Great German Art



The fine art, architecture, sculpture, graphic art, and applied art of Germany and Austria 1845-1945
.

‘ Die Toteninsel’

‘(The Isle of the Dead’)
Arnold Böcklin – (1827–1901)
‘Die Toteninsel’ is the best known painting of Symbolist artist Arnold Böcklin .
Böcklin produced several different versions of the mysterious painting between 1880 and 1886.

All versions of Isle of the Dead depict a desolate and rocky islet seen across an expanse of dark water.
A small rowboat is just arriving at a water gate and seawall on shore.
An oarsman maneuvers the boat from the stern.
In the bow, facing the gate, is a standing figure clad entirely in white.
Just behind the figure is a white, festooned object commonly interpreted as a coffin.
The tiny islet is dominated by a dense grove of tall, dark cypress trees — associated by long-standing tradition with cemeteries and mourning — which is closely hemmed in by precipitous cliffs.
Furthering the funerary theme are what appear to be sepulchral portals and windows penetrating the rock faces.
Böcklin himself provided no public explanation as to the meaning of the painting, though he did describe it as “a dream picture: it must produce such a stillness that one would be awed by a knock on the door.”
The title, which was conferred upon it by the art dealer Fritz Gurlitt in 1883, was not specified by Böcklin, though it does derive from a phrase in an 1880 letter he sent to the painting’s original commissioner.
Many observers have interpreted the oarsman as representing the boatman Charon who conducted souls to the underworld in Greek mythology.
The water would then be either the River Styx or the River Acheron and his white-clad passenger a recently deceased soul transiting to the afterlife.

The model for the rocky islet was likely Pondikonisi, a small island near Corfu which is adorned with a small chapel amid a cypress grove.
(Another, less likely candidate is the island of Ponza in the Tyrrhenian Sea.)
The third version – and undoubtedly the best version –  was painted in 1883 for Böcklin’s dealer Fritz Gurlitt.
In this version one of the burial chambers in the rocks on the right bears Böcklin’s own initials: “A.B.”. 
In 1933, the painting was put up for sale, and a noted Böcklin admirer, Adolf Hitler, acquired it. He hung it first at the Berghof in Obersalzberg and, then after 1940, in the New Reich Chancellery in Berlin.

‘Abundantia – The Gifts of the Sea’
Hans Makart



‘Abundantia – The Gifts of the Earth’
Hans Makart



‘Die Niljagd der Kleopatra’ – ‘Cleopatra’s Nile Hunt’
Hans Markart




‘Der Tod Der Kleopatra’ – ‘The Death of Cleopatra’
Hans Makart 

One of the favourite artists of the young Adolf Hitler was Hans Makart.

Hans Makart (May 28, 1840 – October 3, 1884) was a 19th-century Austrian academic history painter, designer, and decorator; most well known for his influence on Gustav Klimt and other Austrian artists, but in his own era considered an important artist himself and was a celebrity figure in the high culture of Vienna, attended with almost cult-like adulation.
Makart’s work, like those of other academic artists of the time, consisted of allegorical painting and history painting as seen in ‘Catherina Carnaro’, ‘Dianas Hunt’, T’he Entry of Charles V into Antwerp’, ‘Abundantia’ (see above), ‘Spring’, ‘Summer’, T’he Death of Cleopatra’ (see above), ‘Cleopatra’s Nile Hunt’, (see above) ‘The Five Senses’, and ‘Bacchus and Ariadne’.
He was considered the Austrian rival to the French William-Adolphe Bouguereau.
Within Austria, his nearest competitor was considered to be Hans Canon, and he was associated with the sculptor Viktor Tilgner, who travelled with him to Italy.
Aside from his clear influence on the academic art and high culture of Vienna at the time, Makart also influenced a range of painters and decorators who followed him, including many who rebelled against his style—the most notable being Gustav Klimt, who is said to have idolized him. Klimt’s early style is based in historicism and has clear similarities to Makart’s paintings. The entire decorative focus of Jugendstil, the Austrian Art Nouveau of which Klimt was a part, arose in an environment in which Makart had put the decorative aspects of art in the forefront. Some have also suggested that primacy of sexual symbolism in Jugendstil artworks were influenced by the sensuality in many of Makart’s paintings.

