Related Paintings of unknow artist :. | The Deposition | Mercury and argus perseus and medusa | Arab or Arabic people and life. Orientalism oil paintings 238 | Antipova | Still life floral, all kinds of reality flowers oil painting 68 |
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konrad magi
konrad magi(1878 to 1925),was an Estonian landscape painter. He was one of the most colour-sensitive Estonian painters of the first decades of the 20th century, and Magi works on motives of the island of Saaremaa are the first modern Estonian nature paintings. Magi received his elementary art education from the drawing courses of the German Artisans Society of Tartu (1899?C1902.) At the same time, he was keenly engaged in theater, violin, and various sports. Magi continued his art education as an unattached student in Saint Petersburg (1903?C1905.) In the autumn of 1907, he went to Paris. There Magi studied at a free academy. From 1908 to 1910, he lived in Norway. In 1912, Magi returned to Tartu, where he worked as an art teacher. In Åland, he created delicate plant vignettes in the style of Art Nouveau: Kahekesi (Two together; 1908; China ink drawing). In Paris, Magi was influenced by Impressionism and Fauvism, which had a significant impact on his colours: Lilleline vali majakesega (A flower field with a little house; 1908?C1909), Norra maastik manniga (A Norwegian landscape with a pine; 1910). From 1918, the influence of Expressionism is manifest, fostered by Mägi extreme sensitivity and emotional response to the anxious times: Puhajarv (Lake Puha); 1918?C1920), Otepaa maastik (Landscape of Otepaa; 1918?C1920). Also influenced by Expressionism are his big figure compositions Piet?? (1919), Kolgata (Golgatha; 1921). Konrad Magi - Rannamaastik (Beach landscape)Magi new artistic period, begun on a trip to Italy, brought calmer tempers: Varemed Capril (Ruins in Capri; 1922?C1923). Along with nature pictures, he painted flowers and portraits. Magi mostly beautiful female models express the Art Nouveau ideal of beauty: Holsti (1916). In his later portraits from the 1920s, a more serious temper is expressed: Madonna (1923?C1924).
Ferdinand Hodler
1853-1918 Swiss Ferdinand Hodler Galleries Hodler was born in Berne and grew up in poverty. His father, Jean Hodler, made a meager living as a carpenter; his mother, Marguerite (n??e Neukomm), was from a peasant family. By the time Hodler was eight years old, he had lost his father and two younger brothers to tuberculosis. His mother remarried to a decorative painter, but in 1867 she too died of tuberculosis. Before he was ten, Hodler received training in decorative painting from his stepfather, and was subsequently sent to Thun to apprentice with a local painter, Ferdinand Sommer. Hodler's earliest works were conventional landscapes, which he sold in shops and to tourists. In 1871, at the age of 18, he traveled on foot to Geneva to start a career as a painter. The works of Hodler's early maturity consisted of landscapes, figure compositions and portraits, treated with a vigorous realism. He made a trip to Basel in 1875, where he studied the paintings of Hans Holbein??especially Dead Christ in the Tomb, which influenced Hodler's many treatments of the theme of death. In the last decade of the 19th century his work evolved to combine influences from several genres including symbolism and art nouveau. He developed a style which he called Parallelism, characterized by groupings of figures symmetrically arranged in poses suggesting ritual or dance. In 1884 Hodler met Augustine Dupin (1852?C1909), who became his companion and model for the next several years. Their son, Hector Hodler, was born in 1887. In 1889 Hodler married Bertha Stucki; they were divorced in 1891. Hodler's work in his final phase took on an expressionist aspect with strongly coloured and geometrical figures. Landscapes were pared down to essentials, sometimes consisting of a jagged wedge of land between water and sky. However, the most famous of Hodler's paintings portray scenes in which characters are engaged in everyday activities, such as the famous woodcutter (Der Holzfaller, Mus??e d'Orsay, Paris). This picture went on to appear on the back of the 50 Swiss Franc bank note issued by the Swiss National Bank. In 1898, Hodler married Berthe Jacques. In 1914 he condemned the German atrocities conducted using artillery at Rheims. In retaliation for this, German art museums excluded Hodler's work. In 1908 he met Valentine Gode-Darel, who became his mistress. She was diagnosed with cancer in 1913, and the many hours Hodler spent by her bedside resulted in a remarkable series of paintings documenting her disintegration. Her death in January 1915 affected Hodler greatly. He occupied himself with work; a series of about 20 introspective self-portraits date from 1916. By late 1917 his declining health led him to thoughts of suicide. He died on May 19, 1918 in Geneva leaving behind a number of unfinished works portraying the city.
Abraham jansz.begeyn
Dutch painter and draughtsman , 1637-1697 was a Dutch painter of landscapes and cattle in the manner of Nicolaes Pietersz Berchem. Begeyn's earliest known work is from 1653. In 1655 he joined the painter's guild of Leiden, where he staid until at least 1667. He was then active in Amsterdam and The Hague, before he took his residence in Berlin in 1688. There his works were greatly prized, and, according to Houbraken, he was principal painter to Frederick III, the elector of Brandenburg, afterwards king of Prussia. In many collections in the Netherlands, the pictures of Begeyn are placed amongst those of the most admired masters. His pencilling is light and free, and his colouring very agreeable. Many of his works are landscapes, with views of rivers, ruins, and pieces of architecture,