2009

Thursday, December 31, 2009

Glory Hole Sacramento Straight

Wilhelm Bernatzik and the art of forgetting

over time

Life is fleeting. Old makes way for new. What was even more popular and well known today is forgotten tomorrow. For some, this is a hard to accepting course of history, but the wheel can not be turned back. We mere mortals are living today in one, two, maximum three generations forget again.
Forgotten Artists

It is not only happening to us this fate, also known in their time and relatively important people are gone now in the unknown part of history.
The art world is of course no exception. What was just great fashion, is a short time later as obsolete and yellow.

probably no period was followed in the successive stages as pronounced as the end of the 19th and early 20th century. The centuries old tradition of the great trained over many years of work came to an abrupt end to master the advent of modern directions in which the skills had less and less important. Great masters of brush that would be glorious, died at other times saw their life's work destroyed by the deification of Nichtskönnertum.
death and resurrection
A cinematic prime example of this is the life of the painter John William Godward . In an art world where the games a
Picasso were hailed as the mastermind, he saw no place for himself and his art and his life ended prematurely. The Art of amateurs could not suppress his fame forever. In the past decades to achieve his work and his paintings experienced a renaissance these days again impressive prices. His life is well documented and can be read free on the Web. See eg here
.
on the shaft and then forever under their
This resurgence of fame many others, is not granted. A particularly notable example, which I hereinafter would like to report, the Austrian painter Wilhelm Bernatzik. One of those lost generation, which I have mentioned elsewhere in
.
This painter was floating on the wave of the zeitgeist. He won several medals and his paintings sold well. But this is not only a historically important figure, he at the interface between Impressionism and Secession
was. Actually, he was at the right time, right place, but not even as a small cog, he has made in the history of art.

Wilhelm Bernatzik - The Funeral (1880)

Minimum Information
The few pictures and information are available on the Internet, I have all incorporated in this article. Surely not much. The problem is that his life of other minds, especially Gustav Klimt
, is overshadowed, Bernatz the posthumous oblivion sunk into the ground, from which he was not lifted until today.
embodiment of change
from art historical perspective, this is so my opinion could not be justified since it will change from a technically skilled, classically trained Akdam painter to Impressionist German-language imprint, and founder of Nouveau
(no uniform art rather a time flow) in Austria like no one embodies. A contemporary described it as a transformation from Saul (~ Academics) to Paul (~ Impressionist). I would see this of course the other way around.
Academic foundations

Be that as it may. Bernatzik had talent. And so it is not surprising that he interrupted a desired legal education to its true nature, the arts, to be heard. In Vienna and Dusseldorf, and laid the foundation in Paris, the world-famous Léon Bonnat
, one of the best portrait painters of his time, he won the final touch.
An education can only dream of today's painters. All was prepared for an impressive career and the first words of praise and medals one wobbled.

shows the two images below the extent permitted by small figures, a good academically trained fine drawing, painting and composition, which lies much hope for more.

Wilhelm Bernatzik - The Vision of Saint Bernard (1887) oil on canvas (105 x 201 cm)

Wilhelm Bernatzik - Monastery workshop

Impressionism roll

But in the background of rolling his Impressionism Railroad and was also the Austrian, who was in Paris very close contact with the beginnings of the movement, not unimpressed. The picturesque, as it was then called (I would rather say study-like), put it on. Not from a lack of alternative, but out of conviction.
German Art

And with his style of Impressionism, which he developed later, he was the German critics very well. A pant according to the latest trends from France was many a horror.
The German Reich had indeed won the war, but in artistic self-confidence was lacking even more. Where was the thought-provoking and thoughtful, which the Germans (and probably also the Austrians) then considered to be their properties?
This superficial, only the first card / Impression serving painting was perhaps the Frenchman innate, but not for German, naive, male mind fit.
Or so was the wording at that time. If even Impressionism, then the issues are serious, poetic, just German.
thinking with great titles
And this created notch Bernatzik his pictures. Not the thousandth, just beautiful lily pond acting as a kind of Monet he wanted to create. No, his pictures should have depth, and appeal to the viewer to think about bringing. This applies to 1903/1904 be painted and then imaged painting the entrance to paradise
with security.