Adolf Hitler viewing Markart’s Paintings in Wien – 1937

Anselm Feuerbach – Selbstbildnis

‘Das Urteil des Paris’
(The Judgement of Paris)
Anselm Feuerbach


‘Nackte Junge mit einer Flöte’
(Nude Boy with a Flute)

One of the favourite artists of the young Adolf Hitler was Anselm Feuerbach.
Anselm Feuerbach (12 September 1829 – 4 January 1880) was a German painter.
He was the leading classicist painter of the German 19th-century school.
Feuerbach was born at Speyer, the son of the well-known archaeologist Joseph Anselm Feuerbach and the grandson of the legal scholar Paul Johann Anselm Ritter von Feuerbach.
After having passed through the art schools of Düsseldorf and Munich, he went to Antwerp and subsequently to Paris, where he benefited by the teaching of Couture, and produced his first masterpiece, Hafiz at the Fountain in 1852.
He subsequently worked at Karlsruhe, and then Venice.
In Venice, he fell under the spell of the greatest school of colourists, and several of his work demonstrate a close study of the Italian masters.
He then proceeded to Rome and then Vienna.
In 1873, he became professor in the Vienna Academy.
He is associated with the Düsseldorf school of painting.
He was steeped in classic knowledge, and his figure compositions have the statuesque dignity and simplicity of Greek art.
He was the first to realize the danger arising from contempt of technique, that mastery of craftsmanship was needed to express even the loftiest ideas, and that an ill-drawn coloured cartoon can never be the supreme achievement in art.

click here for more information about Adolf Hitler
and
Hitler my young Friend‘ by August Kubizek

‘DIE ABSCHEIDUNG’ – (1874)

(THE DEPOSITION)

Arnold Böcklin – (1827–1901)



Alexander Frenz, Illustration zu Chamberlains Richard Wagner

Paul von Joukowsky – Parsifal – Die große Gralsszene, Gouache, 1882,

Paul von Joukowsky – Bühnenbildentwurf zu Parsifal – Gemälde ausgeführt von Max Brückner – 1882

Richard Wagner – Franz Von Lenbach – German Art

Hans Olde – ‘Nietzsche on his Sickbed’ – (1899)

Hans Olde – ‘Frederiche Nietzsche’ – (1899)



Max Liebermann – ‘Bildnis Richard Straus






.

‘SIGMUND FREUD’
Ferdinand Schmutzer (1870-1928)
.

‘RICHARD  STRAUSS’
Ferdinand Schmutzer (1870-1928)

.


Ferdinand Schmutzer (1870-1928)

Schmutzer came from a traditional Viennese artistic family.
His great-grandfather, Jacob Matthias Schmutzer founded the Imperial Engraver-Academie in Vienna.
Like his grandfather and father worked, Ferdinand Schmutzer first with sculpture, but after studying painting at the Academy.
A study in the Netherlands woke influence of Rembrandt van Rijn, his interest in etching .
Soon Schmutzer was celebrated for his portraits of Viennese society.
Prominent contemporaries such as Sigmund Freud , Albert Einstein , Emperor Franz Joseph , the Vienna Philharmonic and Karl Lueger sat for him.
Schmutzer presented his work internationally and received several prizes and awards.
A particular innovation was the use of large formats which until then were unknown to the art of etching.
In 1901 Schmutzer became a member of the Vienna Secession, and by 1908 he was an acknowledged master of his art as professor at the Academy of Fine Arts in Vienna.
In addition to the large sizes, he introduced new techniques, experimenting with new types of needles. From 1922 to 1924 he was Rector of the Academy.
In 1928, at  58 years old, Schmutzer died in Vienna, in his villa.




‘KAISER WILHELM  II’
George Jahn
.
.

.

‘VERLORENES  PARADIES’ – (PARADISE  LOST)
George Jahn
for more information about George Jahn (in German) go to http://georg-jahn-1869.de/

‘BOYS ON THE BEACH’
George Jahn

‘SELF  PORTRAIT’
Hans Thoma (1839 – 1924)

Hans Thoma (October 2, 1839 – November 7, 1924) was a well known and well listed German painter and print maker.
He started his life as a painter of clock faces.
In 1859 he entered the Karlsruhe Academy where he studied under Johann Wilhelm Schirmer (1825-1903) (specialist in landscape painting) and Ludwig des Coudres (1820-1878).
He left the Academy at the end of 1866 and moved to Dusseldorf.
There he met Otto Scholderer and went to Paris in May 1868.
In Paris he was influenced by Gustave Courbet (1831-1877). In spite of his studies under various contemporary masters, his art has little in common with modern ideas and is partly formed by his early impressions of the simple idyllic life of his native district, partly by his sympathy with the early German masters, particularly Altdorf and Cranach.
In his love of detail in nature, in his precise drawing of outline, and in his preference for local color, he has distinct affinities with the Pre-Raphaelites.
In 1890 he had his first successful exhibition at the Munich Kunstverein.
He subsequently joined the Munich succession.
In 1899 Thoma was made director of a gallery in Karlsruhe and was appointed professor at the art academy there. During his career he received many honors.

‘DER  VERLORENE  SOHN’ – (The Prodigal Son)
Hans Thoma (1839 – 1924)

‘ADAM  AND  EVE’
Hans Thoma (1839 – 1924)

‘SELF  PORTRAIT’
Joseph Uhl  –  (1877-1945)
Born in New York, Joseph Uhl moved to Germany at an early age.
At the Academy of Munich, he studied painting and etching.
As the First World War ended, Uhl who up to that time had concentrated mainly on painting, began to create etchings and engravings of children, nudes, general figure studies and allegorical images.
His work in this genre owes much to the German Jugendstil movement.

