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Articles on this Page
- 09/22/12--04:49: _Fritz Stuckenberg-C...
- 09/22/12--05:42: _Arthur Meltzer (Ame...
- 09/22/12--05:55: _Frances Kuehn
- 09/22/12--09:32: _Jan Bogaerts (1878-...
- 09/24/12--00:33: _Art & Moo & Seasons
- 09/24/12--01:13: _Johan Briedé (Dutc...
- 09/29/12--05:26: _Ernest Biéler (13)
- 09/29/12--09:09: _Ernest Biéler (14)
- 09/29/12--10:38: _Ernest Biéler (15)
- 10/06/12--00:06: _Eugen Felix Prosper...
- 10/06/12--00:16: _Art Mood:Cuno Amiet
- 10/06/12--02:37: _Gardens by Cuno Amiet
- 10/06/12--06:00: _Cuno Amiet. :Swiss ...
- 10/06/12--06:35: _Augusto Giacometti ...
- 10/06/12--06:57: _Augusto Giacometti ...
- 10/06/12--08:55: _Edouard Vuillard (1...
- 10/06/12--09:15: _Pierre Bonnard (18...
- 10/13/12--07:26: _Cerchia di Octavian...
- 10/13/12--09:54: _Max Peiffer Watenph...
- 10/13/12--11:46: _Christian Rohlfs ( ...
- 09/22/12--04:49: Fritz Stuckenberg-Cyclamen
- 09/22/12--05:42: Arthur Meltzer (American, 1893-1989)
- 09/22/12--05:55: Frances Kuehn
- 09/22/12--09:32: Jan Bogaerts (1878-1962)-p.4
- 09/24/12--00:33: Art & Moo & Seasons
- 09/24/12--01:13: Johan Briedé (Dutch,1885 - 1980)
- 09/29/12--05:26: Ernest Biéler (13)
- 09/29/12--09:09: Ernest Biéler (14)
- 09/29/12--10:38: Ernest Biéler (15)
- 10/06/12--00:06: Eugen Felix Prosper Bracht (1842-1921)
- 10/06/12--00:16: Art Mood:Cuno Amiet
- 10/06/12--02:37: Gardens by Cuno Amiet
- 10/06/12--06:00: Cuno Amiet. :Swiss (1868 - 1961) -Roses
- 10/06/12--06:35: Augusto Giacometti (1877–1947)
- 10/06/12--06:57: Augusto Giacometti (1877–1947)-p.7
- 10/06/12--08:55: Edouard Vuillard (1868 - 1940)-p.28
- 10/06/12--09:15: Pierre Bonnard (1867 - 1947)-p.10
- 10/13/12--07:26: Cerchia di Octavianus Monfort-Natura Morta
- 10/13/12--09:54: Max Peiffer Watenphul-(1896 – 1976)
- 10/13/12--11:46: Christian Rohlfs ( 1849-1938)-p.1
Fritz Stuckenberg (1881 – 1944 ,Germany)-a German expressionist painter.
Alpenveilchen. Anfang 1920er Jahre.
Aquarell, Gouache und farbige Kreide.
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Painter Arthur Meltzer had early training in his hometown at the Minneapolis School of Fine Arts and as an apprentice in a stained glass studio. After serving in World War I, he studied at the Pennsylvania Academy of the Fine Arts, one of his teachers being Daniel Garber. In 1921 he won the Cresson Traveling Scholarship, which enabled him to study in Europe. Meltzer is considered a member of the Pennsylvania School of impressionists. Moods of the seasons and different times of day interested him in his choice of subject. In 1925, Meltzer joined the faculty of the Moore Institute (now the Moore College of Art and Design) and in 1926 he became Head of the Fine Arts Department, teaching painting, drawing, and anatomy. Here he met Paulette Van Roekens, also a Moore College teacher and painter. Their professional friendship grew into love and in 1927 they were married. Meltzer taught at the Moore Institute until 1949. His work hangs in many important collections throughout the country, among them the Pennsylvania Academy of the Fine Arts, the Columbus Gallery of Fine Arts, Ohio, and the Woodmere Art Museum in Philadelphia.
Arthur Meltzer (1893-1989), Self Portrait
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Top Drawer Left
Second Drawer Right, Bottom Shelf Left
Black Painting 2
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Stilleven met flacon, anjers en waaier
Из архива ЖЖ
все посты с тэгом
кликать на картинки с радикал.ру НЕ рекомендую!
архив за пару лет постепенно перезаливаю на Пикасу (насколько места хватит),остальное -в альбомы ФБ...