Wilhelm Bernatzik - combined entrance to paradise (1903-1904)

Impressionist gross paint with a meaningful title.
This was more than a 'nice, beautiful to look' picture. The viewer should be about the meaning of life and think for all of us coming over. A work, as it has pleased the critics in the German Empire and Austria-Hungary determined.
Event Manager
Wilhelm Bernatzik was influenced not only artists from Impressionism, even as an organizer of the first comprehensive exhibition in the German-Impressionism, 1903 in the premises of the Vienna Secession, he created remarkable. Together with the Berlin art critic Julius Meier-Graefe
he put a show like that welcomed Impressionism doting critics at that time delighted.

This is one of the most significant exhibitions that have been held in Vienna.

is amazing the richness of the exhibition, the completeness, which is the great art evolutionary moment that characterize our era represented. were here because of the good contacts Bernatzik to France, Holland and Belgium, not just the large Heads Monet, Renoir , Sisley or Pissarro represented. More than that. The full range of Manet , Corot , Rodin, van Gogh and precursors such as Goya or Velázquez
was visible.

A renewed highlight was the 16th Secession of 17 1. to 1 3. 1903, which had been prepared by the President Wilhelm Bernatzik Travel to Amsterdam, The Hague, Brussels and Paris, and was achieved after difficult negotiations, particularly with private lenders.

Wilhelm Bernatzik - Motive from white churches on the Danube oil on canvas (50 x 80 cm)

separations and Strahlemann
could be organized this from Bernatzik only because he just this year from 1902 to 1903, Chairman of the Vienna Secession was . That the federal government, as he separated from official academia as one of the few 'old' had co-founded. This association is now usually associated with a name that outshines all others. Gustav Klimt
.
to Klimt will be slain on every corner with books, pictures and information. For him have fallen and all art lovers to the color of his Bed linen is all well known. But
Bernatzik is definitely in the book, which I've Klimt, no mention. It was a companion Bernatzik Klimt. Both participated in many exhibitions of the Secession and their specific line of travel. One line of approach, but this was not without controversy. For about eight years later, artists separated by Klimt and Bernatzik of the Vienna Secession and in 1905 founded their own little groups. Separation of the separation group also. Why not, each his own.

Wilhelm Bernatzik - Shepherd campfire - oil on canvas (95 x 73 cm)

rigor mortis lasts a long separation but not joy. For even in on it the following year, in November 1906, died in the highly respected painter in his lifetime. After a large memorial exhibition in 1907, devoted his Viennese friends to him, it quickly became quiet around Bernatzik. Since then, it brought no German / Austrian curator and art historian from the sinking
Back to the Living

Wilhelm Bernatzik - Self Portrait - Charcoal drawing

to describe his person must be already on contemporary sources draw:

He had belonged above all, enthusiasm and the brothers to the many young Viennese who made the pilgrimage to Bayreuth at the time on foot. His powerful coarse plant that allowed him, and he was later always ready for physical exertion and, in particular an avid cyclist, as such a little odd rough dress a known figure. His massive head, with the tiefgefurchten trains, had no idea that he was hiding a finely tuned brain. ( Ludwig Hevesi - Art History and Art Market)

From the same author comes a description of the influence of Impressionism and plein air painting Bernatz.

His own painting depth and soulful in the interaction of this community from year to year. His very first images revealed them and found that all buyers.
usually green, moistened images, with a glowing torrent of water and glowing purple flowers; quasi fairytale scenes. Then he threw himself into the opposite, and painted in Neunkirchen am Steinfelde the dust-dry, dusty gray twilight that proverbial for Vienna desert, but also the secluded
evening quiet of rural lanes with their solitary lanterns surrounding an iris-colored courtyard. Occasionally he rose to even to a Christmas table with winged angels. And last we saw of him for a whole Chamber, voted to yellow, with scenic panels of rosy-purple tinge, which by the way you looked at the influence of Klimtschen landscapes.