‘MORNING  SWIM’

‘FLUTEBOY’
Joseph Uhl  –  (1877-1945)
‘SOMMERWONNE’ – (SUMMER  JOY)
Joseph Uhl  –  (1877-1945)

‘STUDY  OF  A  NUDE  BOY’
Julian Alden Weir – (1852-1919)

‘JUNGES  PAAR  AUF  LICHTUNG’
Hermann Moest, 1868 -1945
Born on 5 December 1868, in Karlsruhe, Germany, Moest was the son of the sculptor Karl Friedrich Moest 1838-1927).
After being instructed by his father, Moest solidified his knowledge and skills from 1885 to 1888 at the State Academy of Fine Arts in Karlsruhe.
After this he studied under Otto Seitz (1846-1912) and Alexander von Liezen-Mayer (1839-1898) at the Academy of Fine Arts in Munich.
From 1914 he lived and worked in Berlin, becoming an established  figure painter and illustrator.Hermann Moest married on 1 October 1904 in Hannover, Emma Priscilla Benfey.
He died on 10 December 1945 in Berlin.

‘AKT  MIT  BOGEN’
Hermann Moest, 1868 -1945

‘NUDE  EPHEBE  IN  HEROIC  POSE’
Georg von Hoesslin (1851-1923)

George (Georg) von Hoesslin (1851-1923) is an interesting figure in art in view of his origins and study. German by heritage, but born in Hungary and educated in the United States, after his family emigrated to North America in 1856.
In 1870 he wanted to study art and returned to Europe (München) where he studied painting at the Academy of Fine Arts.
In München, (Munich), he trained under Wilhelm Lindenschmit (1829 -1 895), a German history painter. He traveled to Rome and Venice for additional studies later on.
In 1880 he returned to Boston, Mass.
He made return trips to München after his return to America.
His paintings are displayed in Museums in Boston (Museum of Fine Art) and in Europe.
This drawing is not signed but has von Hoesslin’s estate stamp on the reverse and came from his estate (Nachlass George Von Hoesslin stamp on the reverse).
The drawing is probably a preparatory study for an historical painting, part of his oeuvre of portraits and historical paintings.
______________________________________

MAX KLINGER

‘DER  ARBEND’  –  (The Evening)
Max  Klinger

Max Klinger (February 18, 1857 – July 5, 1920) was a German Symbolist painter, sculptor, printmaker, and writer.
Klinger was born in Leipzig and studied in Karlsruhe.
An admirer of the etchings of Menzel and Goya, he shortly became a skilled and imaginative engraver in his own right.
He began creating sculptures in the early 1880s.
From 1883-1893 he lived in Rome, and became increasingly influenced by the Italian Renaissance and antiquity.

‘THE  JUDGEMENT  OF  PARIS’
Max  Klinger

‘GÖTTER  IM  SURF’  –  (Gods  in  the  Surf)
Max  Klinger



‘TRITON UND NEREIDE’ – 1895
Max  Klinger

 ‘THE DEATH OF CAESAR’
Max Klinger

The assassination of Julius Caesar was the result of a conspiracy by approximately forty Roman senators who called themselvesLiberators.
Led by Gaius Cassius Longinus and Marcus Junius Brutus, they stabbed Julius Caesar to death in the Theatre of Pompey on theIdes of March (March 15) 44 BC.
Caesar was the dictator of the Roman Republic at the time, having recently been declared dictator perpetuoby the Senate.
This declaration made several senators fear that Caesar wanted to overthrow the Senate in favour of tyranny.
The ramifications of the assassination led to the Liberators’ civil war and, ultimately, to the Principate period of the Roman Empire.

‘BEETHOVEN’
Max  Klinger
______________________________________

‘DIE  WASSERFRAU’  –  (The Lady of the Waters)
Hermann Prell (April 29, 1854 – May 18, 1922)


‘THE LORELEI’

Edward von Steinle – (1810-1886)

