20 jahrhundert kunst
Hans Thoma was a German painter.
In spite of his studies under various masters, his art has little in common with modern ideas, and is formed partly by his early impressions of the simple idyllic life of his native district, partly by his sympathy with the early German masters, particularly with Albrecht Altdorfer and Lucas Cranach the Elder. In his love of the details of nature, in his precise drawing of outline, and in his predilection for local coloring, he has distinct affinities with the Pre-Raphaelites.
Otto Dill was a German painter. His work was part of the art competitions at the 1928 Summer Olympics and the 1932 Summer Olympics.
Otto Dill was a German painter. His work was part of the art competitions at the 1928 Summer Olympics and the 1932 Summer Olympics.
Charles Johann Palmié was a German painter, one of the pioneers of German Modernism and Neo-Impressionism.
He studied at the Dresden Academy of Fine Arts, traveled and worked extensively, specializing in landscapes. In 1901 Palmie and his artist wife opened an artists' hotel in Kalmunz, Germany. Soon an entire colony of artists formed there, numbering up to forty people, many of whom lived there permanently. After Wassily Kandinsky and Gabriele Münter visited the hotel in the summer of 1903, the Kalmunz colony became the talk of the art world.
Impressed by the works of Claude Monet, the artist traveled to France in 1905, where a meeting with the master himself played a decisive role in the further direction of Palmie's work. In France, he spent much time studying Neo-Impressionism, pointillism and monochrome painting, and created many landscapes.
In 1909 Palmie, along with Vasily Kandinsky, Alexei Jawlensky, Gabriele Münter and others, became one of the founders of the Association of New Artists of Munich (Neue Künstlervereinigung München or NKVM), an expressionist art group in Munich. This group later evolved into Der Blaue Reiter ("The Blue Rider"), but without Palmie's participation.
Georg Kolbe was a German sculptor of the first half of the twentieth century. He is known as a master of Classicism and Symbolism. Throughout most of his professional career he was an artist in demand by various German authorities.
Georg Kolbe, despite the strong influence of the Expressionists, managed to develop his own unique style. He left a notable mark not only in sculpture, his artistic legacy includes a large number of drawings and hundreds of engravings.
His biography is closely connected with Berlin, where he lived for more than 40 years. Kolbe is named for the prize awarded by the Artists' Union of Berlin. The artist's former studio now houses a museum with permanent solo exhibitions of works by renowned sculptors of modern art.
Franz Seraph Lenbach was a German painter known primarily for his portraits of prominent personalities from the nobility, the arts, and industry. Because of his standing in society, he was often referred to as the "Malerfürst" (Painter Prince).
Albert von Keller was a German painter of Swiss ancestry, best known for his indoor scenes and portraits featuring female figures. Born on April 27, 1844, in Gais, Switzerland, he began his career by studying law at Ludwig Maximilian University, but his passion for art led him to the Academy of Fine Arts in Munich. His art journey took him through France and Italy, honing his style through various studio experiences.
Von Keller is recognized for his portraits depicting women in indoor environments, often shown in striking poses or engaging in activities. His later works took on supernatural, mystical, or religious themes. One of his notable achievements was co-founding the Munich Secession in 1892, where he served as vice president from 1904 to 1920.
Several of his works are housed in museums and galleries, such as "Irene von Keller with her son Balthasar" (1888), "The Pianist," and "Chopin" (1873). He also received the Knight's Cross of the Order of the Merit of the Bavarian Crown in 1878.
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Joseph Wenglein was a German painter who is often referred to as one of the last significant landscape painters of the 19th century Munich school.
Parallel to his law studies Joseph Wenglein studied at the Academy of Fine Arts in Munich. He then switched entirely to art and became a pupil of the landscape painter Johann Gottfried Steffan. On his recommendation, Wenglein sometime later became a pupil of the painter Adolf Heinrich Lier, whose colouristic tendencies, calculated to express profound moods, particularly appealed to him.
Josef Wenglein knew how to reproduce the change of daylight, especially in spring and autumn, with a fine sense of the slightest atmospheric fluctuations and to vary the grey pleasant tone of the Bavarian plateau in all its nuances masterfully.