Art Nouveau 19th century
Jenny Fikentscher (born Nottebohm) was a German painter and graphic artist associated with the Art Nouveau movement. She studied at the School of Women Painters in Karlsruhe and later became part of the Grötzingen artist colony. Fikentscher married animal painter Otto Fikentscher and raised five children in an unconventional artistic household. She was known for her botanical motifs and lithographs, often featuring local plants. Fikentscher also created collectible images for the Stollwerck chocolate company.
Maurice Paul Jean Asselin was a French painter, watercolourist, printmaker, lithographer, engraver and illustrator, associated with the School of Paris. He is best known for still lifes and nudes. Other recurring themes in his work are motherhood, and the landscapes and seascapes of Brittany. He also worked as a book illustrator, particularly in the 1920s. His personal style was characterised by subdued colours, sensitive brushwork and a strong sense of composition and design.
He was awarded the rank of Officier de la Légion d'honneur in 1939.
Qi Baishi was a Chinese painter, noted for the whimsical, often playful style of his works. Born to a peasant family from Xiangtan, Hunan, Qi taught himself to paint, sparked by the Manual of the Mustard Seed Garden. After he turned 40, he traveled, visiting various scenic spots in China. After 1917 he settled in Beijing. Some of Qi's major influences include the early Qing dynasty painter Bada Shanren (八大山人) and the Ming dynasty artist Xu Wei (徐渭).
The subjects of his paintings include almost everything, commonly animals, scenery, figures, toys, vegetables, and so on. He theorized that "paintings must be something between likeness and unlikeness, much like today's vulgarians, but not like to cheat popular people". In his later years, many of his works depict mice, shrimp or birds. He was also good at seal carving and called himself "the rich man of three hundred stone seals" (三百石印富翁). In 1953, he was elected president of the China Artists Association (中國美術家協會).
Leon Bakst (Russian: Лев Самойлович Бакст) was a prominent Russian painter and stage designer, celebrated for his innovative contributions to the world of art and theater. Born in the late 19th century, Bakst became a central figure in the cultural renaissance that swept through Russia and Europe, leaving an indelible mark on the visual and performing arts.
Bakst's work is distinguished by its rich use of color, intricate patterns, and imaginative compositions, which brought to life the exotic and often fantastical themes of the ballets and operas for which he designed. His association with the Ballets Russes, a groundbreaking ballet company that performed across Europe and America, solidified his reputation as a visionary artist. The costumes and sets he created for productions like "The Firebird" and "Scheherazade" were celebrated for their creativity and exoticism, influencing not only the world of theater but also fashion and interior design.
His art extends beyond the stage, with paintings and illustrations that capture the same vibrancy and innovation found in his theatrical work. Museums and galleries around the world, including the State Russian Museum in St. Petersburg and the Metropolitan Museum of Art in New York, house his works, allowing art lovers to experience the magic of Bakst's creations.
For collectors and experts in art and antiques, Leon Bakst's work offers a unique glimpse into a transformative period of cultural history, where the boundaries of art and performance were reimagined. His legacy continues to inspire and captivate, making his pieces highly sought after in the art world.
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Aubrey Vincent Beardsley was an English artist and illustrator, whose brief yet impactful career left an indelible mark on the art world. Born in Brighton, England, in 1872, Beardsley's work was instrumental in the development of the Art Nouveau movement, and he is often remembered for his bold, innovative illustrations that challenged Victorian sensibilities with their erotic and often grotesque imagery.
Beardsley's artistic journey was characterized by his unique ability to blend influences from Japanese woodcuts with the aesthetic of the English Art Nouveau movement. His illustrations are distinguished by their stark contrasts of black and white, intricate details, and the absence of middle tones, creating a dramatic and unmistakable style. He was particularly known for his illustrations for the limited edition of "Le Morte D'Arthur," which were celebrated for their elaborate detail and pre-Raphaelite influences, despite their sometimes grotesque details. This work, along with his contributions to "The Yellow Book" and illustrations for Oscar Wilde's "Salome," showcased his talent for capturing the decadent and the macabre, earning him both acclaim and controversy (Wikipedia, The Collector).