Eduard Von Steinle (born Vienna, 2 July 1810; died Frankfurt, 19 Sept., 1886) was a historical painter and member of the Nazarene movement.
Steinle came successively under the influence of the painters Leopold Kupelweiser, Johann Overbeck, and Peter von Cornelius, and was thus introduced into the methods of the German painters who had formed themselves into a school in Rome, the Nazarenes.
Steinle went himself several times to Rome, but preferred to work in Germany.
He received his first large commission, the painting of the chapel of the Castle of Rheineck, while living in Frankfurt; a second one was for work in the Hall of the Emperors (Kaisersaal) in Frankfurt, where he painted the pictures of Albert I and Ferdinand III.
These commissions and his friendship with Philipp Veit and the Brentano family decided him to take up his permanent residence in Frankfurt.
From 1850 he was professor of historical painting at the Städel Art Institute of Frankfurt. Like his friend Schwind he was one of the painters of the Romantic School who were largest in their scope.
Like Schwind also he was probably more adept in the art of painting ordinary subjects. 
Besides his work at Rheineck he painted cycles of pictures in the Castle of Kleinheubach, in the Church of St. Aegidius at Münster, and in the Church of Our Lady in Aachen.
He also painted the groups of angels in the choir of Cologne cathedral, and did part of the work in the apse of the choir of the Minster in Strasbourg and in the imperial cathedral in Frankfurt.
He also painted frescoes showing the historical development of civilization on the stairway of the Wallraf-Richartz Museum in Cologne.
Among Steinle’s smaller religious pictures are the enthroned Madonna holding the Child while an angel plays a musical instrument in front of them, the Visitation, the Holy Family at the Spring, Mary Magdalen seeking Christ, Christ Walking with His Disciples, the Legend of St. Euphrosyne, and the Great Penitentiary.
Among his paintings that are not directly religious are: the Warder of the Tower, the Fiddler, the Sibyl, the Lorelei (see above), and the pictures of the story of Parsifal; no less remarkable are his illustrations of Shakespeare, and especially those to accompany Brentano’s writings.


‘DER TÜRMER’
(The Tower Watchman)
Edward von Steinle – (1810-1886)

‘Ein Wiederfinder’
Eduard Veith

‘IM WALDE – DES KNABEN WUNDERHORN’
(In the Forest – The Boy’s Magical Horn)
Schwind von Moritz – (1804-1871)
Moritz von Schwind (January 21, 1804 – February 8, 1871) was an Austrian painter, born in Vienna.
Moritz von Schwind received rudimentary training and spent a happy and carefree youth in Vienna. Among his companions was the composerSchubert, some of whose songs he illustrated.
In 1828, the year of Schubert’s death, he moved to Munich, where he befriended the painter Schnorr and enjoyed the guidance of Cornelius, then director of the Academy.
In 1834 he was commissioned to decorate King Ludwig’s new palace with wall paintings illustrating the works of the poet Tieck.
In the revival of art in Germany, Schwind held as his own the sphere of poetic fancy.
He decorated a villa in Leipzig with the story of Cupid and Psyche, and further justified his title of poet-painter with designs from the Niebelungenlied and Tasso’s Gerusalemme for the walls of the castle of Hohenschwangau in Bavarian Tirol.
From the year 1844 dates his residence in Frankfurt during which he created some of his finest easel pictures, most notably the “Singers’ Contest” in the Wartburg (1846), as well as designs for the Goethe celebration.
In 1847 Schwind returned to Munich on being appointed professor in the academy.
Eight years later his fame was at its height on the completion in the castle of the Wartburg of wall pictures illustrative of the “Singers’ Contest” and of the history of Elizabeth of Hungary.
The compositions received universal praise, and at a grand musical festival in their honour, Schwind himself was one of the violinists.
In 1857 he visited England to report officially to King Ludwig on the Manchester art treasures.
So diversified were his gifts that he turned his hand to church windows and joined his old friend Schnorr in designs for the painted glass in Glasgow Cathedral.
Towards the close of his career, with broken health and his powers on the wane, he revisited Vienna. During this time, he created the cycle from the legend of Melusine and the designs commemorative of chief musicians which decorate the foyer of the Vienna State Opera. Cornelius writes, “You have translated the joy of music into pictorial art.”
Schwind’s genius was lyrical – he drew inspiration from chivalry, folk-lore, and the songs of the people.
Schwind died in Pöcking in Bavaria, and was buried in the Alter Südfriedhof in Munich.
The title ‘Des Knaben Wunderhorn’ was used by Gustav Mahler (1860-1911) for one of his song-cycles.

‘ROSE’
Schwind von Moritz – (1804-1871)
______________________________________

LUDWIG VON HOFMANN

Ludwig von Hofmann (1861 – 1945) – working on his self-portrait
Ludwig von Hofmann (August 17, 1861 – August 23, 1945) was a German painter.
Born in Darmstadt, 1861, Ludwig von Hofmann first studied law in Bonn from 1880 to 1883.
He then commenced studies in art at the Dresden Academy (1883-1886) and in the master class of Ferdinand Keller (1886-1888).
In the following year, Ludwig von Hofmann enrolled at the Academie Julien, Paris.
There he was strongly impressed by the art of contemporary French painters, such as Puvis de Chavannes, Albert Besnard and Maurice Denis.
Ludwig von Hofmann returned to Germany in 1890 and settled in Berlin for the following thirteen years.
Ludwig von Hofmann’s years in Berlin were very eventful.
There he was a founding member of both ‘The Eleven’ and the ‘Berlin Secession’.
During this period, Hofmann was also a founding member of the influential arts periodical, Pan.
He contributed numerous illustrations to Pan, including the famous cover decoration.
As Ludwig von Hofmann’s reputation grew, his circle of acquaintances and associates would include such masters of art and literature as Arnold Bocklin, Edward Munch, Max Klinger, Gerhard Hauptmann and Stefan George.
In 1898, none other than Rainer Maria Rilke dedicated two of his poems to Ludwig von Hofmann and his art.
In 1903, Ludwig von Hofmann accepted the post of Professor at the Archducal School of Art, in Weimar. During his years at Weimar, he devoted much of his time to painting commissioned murals.
Collectors of his art at this time included the Empress of Austria and the novelist, Thomas Mann.
He died in 1945.
His style was impressionist, and he painted many paintings, such as his well-known “Rain”, in a mixture of impressionist and classical.



