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Here are all the paintings of Jan Preisler 01
| ID |
Painting |
Oil Pantings, Sorted from A to Z |
Painting Description |
| 54384 |
 |
Bathers |
mk235
1912
Oil on canvas
104.5x150cm
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| 82866 |
 |
Lovers |
Date 1905(1905)
Medium Oil on canvas
Dimensions 120 x 150 cm (47.2 x 59.1 in)
cjr |
| 82881 |
 |
Lovers |
Date 1904(1904)
Medium Oil on canvas
Dimensions 102 x 72 cm (40.2 x 28.3 in)
cjr |
| 86720 |
 |
Lovers |
1904(1904)
Medium Oil on canvas
Dimensions 102 x 72 cm (40.2 x 28.3 in)
cyf |
| 82864 |
 |
Spring |
Date 1906(1906)
Medium Oil on canvas
Dimensions 118 x 132 cm (46.5 x 52 in)
cjr |
| 96339 |
 |
Spring |
1906(1906)
Medium oil on canvas
Dimensions 118 X 132 cm
cyf |
| 97770 |
 |
View of Saude Square |
1901(1901)
Medium oil on canvas
Dimensions 42 x 53 cm
cyf |
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| Jan Preisler
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| Czechoslovakian, 1872-1918
Bohemian painter. He studied at the School of Applied Arts in Prague (1887-95). In 1906 he visited Belgium, the Netherlands and Paris. He taught at the Academy of Arts in Prague from 1913. He was a pioneer in modern Bohemian art, and his work developed from pure Art Nouveau and Symbolism towards Expressionism, in three phases. The period 1887-1900 is represented by the triptych Spring (1900; Prague, Trade Fair Pal.): with its lack of scales of tonal value or Impressionist instantaneousness, it is a skilful use of colour and composition. The figure of the boy with autobiographical features is symbolic of a whole generation. The period 1901-7 culminated in Painting from a Bigger Cycle (1901-2; Prague, Trade Fair Pal.), which balances vertical and horizontal lines and employs bright colour combinations. In Black Lake (1904; Prague, Trade Fair Pal.), which deals with the misery and excitement of first love, the contrast of black and white and the figure of the boy with a horse and a girl evoke the transitive moment between reality and dream. Spring (1906; Prague, Trade Fair Pal.), a testament to Preisler admiration for the work of Gauguin, develops the resonant contrast of green, yellow and white. In 1908-18 Preisler returned to monumental decoration: of the Palacky Room in the Municipal House in Prague, 1910-12, in the style of Puvis de Chavannes. At this time he was approaching the Expressionism of the younger generation from the Eight (ii), especially in the three versions of the painting Good Samaritan (1910-13; all priv. col., see Kotalok, pl. 41), which shows the influence of Daumier and Munch.
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