Beardsley's career, though short-lived due to his untimely death at the age of 25 from tuberculosis, was marked by significant contributions to various publications, including "The Studio" and "The Savoy," which he co-founded. His work for "The Yellow Book," where he served as art editor, was particularly influential. The magazine, using the latest image-reproduction technology of the time, allowed Beardsley to make dramatic use of black and white space, reflecting his vision of modern life and aesthetics (V&A Museum).
Despite facing health challenges and controversies, including being dismissed from "The Yellow Book" during the scandal surrounding Oscar Wilde's arrest, Beardsley continued to work on projects that pushed the boundaries of conventional morality and art. His illustrations for works like Aristophanes' "Lysistrata" and his retelling of the Tannhäuser legend are testament to his enduring creative spirit and his willingness to explore themes of decadence, sexuality, and the grotesque.
Beardsley's legacy extends beyond his death, influencing not only the Art Nouveau movement but also future generations of artists and illustrators. His work continues to be celebrated for its daring originality and its challenge to the norms of his time. The Victoria and Albert Museum, among others, has celebrated Beardsley's contributions to art and culture, showcasing his ability to intertwine the beautiful and the grotesque in ways that remain provocative and engaging to this day.
For collectors and experts in art and antiques, Beardsley's work offers a fascinating glimpse into the aesthetic and cultural shifts of the late 19th century. His influence on poster art, illustration, and the broader Art Nouveau movement underlines the significant impact he had during his brief career. To stay updated on sales and auction events related to Aubrey Vincent Beardsley's work, signing up for updates can provide exclusive access to the continuing legacy of this remarkable artist.
Alexandre Nikolayevich Benois (Russian: Алекса́ндр Никола́евич Бенуа́) was a distinguished Russian artist, art critic, and historian, celebrated for his pivotal role in the art world, particularly in painting and stage design. Born into a family deeply embedded in the cultural fabric of Russia, Benois was instrumental in the development of the Russian artistic movement at the turn of the 20th century. His contributions to art and culture extend beyond his vivid paintings; he was a founding member of the World of Art (Mir iskusstva), a significant art movement and magazine that sought to elevate Russian artistry on the global stage.
Benois' work is notable for its intricate detailing, vibrant use of color, and the ability to convey deep narratives within each piece. His designs for ballets such as "Petrushka" and "The Sleeping Beauty" remain iconic, showcasing his mastery over the fusion of visual art and performance. This synthesis not only enhanced the ballets’ visual appeal but also deepened the audience's engagement with the narrative. Museums and galleries around the world, including the Russian Museum in St. Petersburg and the Tretyakov Gallery in Moscow, house his works, underscoring his global recognition and the enduring appeal of his artistic vision.
For collectors and experts in art and antiques, Benois' oeuvre represents a fascinating exploration of early 20th-century Russian culture, art, and the avant-garde movement. His ability to blend traditional Russian themes with the modernist trends of his time makes his work a valuable study in the evolution of modern art. Those interested in the rich tapestry of Russian cultural history and the interplay between art and performance will find Benois' contributions invaluable.
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Karl Biese was a German landscape painter, draftsman, and lithographer. After initially working as a theater painter, he received a scholarship to study at the Karlsruhe Academy of Fine Arts in 1883. Biese later returned to Hamburg, where he became a master painter and established his own business. Biese was one of the founders of the Karlsruhe Artists' Association and created lithographs for the association's print workshop. He found inspiration for his nature-themed works during his travels around Karlsruhe, the Black Forest, the Moselle region, and northern Germany. Biese was particularly known for his atmospheric paintings, especially his winter scenes. He primarily worked with oil painting and lithography mediums. Biese also designed collectible images for Stollwerck chocolate company's albums.