‘FRÜHLING’ – (SPRING)
Ludwig von Hofmann (1861 – 1945)


‘Idyll’- 1896
 Ludwig Von Hoffman – (1861 – 1945) 


‘NAKED  BOATMEN  AND  YOUTHS’
Ludwig von Hofmann (1861 – 1945)

‘MALE  NUDE  STUDY’
Ludwig von Hofmann (1861 – 1945)

‘ADAM IN PARADISICAL LANDSCAPE’ – (detail)
Ludwig von Hofmann (1861 – 1945)

‘FRUEHLINGSSTURM’
Ludwig von Hofmann (1861 – 1945)

 ‘STUDY – DIONYSIAN GROUP’
(Meadow Dance). Circa 1900
Ludwig von Hofmann (1861-1945)

‘BADENDE  KNABEN’
Ludwig von Hofmann (1861 – 1945)



‘BADENDE JUNGEN AM BACH’
(Boys Bathing in a Stream)
Max Pietschmann  – (1865-1952)

‘MÄNNLICHER AKT IN HÜGELIGER BIRKENLANDSCHAFT’
R Kobel


‘SELF  PORTRAIT’
Lovis Corinth – (1885 – 1925)
Lovis Corinth (21 July 1858 – 17 July 1925) was a German painter and printmaker whose mature work realized a synthesis of impressionism and expressionism.
Corinth studied in Paris and Munich, joined the Berlin Secession group, later succeeding Max Liebermann as the group’s president.
His early work was naturalistic in approach.
Corinth was initially antagonistic towards the expressionist movement, but after a stroke in 1911 his style loosened and took on many expressionistic qualities.
His use of color became more vibrant, and he created portraits and landscapes of extraordinary vitality and power.
Corinth’s subject matter also included nudes and biblical scenes.

‘CRUCIFIED  THIEF’
Lovis Corinth – (1885 – 1925)

“MARTYRDOM’
Lovis Corinth – (1885 – 1925)

“PARADISE’ (1912)
Lovis Corinth – (1885 – 1925)

‘DIE  JUGEND DES  ZEUS’  –  (The Childhood of Zeus)
Lovis Corinth – (1885 – 1925)

‘STUDY OF A NUDE YOUTH’
Julius Christian Rehder – (1861-1955)


‘IDYLLE’
Gustav Klimpt – (1862 – 1918)

‘Pallas Athene’
Gustav Klimpt  – (1862 – 1918)

Gustav Klimt (July 14, 1862 – February 6, 1918) was an Austrian Symbolist painter and one of the most prominent members of the Vienna Secession movement.
His major works include paintings, murals, sketches, and other art objects.
Klimt’s primary subject was the female body, and his works are marked by a frank eroticism—nowhere is this more apparent than in his numerous drawings in pencil
Klimt’s work is often distinguished by elegant gold or coloured decoration, spirals and swirls, and phallic shapes used to conceal the more erotic positions of the drawings upon which many of his paintings are based. This can be seen in Judith I (1901), and in The Kiss (1907–1908), and especially in Danaë (1907). One of the most common themes Klimt used was that of the dominant woman, the femme fatale.
Art historians note an eclectic range of influences contributing to Klimt’s distinct style, including Egyptian, Minoan, Classical Greek, and Byzantine inspirations.
Klimt was also inspired by the engravings of Albrecht Dürer, late medieval European painting, and Japanese Rimpa school.
His mature works are characterized by a rejection of earlier naturalistic styles, such as The Glasgow School, from which he was heavily influenced, and make use of symbols or symbolic elements to convey psychological ideas and emphasize the “freedom” of art from traditional culture.
He was keenly interested in exploring Freudian issues surrounding psychoanalysis in his works.
In his work Jurisprudence there is a focus on Freudian issues of sexual repression, and castration theory.
The three sirens in the painting look down at a withered man reproachfully, and he is shamed by his nakedness. The maw of the octopus is opened and level with the man’s genitalia connoting some sort of castration. Freudian issues gave his work a dark intricacy that would be highly influential for future artists.
______________________________________
FERDINAND KELLER

‘DER SEE’
(The Lake)
Ferdinand Keller – (1842-1922)

Ferdinand Keller (born 5 August 1842 in Karlsruhe; died 8 July 1922 in Baden-Baden) was a German painter.
He was educated at Karlsruhe. In 1857, he accompanied his father and brother to Brazil, and there sketched diligently from nature in the tropical forests until 1862, when he became a student of landscape painting under Schirmer in Karlsruhe, and of figure painting under Canon in Karlsruhe in 1863.