Wilhelm Bernatzik - Paradise - triptych (1904)

He was conceived without doubt in constant depression and spirituality, as one might expect

much good.
I need more details

For the statisticians last a CV, where it is absent from the amount of information available:

1853: Born on 18 May 1853 in Mistelbach (Lower Austria). Brother of constitutional law teacher Privy Councillor Prof. Dr. Edmund Bernatzik.
18xx
: Beginning of a law school in Vienna
1873 : Demolition to visit from the Academy of Fine Arts Vienna under Eduard Peithner Lichtenfels
the special school of landscape painting
1875 : he received the Gold Medal Füger for one of his first works Cain kills his brother Abel
187x : Large image
storm off the coast of Istria
1875-1878 : Studies at the Düsseldorf Academy
, Where he painted mainly forest and wetlands
18xx : Painting fair in Lundenburg
1878 - 188x
: Studied with Leon Bonnat in Paris. Portrait and figure painting
1880 : From this year, he was a member of Wiener Künstlerhaus
to the founding of the Secession in 1897
1880 : Exhibition Artists' Association of Vienna -> drawing entitled landscape
1881 : procession in Dürnstein on the Danube
1884: The old paintings Prokop in his orchard
1885 : cycle of four seasons ( Spring - Game of the youth, summer - the sweat of hard work, autumn - Tired of the burden of life, winter - In death
), where at least the fall was later copied with slight variations
1887 : Painting The Salvation messenger
1887 : Painting The vision of healing. Bernhard in the cloister of the old pencil painted Holy Cross, which was purchased for the Imperial Gallery. There was well, maybe at the same time, be a Madonna paint monk monastery workshop painted.
1888 : Silver State Medal (where?)
1889
: Bronze medal World Expo Paris
18xx : Painting dusk, Franz Josef quay reverie
18xx : Many pictures, sketches and drawings of the environment Lund Petersburg, which he visited often, where the prince living spaces in whose castle provided was
1891
: International art exhibition Berlin Artists' Association Images: Holy Cross in Baden, Austria, on the cross-roads and The Versehgang
1893 : participation in World Expo in Chicago. Medal (which?) For his painting
Vision of St. Bernard
1894: Participation in the International Exhibition in Brussels
1894: Participation in the International Exhibition in Antwerp. Medal 2nd Class
1894: Juror at the 3rd International Art Exhibition in Vienna
189x-19xx : Pictures for the club magazine Ver Sacrum
.
1898: Exhibition 50th Anniversary in Kaiser Troppau
1898 : twilight pictures
1899:
1899 : Painting Märchensee
1899
: In the Committee of the General Assembly of the Association of Austrian Artists selected
1900
1902: Participation Secession
1902 : Painting The flame
(gorge, four blue-veiled women swear yellow blazing fire)
1903: Large-Impressionism exhibition together with Josef Engelhart
1903-1904: Painting entrance to paradise
190x : painting for the Natural History farm museum in Vienna . Gold mining in Nevada and
Vorospatak of gold mining, Transylvania.
1904: As part of the Secession, an individual, artistically furnished room. Yellow walls with purple-pink paintings.
1907: Large commemorative exhibition at the Galerie Miethke.

request

Wilhelm Bernatzik - Weiher (1900) (100 x 71 cm)

Thursday, November 19, 2009

John Deere 440 Wiring

MÜKIS Pictures 2009

The 34th MÜKIS were a complete success!
Glad you were there! Until 2010!
Werner Luegmayr

Image stage program 2009
images Mükis-Employees 2009
pictures children 2009
images play in 2009
images Attendees 2009
images Advertising 2009

Thursday, November 12, 2009

Paraphernalia Wzór

What is art? (Part 2)

the time I read a little about the art history of the 19th Century.
So again (part 1 you'll find here
) something fundamental to my art views, which conflict with today's prevailing standard views completely.
What is art?

The only test is whether something is considered art, is the broadcasting of the work ability.

can, in my view a purely technical issue.