Ivan Yakovlevich Bilibin (Russian: Ива́н Я́ковлевич Били́бин) was a Russian illustrator, stage designer, and teacher, famed for his fairy tale illustrations and stage designs that drew heavily from Russian folklore and traditional art. Born in 1876 in St. Petersburg and passing away in 1942 during the Siege of Leningrad, Bilibin's career spanned a period of great change in Russia, from the pre-revolutionary times through to the Soviet era. His work is celebrated for its intricate detail, vibrant colors, and deep homage to Slavic myths and legends.
Bilibin's journey into the world of art and folklore began after his studies at the St. Petersburg University and the Munich art school. He was deeply influenced by Russian folklore, as well as modern French and Japanese art. This amalgamation of influences resulted in a unique style that made his work stand out. His illustrations for Russian folk tales, such as "The Frog Princess," "Vasilisa the Beautiful," and "Marya Morevna," are among his most celebrated works, encapsulating the essence of Russian narrative traditions.
Bilibin's career was not confined to illustration. He made significant contributions to the world of theater, designing sets for operas and ballets that further entrenched his reputation. His work took him beyond Russia, with periods spent in Egypt and France, where he continued to produce work for the Russian émigré and European communities. Despite the political turmoil of his time, Bilibin remained deeply connected to his roots, returning to Soviet Russia in 1936, where he continued his artistic and academic pursuits until his death in 1942.
For collectors and experts in art and antiques, Bilibin's works represent a bridge between the mystical past and the artistic innovations of the early 20th century. His legacy is preserved in museums and galleries worldwide, offering a glimpse into a world where folklore and art intertwine.
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Frank William Brangwyn was a Welsh artist, painter, watercolourist, printmaker, illustrator, and designer.
As well as paintings and drawings, he produced designs for stained glass, furniture, ceramics, glass tableware, buildings and interiors, was a lithographer and woodcutter and was a book illustrator. It has been estimated that during his lifetime Brangwyn produced over 12,000 works. His mural commissions would cover over 22,000 sq ft of canvas, he painted over 1,000 oils, over 660 mixed media works (watercolours, gouache), over 500 etchings, about 400 wood-engravings and woodcuts, 280 lithographs, 40 architectural and interior designs, 230 designs for items of furniture and 20 stained glass panels and windows.
Hans Andersen Brendekilde, born Hans Andersen, was a Danish impressionist painter and representative of the Socialist Realist style.
Hans was a distant relative of the famous storyteller Hans Christian Andersen and also from a very poor family. However, his abilities were noticed, and he was admitted to the Royal Danish Academy of Fine Arts in Copenhagen, from which he graduated with honors, becoming a sculptor. However, Hans immediately began to paint, and depicted the harsh conditions of life in rural Denmark between 1880 and 1920. This was the beginning of the social realist style.
In 1884 he was living in Copenhagen with his friend, the painter Laurits Andersen Ring (1854-1933), at which time Hans took a second surname, Brendekilde, to avoid confusion.
Brendekilde was a committed socialist and produced many paintings depicting poor people working in the fields or in their homes at tragic moments in life. His most famous painting is The Weary One, which he completed in 1889. Through his work, Brendekilde had a great influence on many of his contemporaries, including Edvard Munch.
The talented and versatile artist also worked as an illustrator and gave a movement to arts and crafts in Denmark. Working for many years in the famous ceramics factory of Herman A. Koehler, he attracted other artists to this activity. And at the end of his life, the artist began to paint more positive pictures: flowers, playing children, fields under the sun.
Umberto Brunelleschi was an Italian artist. He studied at the Accademia delle Belle Arti in Florence and moved to Paris in 1900 with Ardengo Soffici where he soon established himself as a printer, book illustrator, set and costume designer.
Frederick Carder was an English-born artist and designer who is best known for his work in glassmaking and his role in co-founding the Steuben Glass Works in the United States. He was a prominent figure in the American art glass movement and made significant contributions to the field.