He studied in Rome from 1863 to 1867. In 1881, he was appointed director of the Academy of Fine Arts, Karlsruhe.
He ranked among the chief representatives of colorism in Germany.
His works embrace Brazilian landscapes, allegorical and historical paintings and portraits. Among his sitters were members of the Imperial family.
He became more widely known through his successful competition for the painting of the curtain in the New Theatre at Dresden, which he executed in 1876.
Among other works are ‘Victory of Margrave Ludwig Wilhelm of Baden over the Turks at Salankamen, 1691’ (1879), ‘Hero Finding the Body of Leander’ (1880), ‘Triumphal Progress of Pallas Athene before Elector Ruprect’ (1886, in the aula of the University of Heidelberg) and ‘Apotheosis of William the Victorious’ (1888).





‘EIN KLASSISCHER LANDSCHAFT’
(A Classical Landscape)
Ferdinand Keller – (1842-1922)





‘DAS GRAB VON BÖCKLIN’
(The Grave of Böcklin)
Ferdinand Keller – (1842-1922)


______________________________________

FRANZ VON STUCK



‘SPIRIT  OF  VICTORY’
Franz von Stuck – (1863 – 1928)
Franz Stuck (February 24, 1863 – August 30, 1928) was a German symbolist/Art Nouveau painter, sculptor, engraver, and architect.
Stuck was born at Tettenweis, in Bavaria.
From an early age he displayed an affinity for drawing and caricature. To begin his artistic education in 1878 he went to Munich, where he would settle for life.
From 1881 to 1885 Stuck attended the Munich Academy.
He first made a name with cartoons for Fliegende Blätter, and vignette designs for programmes and book decoration.
In 1889 he exhibited his first paintings at the Munich Glass Palace, winning a gold medal for ‘The Guardian of Paradise’.
In 1892 Stuck co-founded the Munich Secession, and also executed his first sculpture, ‘Athlete’.
The following year he won further acclaim with the critical and public success of what is now his most famous work, ‘The Sin’. Also in 1893, Stuck was awarded a gold medal for painting at the Chicago World’s Fair and was appointed to a royal professorship.
In 1895 he began teaching painting at the Munich Academy.In 1897 Stuck married an American widow, Mary Lindpainter, and began work designing his own residence and studio, the Villa Stuck.
His designs for the villa included everything from layout to interior decorations; for his furniture Stuck received another gold medal at the 1900 Paris World Exposition.
Having attained a high degree of fame by this time, Stuck was elevated to the aristocracy on December 9, 1905 and would receive further public honours from around Europe during the remainder of his life.
Even as new trends in art left Stuck behind, he continued to be highly respected among young artists in his capacity as professor at the Munich Academy.
Notable students of his over the years include Paul Klee, Hans Purrmann, Wassily Kandinsky, and Josef Albers.
Franz von Stuck died in 1928.

‘SELF  PORTRAIT’
Franz von Stuck – (1863 – 1928)

‘CRUCIFIXION’
Franz  von  Stuck  –  (1844-1916)

‘AMOR’
Franz von Stuck – (1863 – 1928)

‘NUDE  BOY  WITH  A  SWORD’
Franz von Stuck – (1863 – 1928)

‘REITENDE  AMAZON’  –  (Equestrian Amazon)
Franz von Stuck – (1863 – 1928)

‘MEDUSA’
Franz von Stuck – (1863 – 1928)

‘FIGHTING AMAZON’
Franz von Stuck – (1863 – 1928)




‘DIE SÜNDE’ – 1893
(The Sin)
Franz von Stuck – (1863 – 1928)

______________________________________



DIE WALKÜRE

(The Valkyrie)
Alexander Rothaug (1870 – 1946)

At The Pond
Alexander Rothaug (1870 – 1946)

Alexander Rothaug (1870 Vienna – 1946 Vienna) was a very well known Austrian painter, stage designer, illustrator and graphic artist who was active during the late 19th – early 20th century.
In 1885-1892 he studied at the Vienna Academy and later in Munich. Rothaug began exhibiting around the year 1900 in Munich where he worked for a few years as an illustrator of the magazine “Fliegende Blaetter”.
In ca. 1910 he moved back to Vienna.
Rothaug was strongly influenced by the works of Franz von Stuck.




‘EUROPA UND DER STIER’
(Europa and the Bull)
Alexander Rothaug

In Greek mythology Europa was a Phoenician woman of high lineage, from whom the name of the continent Europe has ultimately been taken.
The name Europa occurs in Hesiod’s long list of daughters of primordial Oceanus and Tethys.
The story of her abduction by Zeus in the form of a white bull was a Cretan story; as Kerényi points out “most of the love-stories concerning Zeus originated from more ancient tales describing his marriages with goddesses. This can especially be said of the story of Europa”.
The daughter of the earth-giant Tityas and mother of Euphemus by Poseidon was also named Europa.
Europa’s earliest literary reference is in the Iliad, which is commonly dated to the 8th century BC. Another early reference to her is in a fragment of the Hesiodic Catalogue of Women, discovered at Oxyrhynchus.