If a work can be copied to a similar quality of an amateur painter with the same tools, it's not art.

Adolf Holzel - Adoration (1912) oil on canvas (85 × 67 cm)

Simple, is too simple for many, but this is for me the only true test calibration. Therefore, in general object of art or abstract art not art. Decorative or pleasing perhaps, but not art. Such matters have not lost in a museum and are usually simple and just plain amateurish garbage.

Kasimir Malevich - Supremus No.. 58 (1916)

As an example, two recent award of prizes were presented. First, the Kassel Art Prize 2009 (one could blindly choose almost any other art prize in Germany, but Kassel is due to its documenta exhibition, the Queen of the art show without art, a seductive city for this purpose) and secondly the ARC talent competition 2009
. Three times may be advised to those who have something to do with art and who does not like the state of the art in the respective countries ...
What if I do not know how the work was created?

Carl Friedrich Lessing - returning home Crusaders (1835) corporate oil on canvas (66 x 64 cm)

Let's say it hangs in a museum is an expressive, artistic drawing, which obviously differs from the trials of a layman. It is a work of art that deserves its place there.

Or this: A painting is copied in the best manner by a master of his trade (so says one of Francis of Lenbach that its copies for the Schackgalerie

sculptures can now be produced by computer-controlled manufacturing to perfection. If an identical image has been created by man, it's art. The same factory machine-made, its artistic value, however, completely lost.

But the technical can not be everything?

From the perspective of whether it is art or not, already!

This is no hierarchy meant in the way: the more perfect the work, the more elaborate it is.
Carl Friedrich Lessing or Anton von Werner are two of my favorite painters. Both are known for their perfect implementation. But John William Waterhouse
, often imagines sections of his paintings less fine (not just on the painting shown below, this is one of my favorite paintings and I just had to show ...), is one of my favorites.

John William Waterhouse - The Lady of Shallot (1888)

Francis of Lenbach puts his whole weight picturesque often only the eyes of the sitter, everything else is blurred, painted indicated. Is it therefore an inferior artist? No, he is a master of the brush and his portraits is a fascinating exercise, which is missing many classically perfect, but stiff portraits.

Francis of Lenbach - Clara Schumann (1878-79)
pastel

What is the content of the of the image, the intention of the artist?

The content plays as a criterion of whether something can be considered art is irrelevant. Will not deny that subjective appeals to a theme more or better implemented than the other. Large and small art differs in the subject, composition and successful implementation. Of course. But concerning the distinction between art and non art, and that's what this report does it not matter.

By the middle of the 19th Century it was taken for granted that a work of art must have meaning. Bible stories, ancient legends and contemporary history were the most viewed topics.

gave primacy to fight against that content, there are several movements, different than the other. Thus came
L'art pour l'art or Ästhetizimusbewegung in the 19th Century (a typical representative Albert Joseph Moore
, whose paintings, mythological or without reasonable heavy 'ballast', beautiful women show in robes), whose painting 'only' should work fine. Literary and historical knowledge was not relevant for the full enjoyment of the image from.

Albert Joseph Moore - Midsummer (1887)

A similar goal (among others) also had the Impressionism, the first impression (this phrase can be disputed nice) to hold, would have. Or the realism
who has raised the daily grind on the throne of the depicted.

you all had in common that they extended the range of content.

But how far the spectrum is, of course, there are always directions, like the one more than others. I look with enthusiasm historical paintings of the academic painters of the 19th Century. Their paintings are often full of details, interesting places and people alive. As descriptive painting by Anton von Werner's historical events 19th Century. Faster and better insight and a feel for this time you can hardly win. If the whole is implemented on a high technical level, this is great art and not, as now claimed, a simple time history without artistic value.