In 1903, Carder immigrated to the United States and eventually settled in Corning, New York. In collaboration with Thomas G. Hawkes, he co-founded the Steuben Glass Works in 1903. Carder served as the artistic director and chief designer of Steuben for several decades. Under his guidance, Steuben became renowned for producing high-quality art glass known for its elegance, craftsmanship, and innovative designs.
Carder experimented with various glass-making techniques and was skilled in creating a wide range of glass objects, including vases, bowls, lamps, and tableware. His designs showcased a diverse range of styles, from delicate and intricate Art Nouveau-inspired pieces to bold and modern Art Deco designs. Carder's work often featured vibrant colors, intricate patterns, and intricate glass techniques such as iridizing and acid etching
Léon Georges Jean-Baptiste Carré was a French Orientalist painter and illustrator known for his contribution to the Fauvist movement.
Carré's style was characterized by bright colours and bold strokes. He sought to express his emotions and convey the essence of the subject through intense and unnatural colours. Carré's paintings often depicted landscapes, still lifes and portraits.
Léon Carré also experimented with other artistic movements such as Cubism and Post-Impressionism. This allowed him to develop a unique artistic language which combined elements of different currents.
Giannino Castiglioni was an Italian sculptor and medallist. He worked mostly in monumental and funerary sculpture; his style was representational, and far from the modernist and avant-garde trends of the early twentieth century.
William Reid Dick was a Scottish sculptor known for his innovative stylisation of form in his monument sculptures and simplicity in his portraits. He became an Associate of the Royal Academy in 1921, and a Royal Academician in 1928. Dick served as president of the Royal Society of British Sculptors from 1933 to 1938. He was knighted by King George V in 1935. He was Sculptor in Ordinary for Scotland to King George VI from 1938 to 1952 then held the post under Queen Elizabeth until his death in 1961.
Samuel Perry Dinsmoor was an American artist and sculptor. Dinsmoor's most famous work, Garden of Eden, is an intricate installation of over 200 concrete sculptures including Adam and Eve, a serpent and various animals. The sculptures are arranged as a series of scenes depicting the creation story told in the Bible.
Samuel Perry Dinsmoor began his career as a teacher but later turned to art. During his career he created many sculptures and monuments, including a statue of Abraham Lincoln which stands in front of the courthouse in Lucas.
Dinsmoor's work has been featured in many exhibitions and is considered an important example of outsider art. His sculptures are known for their detailed and intricate construction and use of unconventional materials.
Auguste Donnay was a Belgian painter, etcher, lithographer and poster artist.
In 1900 he was appointed professor of decorative arts at the Academy of Fine Arts in Liège.
In 1905 Auguste Donnay gave a speech at the International Exhibition in Liège in which he tried to define a Walloon spirit in painting, which he opposed to the spirit of Flemish painting.
He illustrated many books, including dramatic works by Maurice Maeterlinck.
Fritz Erler was a German painter, graphic designer and scenic designer. Although most talented as an interior designer, he is perhaps best remembered for several propaganda posters he produced during World War I.
During the National Socialist period Erler's portraits of Adolf Hitler, Franz von Epp, and Wilhelm Frick were very remunerative.
Theodor Fahrner stands out as a pioneering jewelry designer hailing from Pforzheim, Germany. Renowned for his exquisite Art Nouveau and Jugendstil creations, Fahrner's legacy extends beyond his lifetime. His pieces, known for their affordability, became synonymous with impeccable craftsmanship and unique design. Taking the reins of his father's ring factory after his passing in 1883, Fahrner swiftly rose to prominence. By 1895, he was the sole proprietor, venturing into innovative territories by registering patents and utility models during the upheaval leading up to the 20th century. Fahrner's breakthrough moment arrived at the 1900 Paris World Exposition, where his jewelry, designed by Max J. Gradl, earned a prestigious silver medal.
