town of Heiligenstadt, and settled in Würzburg in Germany in 1483. It is also mentioned that he was married four times and had six children, and owned several houses and vineyards. He also became a burgomaster during the Peasants' Revolt of 1525.

In this article, the author features the late artist Ernst Barlach and his achievements in the art industry. The author mentions that Barlach was known to have achieved success as a sculptor, printmaker and poet. Barlach's career in the industry began when he was discovered by Paul Cassirer, an avant-garde dealer in Berlin, Germany.

Presents letters to the editor referencing articles and topics published in the previous issues. "Mark Twain and the Gesta Romanorum," which presented a fable collection; "The Stimulus of the Vieux Colombier," which focused on French artists; Reader's comments on the practice of democracy in Germany.

The article presents information on recent German fiction. Detlev von Liliencron's book "Breide Hummelsbuttel," never reached the larger world of German readers of fiction. Liliencron's latest prose work is likely by its title, "Leben und Luge Ein biographischer Roman," to attract wider attention. Hermann Bahr's "Die Rahl," is a fair specimen of the tact and the delicacy with which a difficult problem can be treated by a genuine artist. It is the story of a schoolboy who, enamored of a famous actress, follows her daily when she drives home from the theatre.

This article describes lives of people of Germany. There is a distinguished artist in a German city who once thrilled American audiences. Some friends asked her what she would do when the remainder of her rapidly disappearing capital was exhausted. She answered by drawing her finger across her throat. Another fine artist, who also played in America, is reduced to two small rooms and gives lessons from morning till night for a mere pittance in a desperate struggle to keep alive. Suicides are common. A young girl student at Heidelberg shot herself last month, but no one wondered or cared very much. It happens too often.

The article focuses on the German-born artist Kurt Schwitters. He once said that the abstract movement would influence an entire generation. He mentioned that he was highly influenced by the pessimism of post-World War I Germany, noting that that the waste of world was his art. He made a series of collages out of found objects including stamps, slogans, and coins. He died in exile in England in 1948, still relatively unknown.

The article focuses on the life and works of artist Käthe Kollwitz in Germany. Her drawing or lithograph depicts a cry of pain. She has found inspiration in morgue by sketching accident or murder victims and the rhythm of her crayon on pencil vary with the mood of her drawing. She was forced to resign from the Prussian Academy of Arts after signing a plea against the election of the Nazis to national office.

The article discusses the attempt to provide royalties for U.S. artists of the visual arts for every price increase in an already sold work, as of 1973. This scheme is similar to the royalty rights of composers and writers which visual artists hope could be adopted into their profession. A number of European countries have been enforcing royalties like Germany where dealers and auctioneers are required to remit to the artist 5% of every increase in sales price. Royalty rights for visual artists in the U.S. are said to be spottily implemented.