Anton von Werner - Kaiser Friedrich as Crown Prince at the Court Ball (1878) oil on canvas (118 x 95 cm)

Paul Cezanne - Still life with open drawer observed (1877-1879) oil on canvas (33 x 41 cm)

way: The lack of depth of the Impressionism Painting led before the outbreak of World War II to an abated Impressionist hype, in the years before was often the only salvation art direction considered. It was now the senseless sensual paintings tired and wanted to see meaningful message and content. My problem would not have been, my criticism of the classical impressionism is purely formal in nature, that half-baked studies are praised as finished pictures. This is often for the long-running Pissarro, Sisley ,
Monet and Co.,

Alfred Sisley - The Seine at Bougival (1876) oil on canvas (45 x 61 cm)

but less severe for the caliber of academic Impressionism (Krøyer , Sorolla, Boldini
and Co), but unfortunately not nearly so well known.

Giovanni Boldini - Landstrase in Combes-la-Ville (1873) oil on canvas (69 x 101 cm)

Who is scratching at the surface gets, do not know the contents, or?

true already. But that this content is subject to the zeitgeist and personal taste as a criterion for art and has nothing lost. The content is the broad spectrum, which separates the interesting and high quality from the less interesting and inferior. BUT. What I like, like you far.

A picture Hieronymus Bosch's for his contemporaries had a clear and unambiguous meaning. Our current approach, those allegories and symbols often not known to the experts contradict each other. The images Titian or Leonardo
often have religious, Christian content. Is for many people today no longer relevant or bored them. Nevertheless, this great master artists of their time. And why? Especially because of their great technical skills, their skills.

The Silesian Weavers by Carl Wilhelm Hübner
provided in his time for social-critical sensation, would now be such a representation can not pulsate more social vein.

Carl Wilhelm Hübner: The Silesian Weavers (1844)
oil on canvas - 119 x 158 cm

and so on and so forth ...

boundary

Peder Kroyer Sverin - Hipp, Hipp, Hurra (1884-1888) oil on canvas (134.5 x165, 5 cm)

This kind of art appreciation is not established hierarchy, but drew a line. A technical frontier. And above this limit will remain a large part of the estimated scrap art of our time are because of their intake is denied because of their amateurish quality.

Umberto Boccioni - The City rises (1910) (200 x 301 cm)

Or, as a wise doorman once said

You come here ned purely

There

Saturday, October 17, 2009

Toddler Nodule On Tonsil

plagiarism and intimate kisses

No fear of bearded Romans

In the German Internet space there is almost no page that is not influenced by modern views do with the true masters of the art of the 19th Century employed. This problem have non-English readers. One of the most recommended Blog is certainly beardedroman.com
. There is often little-known academic artists and their stories are presented. Always written in a way that elicits the deserved respect for the work and performance of this masterpiece. Here, not a dry collection of facts can be found, but an easy-to-read, knowledgeable description of the time.
Something for bean counters

Only a report that deals with Adolph Menzel
, I have to correct what bean counters, as there are to spread over the main actors interesting gossip.

Ernest Meissonier - Self-portrait

Menzel's career will be accurately described, only its reference to France is distorted. Thus, his friendship with Ernest Meissonier
and the regular visits of the French capital is highlighted. It seems almost as if a life-long contact between the two would have been. However, this was not the case. In France, Menzel was only three times in the major exhibitions in 1855, 1867 and 1868 in Paris. And the term friendship in terms of Meissonier somewhat strained badly. Maybe I translated it wrong and the author also said more of a friendship. Whatever the However, we can talk once the facts.
Little Giants

In the second half of the 19th Century, Meissonier said not just anyone, but the highest paid artists worldwide. Admired by his colleagues, his name was, whenever comparisons queuing in a big scale. Its smaller counterpart

in German-speaking was Adolph Menzel. And here is small, determined the right word. For both, both Menzel and Meissonier could hardly look over a table edge higher. Menzel was just 1.40 in size and the Frenchman also measured not so much more and was sometimes derisively as 'a right gnome' is defined.

Adolph Menzel - Photo

Both have been described by outsiders, they did not know more logical than grim, cold, and cautiously enjoying contemporaries. After meeting in person it looked then often no longer quite so bad.

However, there were also differences.