As the years progressed, Fahrner's design prowess flourished. From 1899 to 1906, he primarily undertook design work himself, infusing each piece with his artistic vision. Collaborations with designers such as Maria Obrich, Patriz Huber, and Ludwig Knupper later defined the firm's trajectory. The brand's focus shifted towards affordable yet elegant Art Deco jewelry, solidifying an international reputation. Fahrner's life journey concluded on July 22, 1919, leaving behind a rich heritage and two daughters, Vera and Yella. His legacy endured as jeweler Gustav Braendle acquired the Fahrner brand, passing it on under the name Bijouteriewarenfabrik Gustav Braendle, while the distinctive label "Fahrnerschmuck" continued to grace exquisite creations.
Eugène Gaillard was a French art nouveau industrial designer, architect and advocate of modern design. Gaillard abandoned a career in law for that of interior design and decoration. He was employed for some time by Siegfried Bing along with Georges de Feure and Edouard Colonna to work on his pavilion at the 1900 Paris Universal Exposition.
Emile Gallé was a French artist and designer who worked in glass, and is considered to be one of the major innovators in the French Art Nouveau movement. He was noted for his designs of Art Nouveau glass art and Art Nouveau furniture, and was a founder of the École de Nancy or Nancy School, a movement of design in the city of Nancy, France.
David Gauld was an important Scottish artist who worked in both oils and stained glass and was regarded as being one of the innovators within the Glasgow Boys group. Some of his works, such as St Agnes and Music are seen as precursors of the Art Nouveau movement. His works were seen as having both a Japanese and Pre-Raphaelite influence upon them.
Charles Dana Gibson, an American artist, was a pivotal figure in the illustration world, best known for creating the iconic "Gibson Girl," which symbolized the ideal American woman of the early 20th century. His work, which often satirized society's mores and public life, played a significant role in defining American feminine style during the 1890s through the early 1900s.
Charles Dana Gibson's early fascination with art was nurtured by his family, leading him to study at the Art Students League in New York. He began his illustrious career with pen and ink illustrations, contributing to prominent magazines like Life and Harper's. His transition from illustration to painting marked a significant turn in his career, although he remained best known for his illustrations.
The "Gibson Girl" became a cultural icon, featured in various media and even influencing domestic object designs. Gibson's influence extended beyond art; he was actively involved in World War I propaganda efforts and later took over as the owner and editor of Life magazine. Even after his retirement, Gibson's legacy continued through his impact on American art and culture.
For art collectors and enthusiasts, Charles Dana Gibson's works offer a glimpse into a transformative era in American art, capturing the elegance, humor, and societal observations of his time. His contributions to illustration and painting remain a testament to his talent and vision.
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Sigmund Walter Hampel, born in Vienna in 1867 and passed away in 1949 at Nußdorf am Attersee, was an esteemed Austrian painter and draughtsman. The son of a glass painter, Hampel honed his artistic skills and knowledge of design, material, and technique in his father's workshop. His formal education at the Vienna Academy of Art under notable figures like August Eisenmenger and Heinrich von Angeli further refined his abilities, especially in delicate coloring and technical proficiency.
A significant period of Hampel's career was his membership in the Hagenbund, a Vienna-based artists' association, from 1900 to 1911. This association was known for its avant-garde approach and played a critical role in shaping modern art in Austria. Hampel's works are recognized for their diverse range of subjects and styles, including figurative works, still life, and portraiture.
Some of Hampel's notable works include "Interieur" (1903), "Zimmer In Einem Alten Forsthaus" (1905), "Spanische Tänzerin (Porträt der Mlle E.)" (1904), "Blumenstillleben" (1910), and "Der Zwerg und das Weib" (1902-1903). These artworks exemplify his versatile approach to art, capturing a range of emotions and narratives through his distinct artistic style.
Hampel's contributions to the art world, particularly in Austria, are significant. His works continue to be appreciated by art enthusiasts, collectors, and experts in art and antiques for their aesthetic value and historical significance.
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Thomas Theodor Heine was a German-Swedish artist of late nineteenth and early twentieth centuries of Jewish origin. He is known as a painter, draftsman, illustrator and writer.
