Arnold Bocklin
Swiss
1827-1901
Arnold Bocklin Locations
Arnold Bocklin was born on Oct. 16, 1827, in Basel. He attended the Dusseldorf Academy (1845-1847). At this time he painted scenes of the Swiss Alps, using light effects and dramatic views subjectively to project emotional moods into the landscape. In 1848 this romantic introspection gave way to plein air (open-air) objectivity after he was influenced by Camille Corot, Eugene Delacroix, and the painters of the Barbizon school while on a trip to Paris. But after the February and June revolutions Bocklin returned to Basel with a lasting hatred and disgust for contemporary France, and he resumed painting gloomy mountain scenes.
In 1850 Bocklin found his mecca in Rome, and immediately his paintings were flooded by the warm Italian sunlight. He populated the lush southern vegetation, the bright light of the Roman Campagna, and the ancient ruins with lonely shepherds, cavorting nymphs, and lusty centaurs. These mythological figures rather than the landscapes became Bocklins primary concern, and he used such themes as Pan Pursuing Syrinx (1857) to express the polarities of life: warm sunshine contrasts with cool, moist shade, and the brightness of womans spirituality contrasts with mans dark sensuality.
When Bocklin returned to Basel with his Italian wife, he completed the painting which brought him fame when the king of Bavaria purchased it in 1858: Pan among the Reeds, a depiction of the Greek phallic god with whom the artist identified. He taught at the Academy of Art in Weimar from 1860 to 1862, when he returned to Rome. Called to Basel in 1866, he painted the frescoes and modeled the grotesque masks for the facade of the Basel Museum.
Bocklin resided in Florence from 1874 until 1885, and this was his most active period. He continued to explore the male-female antithesis and painted religious scenes, allegories of Natures powers, and moody studies of mans fate. He ceased working with oils and began experimenting with tempera and other media to obtain a pictorial surface free of brushstrokes.
Bocklin spent the next 7 years mostly in Switzerland, with occasional trips to Italy; he devoted much of his energy to designing an airplane. Following a stroke in 1892, he returned to Italy, bought a villa in Fiesole, and died there on Jan. 16, 1901. Many of his late works depict nightmares of war, plague, and death. Related Paintings of Arnold Bocklin :. | Villa am Meer | Spiel der Wellen | Das Spiel der Najaden | Tamara and the Demon | Self-Portrait with Death Playing the Violin | Related Artists: Carlos SchwabeGerman Symbolist Painter, 1877-1926
Swiss painter and printmaker of German birth. He became a Swiss citizen and received his artistic training under Joseph Mittey (b 1853) at the Ecole des Arts Decoratifs in Geneva. Following brief success there, Schwabe moved to Paris where he supported himself as a designer of wallpaper while he developed considerable graphic skills. He soon became active in Symbolist circles, winning favour as an illustrator of mystical religious themes. His highly refined drawings and watercolours accompany texts such as Le Reve by Emile Zola (published 1892; drawings, Paris, Pompidou; exhibited Sociot Nationale des Beaux-Arts, also in 1892), Baudelaire's Les Fleurs du mal (1900), Maeterlinck's Pellias et Melisande, Catulle Mendes's L'Evangile de l'enfance de notre Seigneur Jesus-Christ selon Saint Pierre (1900) and Albert Samain's Jardin de l'Infante (1908). Guillaume VoiriotGuillaume Voiriot (Paris, 1713 - Paris, 30 November 1799) was a French portrait painter. In the years of 1746-1749 Voiriot went, at its own expense, to Italy. After his return he became a member of the painters and sculptors guild at Academie de Saint-Luc. In the years 1759 to 1771 he regularly exhibited portraits of his contemporaries in the Paris Salon. He portrayed family members, scientists, writers, actors and musicians. CRIVELLI, CarloItalian Early Renaissance Painter, ca.1430-1495
He produced many large, multi-partite altarpieces in which his highly charged, emotional use of line, delight in detail, decoration and citric colours, often set against a gold ground, convey an intensity of expression unequalled elsewhere in Italy. His mastery of perspective was also used for dramatic impact. As he worked in isolation in the Marches, his style only had local influence. In the 19th century,
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