 ‘DIE KORALLENETTE’
(The Coral Chain)
Wilhelm Gallhof

Wilhelm Gallhof (1878 at Iserlohn – died in Action 1918) was a German artist who studied in Munich, Karlsruhe, and with Lovis Corinth in Berlin.
He worked in Weimar and Paris and was represented in many national and international exhibitions.
As a sculptor and graphic artist, he was equally successful and brilliant as a painter.
A reproduction of ‘Die Korallenkette’ appeared as a full page display in the German Magazine: Jugend (Youth), 1917, Volume II, No. 42, page 824/825).
‘GEBURT DER VENUS
(Birth of Venus)
Alexander Frenz – (1861 – 1941)
‘FEMALE NUDE’
Leopold Schmutzler 
‘GIRL WITH SUNFLOWER’
Karl Truppe

‘FEMALE NUDE IN THE OCEAN’
Karl Truppe

‘STUDY  OF  A  NUDE  BOY’
Gottlob Wilhelm – (1867 – 1925)

“NUDE  BOY’
Sascha  Schneider – (1870 – 1927)
Rudolph Karl Alexander Schneider, commonly known as Sascha Schneider (21 September 1870 – 1927), was a German painter and sculptor.Schneider was born in Saint Petersburg.
In 1881, during his childhood, his family moved to Zürich.
After the death of his father, Schneider lived in Dresden, where he was a student at the Kreuzgymnasium. He studied art at Dresdner Kunstakademie beginning in 1889.
In 1903 he met best-selling author Karl May, and he became the cover illustrator of May’s books (for example Winnetou, Old Surehand, Am Rio de la Plata).
When the First World War started, Schneider took up residence in Hellerau (near Leipzig).
After 1918, he co-founded an institute called Kraft-Kunst for body building.
Some of the models for his art works trained here.
Schneider, who suffered from diabetes mellitus, collapsed and died in 1927 in Swinemünde.
He was buried in the cemetery in Loschwitz, Germany.

‘DAS  GEFÜL  DER ABHÄNGIGKEIT’
(THE  FEELING  OF  DEPENDANCE) – 1920
Sascha Schneider – (1870 – 1927)

‘ZWEI  BADENDE  KNABEN’
Hans Wohrab – (1905-1978)



‘KNABENAKT IM ATELIER’
(Nude Boy in Studio)
William Frederick George Pape (1859-1920)

William Pape (1859-1920) was a pupil of Herman Prell in Berlin, J. Lerebver and Benjamin Constant in Paris during the latter part of the 19th century.
He spent his career as an historical painter and illustrator.




‘RECLINING  EPHEBE’
(Knabenakt – Nude Boy)
Andreas Bach (1886-1963)




‘MALE NUDE STUDY’
Andreas Bach (1886-1963)




‘STEHENDER NACKTER JUNGLING’
(Standing Nude Male Youth)
Theodor Krause (1868-1956)






 ‘BADENDE AM TEICH’
(Bathers at the Pond) – 1925
Martin Nicolaus (1870-1945)



‘DAS GOLDENE TOR’
(The Golden Gate) – 1913
 Ludwig Fahrenkrog (1867 – 1952)






‘DAS HEILIGE FEUER’
(Sacred Fire) – 1921
Ludwig Fahrenkrog (1867 – 1952)





‘DER TEMPEL DES SCHWEIGENS’
(The Temple of Scilence)
 Ludwig Fahrenkrog (1867 – 1952)





 ‘ERDE UND SONNE – HIMMEL UND ERDE – BALDUR UND GERDA’
(Earth and the Sun Heaven and Earth – Baldur and Gerda) – 1921
Ludwig Fahrenkrog (1867 – 1952)


‘SCHICKSAL’
(Fate) 1917
 Ludwig Fahrenkrog (1867 – 1952)






‘DIE HEILIGE STUNDE’
(The Holy Hour) – 1918 
Ludwig Fahrenkrog (1867 – 1952)






 ‘ODIN’ (Allvater) – 1906
Ludwig Fahrenkrog (1867 – 1952)






‘SELF PORTRAIT’
Ludwig Fahrenkrog (1867 – 1952)


‘TOD DER BRUNHILDE’
Claudia Krieghoff Fraatz 



GOLGOTHA – (1933)
Johann Kluska – (1904 – 1973)

(digitally restored – the original paint surface is badly damaged)

 ‘DER SIEGER’
(The Victor) – 1897
Heinrich Carl Baucke (1875-1915)