Heine co-founded the popular German satirical weekly Simplicissimus, where he printed his drawings and caricatures. He also collaborated with the magazines Flying Pages and Youth, illustrated books, and created advertising posters and erotic drawings. After the Nazis came to power, the artist fled to Sweden, where he obtained citizenship. His works were presented at a retrospective anniversary exhibition in Stockholm in 1947, a year before Heine's death.
Ernst Julius Hähnel was a German sculptor, professor at the Dresden Academy of Arts.
His main interest for Ernst Hähnel was portraiture. His statues show a clear idealisation of his heroes in the spirit of the ancient tradition.
Adolf Hengeler was a German artist and illustrator, renowned for his distinctive style that beautifully merged humor with meticulous detail. Born on February 11, 1863, in Kempten, Allgäu, Hengeler's journey in the arts led him to Munich, where he left an indelible mark on the art and culture of the era.
Hengeler's body of work is diverse, encompassing applied graphics, caricatures, and picture stories. His graphic work, ranging from airy color drawings to precise ink strokes, has often been compared to Wilhelm Busch for its unique charm and precision. Notably, Hengeler regularly contributed to the "Fliegende Blätter" and created popular publications like the "Münchner Kinderfibel" and the "Kriegstagebuch 1914/15".
In painting, Hengeler focused on landscapes, often featuring cherubs and mythical creatures, and idyllic scenes of people in landscapes. His paintings are characterized by earthy brown tones, highlighted by bright local and pastel tones in flesh, clothing, or flowers, capturing the beauty of nature in Oberbayern and Allgäu. In his later years, Hengeler turned to Christian legends and biblical figures, adding a spiritual dimension to his natural scenes.
Hengeler's legacy is preserved in the Museum der Stadt Kempten, as per the bequest of his grandson, the art historian Peter von Bomhard. The museum houses Hengeler's personal and artistic belongings, including furniture and portraits, in a dedicated Hengeler Room.
For collectors, auctioneers, and experts in art and antiques, Adolf Hengeler's work offers a unique window into the culture and art of his time. His contributions to the German art scene, especially through his distinctive style and thematic diversity, make his works highly valued and sought after.
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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.
Oskar Erich Hösel, a German sculptor and modeler, was renowned for his distinctive contributions to art and culture. His work is celebrated for its innovation and mastery in sculpture and modeling, with notable creations that include various sculptures and models for the Meissen Porcelain Manufactory. Hösel's talents were recognized early in his career, evidenced by awards such as the small silver medal from the Dresden Academy of Fine Arts in 1891 for his group "In the Desert".
His sculptures, such as "Hunne zu Pferde" and "Entlaufener Negersklave im Kampfe mit einem Bluthund," highlight his ability to capture dynamic and dramatic scenes in his art. Besides his sculptural work, Oskar Erich Hösel contributed significantly to porcelain design, creating pieces that are still celebrated today.
Oskar Erich Hösel's artistry extended beyond conventional sculpture, incorporating elements of realism and a keen observation of nature, evident in his various animal figures and other works. His legacy continues to influence the fields of sculpture and porcelain art, with his works serving as a testament to his skill and creativity.
For collectors and art and antique experts, Hösel's works represent a unique blend of artistic innovation and traditional craftsmanship. If you're keen on staying updated about Oskar Erich Hösel's art, including sales and auction events, consider signing up for updates. This subscription offers a focused way to engage with the ongoing appreciation and study of Hösel's contributions to art and culture.
Albert Hinrich Hussmann was a distinguished German artist and sculptor renowned for his specialization in horse and rider statues. Educated at the Academy of Fine Arts in Berlin, Hussmann's artistic contributions were prominently featured in the Great Berlin Art Exhibition, showcasing his profound skill and dedication to his craft.