Menzel was considered a master of drawing, lithographs, gouache and what I do not know everything, but his oil paintings and color was partly controversial. Meissonier was without question the king of small-scale, meticulously detailed oil painting.

Ernest Meissonier - The portrait of Sergeant (1874) oil on canvas (73 x 62 cm)

Meissonier was married, had two daughters (as I recall having read recently), and spent much time on sports. Swimming, fencing and horseback riding were his metier. All things that had all of his art living unmarried Menzel no eye and no time.

Adolph Menzel - Studio Wall (study)

The two young men were, however, in the art world giants. And in the realm of dwarfs to giants can not ignore the long term. Little wonder then that their paths crossed.
perfectionist

Meissonier was a perfectionist. As Menzel. Meissonier was known for his paintings not only describe an event just a past time, but to the smallest detail of the costume historical circumstances try to do justice. For the quick shots of our time is the course pedantic unnecessary bells and whistles, but for the viewer interested in history, this is an additional bonus, which can draw the eye to the smallest triviality and the image still makes admirable.

Ernest Meissonier - The Card Players (1872) oil on canvas (40 x 30.5 cm)

From the sewing box

met two painters together for the first time in 1862. This and the following 1867 meeting wonderfully described by Paul Meyer
home that gives us a look behind the scenes of the two painters. Meyer's home was himself a master of the brush. However, due to the devotion of the greatest expressionist amateurs who hardly draw a straight line with ended his loving, entertaining works of art almost forgotten. Too bad.

Paul Meyer home - in the animal stall (1894)

any case, he describes some funny characteristics of the two artists. Menzel's an original from the particular variety was, is known to me. But was Meissonier also an odd bird, I do not know.
battle with incorrect output

Meissonier planned 1862 picture of 'Napoleon ' Battle of Leipzig . He traveled to Berlin, so stock up there with the old uniforms. He then wanted to travel to Leipzig to attend a military training at the original locations. Nothing unusual for its time, just like for example in the report to Anton von Werner
can read. The specialty, however, that was a bit naive, according to Meyer, home of the Frenchman and only found in Berlin, that the French had

the Battle of Leipzig really not actually won. first powerful touch

You just can not know everything and not even such a minor issue.

one knew but Meissonier. Namely,

that he, if he does not Meissonier would like would be Menzel.
If the praise is not then I do not know. But how did the whole Menzel?
To anticipate, not quite as euphoric. But it has, despite all his life full respect for the artistic Work of the famous Frenchman.

Such was the first meeting between the two artists in 1862 in Berlin Meissoniers visit quite bizarre. Menzel hated the French language and they hardly dominated, and so was their conversation,

when nobody was willing to interpretation, usually in that one the other knocked on the back. more brazen plagiarism

Menzel had at this time are never perfect picture Fried the Great rich with his generals before the battle of Leuthen
on the easel. should have looked at a picture that Meissonier admiration.

Adolph Menzel - Frederick the Great and his generals before the battle of Leuthen (unfinished) Oil on canvas

And, as Meyer suggests home, not only considered, but also made our own. Because just arrived from Berlin at home, Meissonier began with its world famous paintings, Napolean on the retreat in 1814
showing perhaps not coincidentally parallels to Menzel's work.

Ernest Meissonier - Napoleon on the retreat 1814 (1864)

the crushed incoherent and snow cover can be seen passing by in the distance almost exclusively silhouette against the gray sky the army. Front, are wrapped in thick coats, shivering with faces ...
There was much speculation as to why his Menzel Leuthen image never completed. The explanation of Meyer's home was simple:

The real reason, however, so it was not completed, is probably the one that prematurely 'inspired' Meissonier had all the punch lines of this picture to paint but his best picture. Intimate Kisses

your next meeting at the World Exhibition of 1867 was again a not very ordinary. Knocking back as when they first encounter was the past, Meissonier rushed this time, when he saw the little Adolph up to him, hugged him and kissed him fiercely, respect, on the earlobes. That's right, ear. Strange for us naive Central Europeans of the 21st century, but perhaps normal for that time. Who knows ...

