mountain landscape
Otto Grashof was a German painter of the mid-nineteenth century. He is known as a draftsman, engraver, and portrait painter. He also did historical painting, battle-painting, animal studies, and landscape art. Grashof is considered one of the founders of Chilean painting.
Grashof went to St. Petersburg in 1838, where he carried out portrait commissions for the aristocracy, and some of his works ended up in the collection of Emperor Nicholas I. Later he visited Chile as well as Brazil. He held the titles of "painter to the Russian emperor and Brazilian court painter."
Otto Eduard Pippel was a German painter.
Marinus Adrianus Koekkoek was a 19th-century Dutch landscape and marine painter.
Georg Arnold-Graboné was a painter of German impressionism and an art teacher.
Arnold-Graboné became well known for his unique style of Palette knife painting. His technique used the texture of thickly applied paint to create an actual three-dimensional representation of a landscape. In Graboné's works, the colors are remarkable for their brilliance, distinguishing his landscapes from those of other pallet-knife painters. The brilliance is a result of Graboné's color-separation technique in knife-painting. His favorite subjects were of the Alps of Bavaria and South Tirole, the Isle of Capri, the English Garden in Munich, the lake region surrounding Starnberg, and fishing boats on the North Sea. His unusual signature is incised into the wet paint with the opposite end of the brush, almost invariably on the bottom left hand of his oil paintings (and on the bottom right for watercolors).
Francesco Foschi was an Italian painter best known for painting winter landscapes.
Hermann Ottomar Herzog was a German-born American landscape painter. He represented the Dusseldorf School of painting and was a member of the Hudson River School. He quickly achieved commercial success and began to earn good money, which allowed him to travel a great deal.
Herman Herzog settled in the United States at the end of the 1860s. He devoted a considerable part of his work to his journey through the western states to California in 1873. He also frequently visited and worked in Maine and Florida.
William Glen Crooks, an American neorealist painter, has carved a niche for himself with his unique approach to landscape and urban scene painting. Unlike traditional representations, Crooks' works omit human figures, substituting them with vehicles to embody human traits and emotions. His approach to capturing the essence of city and small-town life through this lens has garnered attention for its depth and thoughtfulness. William Glen Crooks' dedication to his craft began at a young age, evolving from drawing comics to a self-taught mastery in representational painting, driven by a passion to defy the norms of modernism that dominated his formative years. His self-imposed rigorous practice of drawing laid the foundation for his distinctive style.
William Glen Crooks' work has been the subject of several exhibitions, including a notable showcase at the Oceanside Museum of Art (OMA). The exhibition, "The Point of View," marked his first museum exhibition and featured twenty-three paintings that spanned over twenty-five years. These works emphasize cityscapes, nostalgic urban scenery, and expansive landscapes, illustrating Crooks' ability to translate everyday scenes into compelling narratives. His paintings are celebrated for their illumination of light and shadow, transforming landscapes into metaphors that reflect his perceptions of the natural world.
His technique and subject matter draw inspiration from a blend of influences, including the landscape painters of the 1800s, Edward Hopper's narrative style, Mark Rothko's color fields, Wolf Kahn's liberating techniques, and John Frederick Kensett's luminism. This eclectic mix has allowed William Glen Crooks to explore the opacity of light and transparency of shadow in a way that brings a fresh perspective to the landscape genre, making his work resonate with a contemporary audience while retaining a timeless quality.
For collectors and experts in art and antiques, William Glen Crooks offers a unique investment in the realm of contemporary realism. His paintings invite viewers to explore the subtle interplay of light, shadow, and form, capturing the quiet moments of daily life with a profound depth and sensitivity.
To stay updated on William Glen Crooks' latest works and exhibitions, signing up for newsletters from galleries and museums that feature his work, such as the Oceanside Museum of Art, is recommended. This subscription will ensure that enthusiasts are always informed about new sales, auction events, and showcases related to Crooks' evolving portfolio.
Marten Rijckaert was a Flemish Baroque painter, famous for his landscapes in the Italian manner.
Marten Rijckaert was a pupil of Tobias Verhacht. He was registered as a master at the Antwerp Guild of St Luke's in 1607. Reikart was a close friend of Antonis van Dyck.
His work is characterised by rocky forest landscapes, often with waterfalls, ruins and architecture. These Italian landscapes are close to the works of Flemish painter Paul Brill, and the panoramic concept of his compositions owes a debt to the works of Jan Brueghel the Elder.
Johann Joachim Faber was a German landscape painter and printmaker. He initially worked on historical subjects. During his travels to Italy he became interested in landscape painting, in which he became known.
Karl Hagemeister was a German landscape painter.
Ernst Ludwig Kirchner was a pivotal figure in the art world, known for his profound impact on 20th-century Expressionism. Born in Bavaria, Germany, on May 6, 1880, Kirchner's journey into art began with architecture studies before he found his true calling in painting and printmaking. In 1905, alongside fellow architecture students, he co-founded Die Brücke ("The Bridge"), a group that sought to revolutionize art by bridging the gap between traditional academic styles and modern artistic expression. This group was instrumental in the development of Expressionism, advocating for intense emotion conveyed through vivid colors and bold lines.
Kirchner's work, characterized by its expressive intensity and often exploring themes of urban life and the human psyche, reflects a deep engagement with the cultural and social upheavals of his time. Notably, his experiences during World War I, including a mental breakdown and subsequent discharge from military service, deeply influenced his art. Works like "Self-Portrait as a Soldier" (1915) poignantly encapsulate the personal and societal trauma of the era.
After the war, Kirchner sought solace in Davos, Switzerland, where the tranquil landscapes inspired a new direction in his work, showcasing a more serene and reflective approach. Despite his contributions to modern art, Kirchner's later years were marred by the Nazi regime's denunciation of his work as "degenerate," leading to the destruction and dispersal of many pieces. Tragically, this persecution contributed to his decision to end his life on June 15, 1938.
Kirchner's legacy is preserved through his influential body of work, from vivid urban scenes to tranquil landscapes, all marked by a distinctive, expressive style that continues to captivate art collectors and experts. His works are held in major museums worldwide, including the Museum of Modern Art in New York and the National Gallery of Art in Washington, underscoring his enduring influence on the art world.
For those interested in the profound impact of Ernst Ludwig Kirchner on modern art and Expressionism, subscribing to updates on new product sales and auction events related to his work can provide valuable insights. This subscription is an opportunity for collectors and art experts to stay informed about the availability of Kirchner's influential pieces and related events.
