frank brunner
Edvard Frank was a German painter of the "lost generation".
He began his training in 1926 at the Trier School of Crafts and Applied Arts with August Trümper, then studied at the Cologne Werkschulen with Richard Seewald, and moved to the Academy in Berlin to study in Karl Hofer's class. After being called up for military service, he probably injured himself. At the end of the war he evaded another call-up by deserting. At the end of the war he lived in the district town of Birkenfeld in Hunsrück until the mid-1950s. Here he produced a large number of drawings and watercolours, which he was reluctant to give up. After the war he became a co-founder of the Palatinate Secession, and in 1946 a member of the New Darmstadt Secession as well as the Arbeitsgemeinschaft bildender Künstler am Mittelrhein, founded in 1948. He enjoyed increasing success with exhibitions at the Städtische Kunstsammlung Baden-Baden as well as in Hamburg, Lübeck, Berlin, Karlsruhe, Mannheim, Mainz and Kaiserslautern. The Brücke painter Erich Heckel appreciated his work. His estate, which includes personal documents and correspondence as well as sketchbooks and photographs of his works, is preserved in the Landesarchiv Saarbrücken.
Frank's preferred subjects were often erotic and oriented towards classicist motifs.
Edvard Frank was a member of the Deutscher Künstlerbund.
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Johann Joseph Zoffany, born Johannes Josephus Zaufallij, was a German neoclassical painter who was active mainly in England, Italy and India. His works appear in many prominent British collections, including the National Gallery, the Tate Gallery and the Royal Collection, as well as institutions in continental Europe, India, the United States and Australia.
Jan Dörre is a German painter known for his still lifes in the modern vanitas style.
He studied painting at the Academy of Visual Arts in Leipzig, lives and works in Leipzig.
Jan Dörre paints still lifes, which are directly associated with the paintings of the old masters of the 17th century. The artist in his works repeats in different variations the familiar set of motifs found in baroque still lifes of vanitas: bread, cutlery, fruit, insects, birds, snakes, lizards, books, letters, skull, etc. But next to them in a modern setting he places objects of our time, for example, pills and empty packages from them. All this together conveys the general idea of the genre: a reminder of the transience of life, the futility of pleasure and the inevitability of death.
