Switzerland Symbolism
Arnold Böcklin was a Swiss symbolist painter.
Influenced by Romanticism, Böcklin's symbolist use of imagery derived from mythology and legend often overlapped with the aesthetic of the Pre-Raphaelites. Many of his paintings are imaginative interpretations of the classical world, or portray mythological subjects in settings involving classical architecture, often allegorically exploring death and mortality in the context of a strange, fantasy world.
Eugen Felix Prosper Bracht was a German landscape painter.
A late Romanticist painter, Bracht was known for his moody landscapes and coastal scenes in North Germany, and began a sketching trip through Syria, Palestine and Egypt from 1880 to 1881. In 1882, he became a Professor of Landscape Painting at the Prussian Academy of Arts.
Later, Bracht became a representative of German Impressionism.
In 1901, he obtained a teaching position at the Dresden Academy of Fine Arts that he held until 1919.
Auguste de Niederhäusern, better known as Rodo, was a Swiss sculptor and medallist. He is considered one of the most influential representatives of Swiss Symbolism.
In 1892 Rodo took part in the Salon de la Rose-Croix exhibition and for the next six years was a collaborator of Auguste Rodin.
Between 1900 and 1902, Rodot created several works for the Federal Palace in Bern, which was under construction: at the top of the pediment is a sculptural group symbolising political independence, executive and legislative power; he also created the capstones on the arched windows of the south façade.
Henry Fuseli (German: Johann Heinrich Füssli) was a Swiss painter, draughtsman and writer on art who spent much of his life in Britain. Many of his works, such as The Nightmare, deal with supernatural subject matter. He painted works for John Boydell's Shakespeare Gallery, and created his own "Milton Gallery". He held the posts of Professor of Painting and Keeper at the Royal Academy. His style had a considerable influence on many younger British artists, including William Blake.
Robert Lvovich Genin (Russian: Роберт Львович Генин) was a Jewish-born artist of the first half of the twentieth century who worked in several countries, including the Russian Empire, Germany, France, Germany, Switzerland, and the USSR. He is known as a painter and graphic artist.
Robert Genin worked in a variety of genres including landscapes, portraits, genre compositions and nudes. He also did lithography, woodcuts and etching. His style evolved from Jugendstil and Symbolism in the early 1900s to Expressionism after the First World War. He later came to a kind of lyrical primitivism. The artist worked in both easel and monumental painting and was influenced by various artists.
Ferdinand Hodler was one of the best-known Swiss painters of the nineteenth century. His early works were portraits, landscapes, and genre paintings in a realistic style. Later, he adopted a personal form of symbolism which he called "parallelism".
Much of Hodler's work is in public collections in Switzerland. Other collections holding major works include the Musée d'Orsay in Paris, the Metropolitan Museum of Art in New York, and the Art Institute of Chicago.
She studied art in Japan, Spain and Germany.
Leiko Ikemura's work encompasses painting, sculpture, video and photography. She works in a variety of techniques, including oil painting, ceramic and bronze sculpture, printmaking and watercolor. She currently works in Cologne and Berlin and teaches painting at the Hochschule für Kunst in Berlin.
Charles-Clos Olsommer was a Swiss painter and draftsman of French descent. His favorite subjects were women's portraits and landscapes. He was a mystical and symbolic painter, and Olsommer's art echoed the Italian Early Renaissance, icon painting, and Art Nouveau aesthetics.
