1858-1921 Belgian Fernand Khnopff Gallery Fernand Khnopff was born to a wealthy family that was part of the high bourgeoisie for generations. Khnopff's ancestors had lived in Flanders since the early 17th-century but were of Austrian and Portuguese descent. Most male members of his family had been lawyers or judges, and young Fernand was destined for a juridical career. In his early childhood (1859-1864) he lived in Bruges where his father was appointed Substitut Du Procureur Du Roi. His childhood memories of the medieval city of Bruges would play a significant role in his later work. In 1864 the family moved to Brussels. To please his parents he went to law school at the Free University of Brussels (now divided into the Universite Libre de Bruxelles and the Vrije Universiteit Brussel) when he was 18 years old. During this period he developed a passion for literature, discovering the works of Baudelaire, Flaubert, Leconte de Lisle and other mostly French authors. With his younger brother Georges Khnopff - also a passionate amateur of contemporary music and poetry - he started to frequent Jeune Belgique ("Young Belgium"), a group of young writers including Max Waller, Georges Rodenbach, Iwan Gilkin and Emile Verhaeren. Khnopff left University due to a lack of interest in his law studies and began to frequent the studio of Xavier Mellery, who made him familiar with the art of painting. On the 25th of October 1876 he enrolled for the Cours De Dessin Apres Nature ("course of drawing after nature") at the Academie Royale des Beaux-Arts en Bruxelles. At the Academie, his most famous fellow student was James Ensor, whom he disliked from the start. Between 1877 and 1880 Khnopff made several trips to Paris where he discovered the work of Delacroix, Ingres, Moreau and Stevens. At the Paris World Fair of 1878 he became acquainted with the oeuvre of Millais and Burne-Jones. During his last year at the Acad??mie in 1878-1879 he neglected his classes in Brussels and lived for a while in Passy, were he visited the Cours Libres of Jules Joseph Lefebvre at the Acad??mie Julian.   Related Paintings of Fernand Khnopff :. | Portrait of Marie Monnom | IN fOSSET.a Path | Portrait of Achille Lerminiaux | I lock my dorr upon myself | Roses and a Japanese Fan |
Related Artists:
Henry F. Farny
French-born American Painter and Printmaker, 1847-1916
Johann Peter Hasenclever
1810 Remscheid-1853 Dusseldorf, German painter. His artistic talent was recognized in 1827, while he was at school in D?sseldorf. The same year he embarked on a course in architecture at the Akademie in D?sseldorf. In 1828 he turned to the study of history painting. After a difference of opinion over the theory of art with the Director of the Akademie, Wilhelm von Schadow, Hasenclever went home to Remscheid. There he taught himself portrait painting. An example of his work from this period is the portrait of Gertraude Scharff (1832-3; Remscheid, Dt. Werkzeugmus. & Heimatmus.). From 1832 to 1838 Hasenclever again studied at the Akademie in D?sseldorf in a painting class taught by Ferdinand Theodor Hildebrandt (1804-74). In portraits and humorous genre paintings Hasenclever found a field suited to his gifts. Pithy commentaries on the everyday life of the lower middle classes are present in all of Hasenclever's work. He was best known for subjects such as wine-tastings and cellar scenes, and he also made a series of Jobs pictures, humorous, ironic interpretations of popular life based on the poem 'Jobsiade', a grotesque and comic heroic epic written by Carl Arnold Kortum in 1784.
STRIGEL, Bernhard
German Northern Renaissance Painter, ca.1460-1528..Painter, son or nephew of Hans Strigel II. His training with Hans Striegel II shows stylistically in his early works in the Grisons, e.g. the Last Judgement (1486; Brigels, pilgrimage chapel of St Eusebius) and an altarpiece at Disentis (1489; St Johann Baptist). In the 1480s and 1490s he also worked in the studio of Ivo Strigel. Motifs in his pictures stem from engravings by Martin Schongauer and from Ulm book woodcuts. He met Bartholomus Zeitblom as a fellow worker on the high altar (1493-4) of Blaubeuren Abbey, both being influenced by Netherlandish art: Zeitblom by Rogier van der Weyden but Strigel primarily by Dieric Bouts. This influence is also seen in his Adoration of the Magi altarpiece (c. 1500; Memmingen, Stedtmus.). The altar of the Virgin for the monastery at Salem (1507-8; Salem, Schloss) has links with D?rer's graphic work: an increasing three-dimensionality and monumentalization of the objects and figures, and their disposition in space.