Adolph Menzel - The palace garden of Prince Albert (1846) oil on canvas was

The reason for the intimate welcome in any case a fine. For Meissonier Menzel congratulated for the just announced Grand Prix award at the Annunciation. Menzel, however, had noticed (and its companion Meyerheim either) nothing at all in the loud, hectic bustle of the event.

Adolph Menzel - Frederick and his friends in high Kirch (1856)

Hochkirch His image had been honored and should be awarded a medal to him, no, he knew nothing of it. Arduous persuasion Meissoniers was necessary to Menzel to convince his luck:

think you (said Menzel), I'm knocking still in deep sleep, as it violently on my door and I wake up, recollect that I am in Paris , take up all my French, and ask: qui est la (who is there)?
answer came out: Monsieur Meissonier, and I, half asleep, and answer, ce n'est pas ici (he is not here).

When I realized the thing was really Meissonier in front of me to tell me that everything was correct that he was the Minister that I really get the big order and that we should eat dinner with him. Secret differences

quite as harmonious as it is thought this evening was not yet lost.

reported to Meyer's home of an incident, examined in the still unfinished Menzel Napoleon image and after prolonged viewing, during which Meissonier impatient the benefits praised his own image, Menzel Napoleon's arm with the pointed hat and said,
"This is probably not ready yet?" Qu'est-ce qu'il a dit (what he said) whispered to me Meissonier, I tried to translate the words in a mild form.
The end of the difficult conversation was that Menzel hinz custody marked on a piece of paper how the arm had to be in the hat, and even with a few strokes

added the Kaiser. From this drawing, Meissonier was thrilled. had in his other studio ponder Meissonier a smaller picture on the range and after some Menzel proposed an amendment to the French right, in the presence of his sister and also invited Painter Ricard
implementation. And it is this scene Menzel had a few years later held in a small oil painting, which is shown below.

Adolph Menzel - Meissonier in his studio at Poissy (1869) oil on canvas (21 x 29 cm)

That was it but then also the lover of interest. Suggestive, but not go into details, writes Meyer Home:

The further course of the day was less amusing. Many good hair was not left to the famous contemporaries. last meeting

the last time they met in the framework of Menzel Visiting the great Paris Exposition of 1868. On that occasion he received as a gift from Meissonier a photograph of the painting "Man at the Window" (as below picture is meant), which has its honorable place to place Menzel Studio Wall.

Ernest Meissonier - man at the window

consequences of war

Since the outbreak of the Franco-German War of 1870 avoided Meissonier any contact with German artists and so there was no further meeting of these two great painter about. The sting, which had left the German invaders in France, was sitting at Meissonier too low:

No German since the war has set foot in my house and will do in the future.

Ernest Meissonier - The Siege of Paris (study)

Order tab and filling Fink

The respect was still there, but sounds a little jab in the following along.

Ernest Meissonier - The Arthusage

So it was a pleasure Menzel, that he had a French award higher than Meissonier. And Meissonier is critical prophecy about the value of Menzel's gross spatula term, impressionistic oil paintings

Gentlemen, wait it off quietly, I think all of us here will be Menzel once the only one who retains his heinous oil painting right. Man thanks!

Adolph Menzel - Portrait of a Lady (possibly Fred Arnold)

Sunday, October 11, 2009

Message For Death Anniversary Invitation

Perger wine baptism

On Saturday, 30 October Young men in the 2010s was the basement solemnly blessed. The winemaker Rudolf Sax presented the infant - a young Rivaner. Parish priest Konrad Hörmanseder christened the wine on the name "Perger phylloxera.
Wine Sponsor: Gerald cruiser
articles from Günther Maria Garzan

Thursday, September 3, 2009

What Type Of Saves Does Gpsphone Support?

learning of the ancients (Lenbach Credo)

admired

Francis of Lenbach - Self-portrait (c. 1900) oil on canvas

Francis of Lenbach - daughter Gabrielle (around 1901) oil on cardboard (77 x 62.5 cm)

Francis of Lenbach was the most sought after German portrait painter of his time. All the top names who could be a portrait of him. His favorite victims was Otto von Bismarck
, he conjured up more than 80 times on the canvas.