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Pierre Jaques ,Switzerland (1913 - 2000)
Herbststillleben Mit Zweigen, Früchten Und Eierschwämmchen
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Still Life with Pumpkins,1931
Simonis & Buunk-Perenbloesem
Johan Briede (Picasa Album)
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Bildnis einer Diakonisse
ERNEST BIÉLER (1863-1948)-начало
vers 1910, aquarelle sur papier
Marco et sa mère
Aquarell über Bleistift
La leçon de Tricot
Bildnis einer Diakonisse (tempera)
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(Crayon/Pastel, Watercolour, Gouache on paper)
Port of Venice,1930
Venice at night,1930
Canal à Venise
Beurret & Bailly
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Vue sur Saint-Saphorin (View to Saint-Saphorin)
Bleistift, Aquarell, Gouache und Pastell auf Papier
Vue sur Saint-Saphorin (2)
Au bord du lac (At lake's edge)
Rivaz, vers 1930, crayon, aquarelle et gouache sur papier
Paysage automnal valaisan
Pastell- und Ölkreide auf Papier
Paysage de Saviès
Mischtechnik auf Papier, auf Karton aufgezogen
Sion, Fontaine du Lion et Maison de Rivaz, 1930
Gouache auf Papier
Aquarell und Bleistift auf Papier
Maxenhaus, Rarogne, 1932
Gouache auf Papier auf Karton
Village en hiver
Charcoal, Pastel, Gouache on paper
Château de Glérolles
pencil on paper
Étude de maisons à Rouen
charcoal on paper
Courses à la Croix de Berny 1885, gouache sur papier
Sir Patrick, 1883
Öl auf Leinwand
Saas-Fee.Öl auf Karton
La Seine.Öl auf Holz
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Bio & Links (Wiki)
Bildnis Maria Bracht geborene Dreuer,1880
Bachlauf mit Birken
Swiss Lake (Schweizer See),1885
A Lion Sleeping in the Shade,1885
Der Gewaltige der Urzeit,1897
Die Insel im Mittelmeer,1892
Mergelenten am Aletschgletscher,1892
Villa am Meer;Finale an der italienischen Riviera
Fetschbach-Fall by Linthal,1862
Waldlandschaft in Obersachsen),1875
Spätsommertag in der Heide,1884
Schloss Lissingen in der Eifel,1880
Aus den Walliser Alpen,1888
Porta Torlaro zu Albenga,1889
Durch die Heide,1890
Baghek at the Dead Sea (Um-Baghek am Toten Meer),1891
In the Gorge of the Tombs, Petra (In der Gräberschlucht von Petra),1892
Die Gräber des Jacobus und Zacharias im Kidronthal bei Jerusalem,1880
Old Hermitage, Sinai (Alte Einsiedelei am Sinai
Der Morgenstern in der Neujahrsnacht,1899
Strahlender Wintertag (Oberspreegebiet),1899
Der rote Acker (Walkenried n.d. Natur),1899
Blick auf die Teiche,1899
In the Swiss Mountains (In den Schweizer Bergen)
Das Matterhorn von Westen,1907
Meeresstille bei den Lyster Dünen,1906
Kiefer in den Felsen,1902
Die Drei Türme im Grauertal),1908
Eichen im Schnee in Sonne,1911
Bach in Weiden,1918
Baumgruppe am Wasser,1916
Monte Rosa und Arven,1919
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Anna Amiet in ihrem Blumengarten,1929
Haus in Bäumen - Der Garten und das Haus Amiet auf der Oschwand,1921
Bauernhäuser auf der Oschwand,1924
Frau Amiet mit blumenstrauss
Blumengarten , 1936
Ruhepause im Garten auf der Oschwand, 1911
Der Blumengarten auf der Oschwand,1911
Der Blumengarten auf der Oschwand,1911 (2)
Maler vor Staffelei im Garten, 1940
Garden in Oschwand, 1934
Garden in Oschwand. 1947
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to be continued
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Zwei junge Bäuerinnen mit Rückentragkorb
Öl auf Leinwand auf Karton
An Italian Landscape,1915
Autumn Leaves on a Green Background
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DIE MUSIK (THE MUSIC)
Kohle, Pastell und Tempera auf Papier,1909
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Jeune femme à la fenêtre et fleur ,1897-1899
oil on board ,from Christie's
Woman at the Window, 1895-1900
Oil on cardboard,The Israel Museum, Jerusalem
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Femme à la rose, 1908
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(Attivo a Torino tra il 1646 e il 1696)
Still Life with Fruits, Flower and Shell on a plan
Tempera on vellum (Tempera su pergamena)
Still Life with Fruits, Flower and Butterfly on a plan
"...In 1751 he worked in Vienna, before moving to Dresden and then in 1756, at the official invitation of the tsarina Elisaveta Petrovna, he went to St Petersburg where he died in mysterious circumstances in 1762. In Vienna he saw the pastels of Liotard, who had worked there during the period 1743-1745. In a sense, he is his heir and successor at the court as a fashionable painter. He may already have seen some of Liotard’s work in Venice where the Genevan artist had spent a few months in 1745, but there is no evidence to confirm this hypothesis.
Evidently Liotard was his model even though the two employ quite distinct techniques: Liotard is a sublime master of pastels while Rotari uses oils, a far denser medium.
At the beginning in Italy, Rotari restricted himself to using details of the female heads from his religious works (though it is no clear how much later this happened) such as the Head of a girl in the Museum of Castelvecchio in Verona (no.3650) from the Nativity of Mary done for the church of S. Giovanni di Verdara in Padua in 1741. Even in his youthful works the Apostolates, however, he seems to be studying the temperaments and varieties of expression on male heads, with subtle distinctions in the way they are depicted.