__________________________________________________

F I N E   A R T of the THIRD REICH



‘French Farm-house’ – Adolf Hitler
Kirche in Ardoye in Flandern’ – Adolf Hitler

‘Zeichnung Hund’ – Adolf Hitler




‘Karl’s Church in Winter’ – Adolf Hitler



‘BAUERNFAMILIE’  – (Farming Family)
Adolf  Wissel

‘ERBHOFBAUER’
(Farmstead Peasant)


Leopold Schmutzler – ‘Working Maidens’




‘TWO BOYS IN A SAILBOAT’
(Summer Scene)
Craigher



‘DIE RAST DER DIANA’ – (DIANA’S  REST) – 1940
Ivo  Saliger – 1894 – 1987
Ivo Saliger was known both for his original etchings and paintings.
He moved to Vienna in 1908 and studied painting and etching techniques at the Academy of Vienna, under some of Austria’s finest artists such as Rudolf Jettmar, Ludwig Michalek and Ferdinand Schmutzer.
Saliger completed his studies at the Academie Moderne, in Paris.
He returned to Vienna in 1920 to assume the post of professor of art at the Academy.
During the 1920’s and 1930’s, Ivo Saliger developed strong Art Deco elements within his art.
When German soldiers marched into Austria, Saliger, like so many other artists, began to paint images in support of the Third Reich.
His paintings were frequently exhibited at the ‘Great German Art Exhibition’ held annually in Munich between 1937 and 1944.
After the end of the Second World War in 1945, Saliger continued to paint until his death in 1987.

‘EINKLANG’ – (HARMONY) – 1941
Ivo  Saliger – 1894 – 1987

‘THE  FOUR  ELEMENTS’
Adolf  Ziegler  –  (1892-1959)
Adolf Ziegler (Bremen, 16 October 1892 – Varnhalt, today Baden-Baden, 18 September 1959) was a German painter and politician.
He was tasked by the Nazi Party to oversee the purging of “Degenerate art”, made by most of the German modern artists. He was the favoured painter of Hitler.
Hitler commented that Ziegler’s work was akin to that of perfection.
After 1945  Ziegler was unable to revive his career, and he lived quietly in the village of Varnhalt near Baden-Baden for the last years of his life.
He died in September 1959, at the age of sixty-seven.

THE  FOUR  SEASONS  ‘IN  SITU’  –  ADOLF  HITLER’S  STUDY
‘EVA BRAUN’
(Nude Study – Artist Unknown)



click here for more information about Eva Braun – 
her biography and rare photos

‘DIE  HALSKETTE’  –  (The Necklace)  –  1942
Sepp Hilz

‘BAUERLICHE  VENUS’  –  (Peasant Venus)  –  1939
Sepp Hilz  –  (1906-1967)
Sepp Hilz was born in  Northern Bavaria on October 22, 1906.
Sepp began his work as a painter in his studio in Munich working mainly for regional exhibitions and displays and continued to copy the works of the great Flemish painters like Rembrandt, Vermeer, van Delft and Brouwer.  Until the end of the 1920’s Sepp dedicated himself to his studies and paintings of churches in the Upper Bavarian country.In 1928, he went back to his native town to work for his father again.  He married Erika von Satzenhoven who, after a year, presented him with a son they called Benno.
Together with other artists, he became the inspirer of the cultural life of Bad Aibling with his paintings in bauernmalerei style.
Starting in 1930 Hilz painted many rural scenes in the style of Wilhelm Leibl (a German painter 1844-1900) which not only earned him the name “Bauernmaler” (the painter of peasants).From 1938 to 1944 he presented twenty-two works at the Haus der Deutschen Kunst and at the Grosse Deutsche Kunstausstellung , amongst which was exhibited the famous triptych“Bäuerliche Trilogie” in 1941. After the war, Hilz, notwithstanding the many difficulties, goes back to work and restores the paintings in the churches of  Schäflarn, Schlehdorf am Kochelsee, Obholting, Baumburg (the cloister of the church Altenmarkt an der Alz) and the Franciscan church of Bad Tölz.Sepp Hilz died in Bad Aibling on September 30, 1967 – five months before his second wife’s death.

‘EITELKEIT’  –  (Vanity)  –  1940
Sepp Hilz

Sepp Hilz

‘DER FÜHRER SPRICHT’
Paul Matthias Padua


for that perfect body you have always dreamed of go to
Everything you need to know is there – choosing a gym, ultimate nutrition, what to wear in the gym and the pool, principles of aerobic and resistance training, exercise schedules and much more !
the ultimate advice from a qualified physical education instructor.
also see fitness for you on Picasa Web Albums

Just some of the boys from the ‘Fitness for You Muscle Gallery


Advertisements

Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out / Change )

Twitter picture

You are commenting using your Twitter account. Log Out / Change )

Facebook photo

You are commenting using your Facebook account. Log Out / Change )

Google+ photo

You are commenting using your Google+ account. Log Out / Change )

Connecting to %s