August Macke - Mark Franz (1910) oil on cardboard (50 × 39 cm)

Francis of Lenbach - Prince von Bismarck

The strength Lenbach was, as many contemporaries in the detection of the nature of his opponent. And this he found mostly in the face again, upon which was the sole focus of many of his portraits. Above all, the eyes were painted in every detail, everything else was he like blurred indicated or did not it dar.

advice from the master

He was new as perhaps the greatest connoisseur old masters techniques, and his verdict on the emerging art trends of his time was devastating.

Marianne von Werefkin - Self-Portrait (1910)

Lenbach Franz von - Portrait of a Girl pastel on cardboard (69.2 x 45.7 cm)

This is the reason for the following long quotation, in which his artistic credo is to play in parts. This quote has been introduced in the journal The Arts: Monthly Bulletin of Fine and Applied Arts - Volume 8 published in 1903 (see here:), edited by Friedrich Pecht
him for perhaps the best German painters of the 19th Century held.

Ernst Ludwig Kirchner - Portrait of Alfred Doblin (1912) oil on canvas (50.8 x 41.3 cm)

Francis of Lenbach - Theodor Mommsen ( 1898)

here are the views Lenbach to the turn of the century increasingly gaining in importance amateurish realism and expressionism, even in our time, in contrast to the masters of the 19th Century, is highly valued.

Otto Mueller - Self-portrait tempera on canvas (66 x 47.9 cm)

Francis of Lenbach - Portrait of Prince of Hohenlohe-Schilling Prince (1896)

I do not believe that any period of quiet purposeful development of talented painter has been so unfavorable, as the ours.
The continuing tradition is suddenly interrupted. - Holds the first best beginner it the only right to go direct to nature, and himself from the "long ago vanquished points" of his predecessors as far as possible free

Who is brave enough, without choice and taste his self been looking. albeit in a deterrent way bring on canvas, which imagines that he had invented the art.
In no other area than the artistic, unfortunately, it is conceivable that the young offspring
ignored the experience of earlier generations of simple and decreed: "With me, begins to develop from scratch." -
would at least have very strange effects wanted when it comes to science or industry, someone make use of self-delusion is not more of the already gained benefits and share the basics of the craft so out of sight, as is done in terms of our art products. to give
yourself a thorough knowledge of technique, is considered survived quite outdated and - And it is precisely the most spiritual in the highest sense artistically gifted old masters were keenest on perfecting the technique, but they were just a way already born in the water, it should swim in the future, while today everyone the water that are live element is to laboriously self-induced drag must. In the light of our current "original" art youth must think I am sometimes on Goethe's couplets:

says a Quidam, I am of any school,
lives No master, with whom I woo;
Also, I am far from
That I . what is learned from the dead -
That is, if I understood him right:
I'm a fool at his own hand! -

In any event, the present method, in which there are only masters and no apprentices more, very strong and time-consuming, because the individual no longer by the experiences of his ancestors, but, if anything, clever only at his own cost will .

.... have been like for her time entirely laudable - -

What made those - it seems as if, however, the children of modern times should not look back, nothing to learn from the ancients, not even take the middle of them, those which have achieved their great eternal effects. For they imagine, if they are at the hand of the master admired were motivated not to find the way to truth and nature, is not to fail but if you have the courage, with blinders against foreign impressions from the eyes, the nose's worth pursuing. Only new, never before seen has tried, sensation must be done.

last 100 years is not

However, it has been over a hundred years, nothing changed about the situation. Anyone who reads the brochure, for example, the Dusseldorf Art Academy, can here only shake his head with incomprehension. Poor students I find this just a
.

because art comes from knowledge, even if all art academies in Germany, this sale due to lack of alternatives like different.

who believe it may be saved, but the painter Franz von Prince Lenbach they would not convince them today!

Francis of Lenbach - Clara Schumann (1878-79) pastel