However, it is also possible that Rotari “invented” his genre outside Italy for enlightenment and freethinking patrons who did not have primarily religious or Catholic interests. In St Petersburg, in particular, he taught in the academy that had just been opened by Shuvalov, painting hundreds of heads, probably with the help of Russian pupils, of which 367, bought by Catherine II, still adorn an unusual room of the imperial residence of Peterhof. On his death in 1762, a considerable group of «fanciulle» and portraits – about forty in all – was sent to his heirs in Verona and they represent the corpus of models that would be copied, in increasingly banal fashion, in his native city. In Verona, however, and to an even greater extent in Venice, the real heirs of Rotari’s «fanciulle» would be the far more overtly mischievous «mascherine» by Felice Boscarati. Over time, though, many of these works seem to have gradually found their way from German and Russian collections to France and Italy."(c) read more...
Vaso con fiori
Tempera su pergamena
attributed to Octavianus Monfort
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Max Peiffer Watenphul (1896 – 1976)-German painter
"Max Peiffer Watenphul spent the period from October 1931 to July 1932 in Rome at the German Academy in the Villa Massimo, where other artists residing there at the time included Uli Nimptsch, Ernst Wilhelm Nay, Karl Rössing and Fritz Rhein. He also made friends with Ludwig Curtius, Bernhard Degenhart and Eckert Peterich. In July 1932 he visited Gaeta together with his sister Grace and Erika and Klaus Rössing. In 1933 he received the "Additional Award" of the Carnegie Institute, Pittsburgh, for a floral still-life. Travelling to Italy again in 1936, he visited Rome, Latina, Sorrento, Capri, Ischia and Sicily. By 1937 the situation in Germany was becoming more and more oppressive. His correspondence was intercepted and his paintings were confiscated from German museums: Nationalgalerie Berlin, Folkwang Museum Essen, Städtische Kunstsammlung Kassel, Städtische Kunsthalle Mannheim. The floral still-life, which had won him the Carnegie Award and had meanwhile been hanging in the Nationalgalerie Berlin, was shown in the Nazis’ notorious “Degenerate Art” exhibition in Munich in 1937. In the autumn of that same year, Max Peiffer Watenphul finally decided to move to Italy for good, to which end he was greatly helped by his half-sister Grace, who was married to the Roman architect Enrico Pasqualucci. It was also in that year that the artist’s parents moved to Essen, his stepfather having been prematurely retired from his post as headmaster for political reasons. In December 1937, Max Peiffer Watenphul travelled to the island of Ischia, where he met several German painters and intellectuals, including Werner Gilles, Rudolf Levy, Eduard Bargheer and the composer Gottfried von Einem. Heinrich Watenphul, Max’s stepfather, died in 1940.
By 1941, Max Peiffer Watenphul was in such financial straits that he was obliged to return to Germany and take up a teaching post – obtained for him by Georg Muche – at the Krefeld School of Textile Design as the successor to Johannes Itten. He took over the drawing and painting class. Frequent visits were paid to Oskar Schlemmer in Wuppertal. In 1943, Peiffer Watenphul’s studio was destroyed in an air raid. The summer of that same year was spent in Vienna, whereupon he taught at the Arts and Crafts School in Salzburg until the winter of 1946. Max Peiffer Watenphul was to exercise an enormous influence on the young painters of Salzburg. As a German national, Peiffer Watenphul was refused permission to reside in Austria after 1946 and so he fled across South Tyrol to his half-sister in Venice, where he then lived for the next twelve years. He made friends with the painters Filippo De Pisis and Felice Carena and with the collector Peggy Guggenheim. His first solo exhibition since the end of the war took place in Venice in 1948. His first post-war travels to the south of Italy – to Rome, Naples, Caserta, Positano and Capri – were made in 1949. It was in Positano that he met up again with Karli Sohn-Rethel and Stefan Andres."
Still Life with Flowers, Fruits, and Butterflies, 1936
Flower Still Life, 1935
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Christian Rohlfs( 1849-1938)- German painter,
one of the important representatives of German expressionism.
"After his years of study at the academy, Rohlfs' work was formed for twenty years by Impressionism, but at the age of sixty, he found a late expressionistic style. Favouring tempera on canvas and paper, he also created watercolours and prints.
Several honours prove the approval of his later works. In 1929 the Christian Rohlfs Museum in Hagen was founded for the artist's 80th birthday. After the Nazis seized power Rohlfs was expelled from the Preußische Kunstakademie der Künste in 1937 and 412 of his paintings were rated "degenerate" and were removed from German museums.
One year later, on 8 January 1938 Christian Rohlfs died in his studio in Hagen. He was remembered as one of the most important representatives of German Expressionism in art history."(c)
The Lion and the Crane (1904-06)
Engel, der Licht in die Gräber trägt,1925
The Expulsion from Paradise,1933
Christian Rohlfs, self portrait (1918)
Rose Bush and Headstone,1890
Garden in Soest,1906
Dancing around the Ball of the Sun,1916
The Three Holy Kings,1924
The Expulsion from Paradise,1933
to be continued...
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