Throughout his career, Hussmann was celebrated for his dynamic portrayal of equestrian subjects, capturing the grace and power of horses with remarkable precision and emotion. His work with the Bavarian porcelain company Rosenthal from 1909 to 1943, further solidifies his legacy, highlighting his versatility and influence in both sculpture and fine arts. His artistic journey concluded with his passing on November 15, 1946, in Lüdingworth, Germany, leaving behind a legacy celebrated in various collections and exhibitions.
For collectors and experts in art and antiques, Hussmann's sculptures embody the pinnacle of equestrian art, offering a glimpse into the artist's profound admiration and understanding of his subjects. His pieces remain a testament to his skill, capturing the essence of movement and the nobility of the horse with each sculpture.
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Georg Janny was an Austrian landscape painter and set designer.
He worked as a scene painter in the studios of Carlo Brioschi and Johann Kautsky, alongside Alfons Mucha, and was a member of the Dürerbund.
He also painted landscapes and figures, including scenes from fairy-tales or imaginary worlds that are reminiscent of the works of Arnold Böcklin or Gustave Doré.
Rudolf Kaesbach was a German sculptor.
Rudolf Kaesbach studied at the academies of Hanau (drawing), Paris (foundry) and Brussels. In Düsseldorf he ran a workshop in which he cast his own models.
After 1904, Rudolf Kesbach presented a series of life-size marble figures to the public at exhibitions in Berlin, Düsseldorf and Malmö. Later he devoted himself increasingly to the depiction of nude women. Much of his work took him beyond Art Nouveau to Art Deco.
In 1939, 1940, 1941 and 1943, Kiesbach exhibited his sculptures at the Great German Art Exhibitions in Munich. These exhibitions were representative under National Socialism.
Arthur Kampf was a German painter. He was associated with the Düsseldorf school of painting.
Kampf's work is most strongly associated with the genre of traditional history painting, though throughout his lifetime he explored styles influenced by Impressionism and Art Nouveau. He was also celebrated for large scale portrait work and in particular children's portraiture. Kampf also worked extensively as an illustrator, contributing drawings to volumes by Shakespeare (1925), R. Herzog, History of Prussia (1913) and J.W. Goethe, Faust (1925). Kampf's artwork post World War II largely focused on religious themes.
Gustav Kampmann was a German landscape painter and graphic artist. His work includes landscape paintings and lithographs, rarely with persons, sometimes with architectural elements. Kampmann has developed a personal, highly idiosyncratic style that impresses us with its openness, merely addressing motives, and spontaneous gesture. His works have a painterly freedom and a degree of abstraction that was not typical for that time.
Jessie Marion King was a Scottish illustrator known for her illustrated children's books. She also designed bookplates, jewellery and fabric, and painted pottery. King was one of the artists known as the Glasgow Girls.
King was influenced by the Art Nouveau of the period, and her works correspond in mood with those of The Glasgow Four. Despite the influence of Art Nouveau, she was inspired to create unique designs where she did not literally translate the real world.
Most of King's earliest works involved illustration, but she also wrote books and was a skilled jewellery designer.
Fernand Khnopff, full name Fernand-Edmond-Jean-Marie Khnopff, was a Belgian Symbolist painter, graphic artist, sculptor and art historian.
Born into a wealthy family, Fernand attended the Royal Academy of Fine Arts in Brussels, where he studied painting with Xavier Mellerie. Throughout his years at the academy, Khnopff spent summers in Paris studying art, and at the 1878 World's Fair he saw the works of Pre-Raphaelite Edward Burne-Jones and Symbolist Gustave Moreau, which had a decisive influence on his work.
In the early 1880s Khnopff began to exhibit his Symbolist works, often inspired by literary works, particularly by Gustave Flaubert. His paintings combined precise realism with an ethereal fairy-tale atmosphere, and he also painted portraits.
In 1883 Khnopff co-founded Les Vingt, a group of Belgian avant-garde artists. From the early 1990s, he collaborated regularly with the Brussels opera house Royal de la Monnaie, designing costumes and sets for many productions. He also designed the interiors of Brussels' landmark buildings: the Maison Stoclet and the Hôtel de Ville in Saint-Gilles.
