1887-1914 August Macke Locations August Macke was born in Meschede, Germany. His father, August Friedrich Hermann Macke (1845-1904), was a building contractor and his mother, Maria Florentine, n??e Adolph, (1848-1922), came from a farming family in Germany's Sauerland region. The family lived at Br??sseler Straße until August was 13. He then lived most of his creative life in Bonn, with the exception of a few periods spent at Lake Thun in Switzerland and various trips to Paris, Italy, Holland and Tunisia. In Paris, where he traveled for the first time in 1907, Macke saw the work of the Impressionists, and shortly after he went to Berlin and spent a few months in Lovis Corinth's studio. His style was formed within the mode of French Impressionism and Post-impressionism and later went through a Fauve period. In 1909 he married Elizabeth Gerhardt. In 1910, through his friendship with Franz Marc, Macke met Kandinsky and for a while shared the non-objective aesthetic and the mystical and symbolic interests of Der Blaue Reiter. Macke's meeting with Robert Delaunay in Paris in 1912 was to be a sort of revelation for him. Delaunay's chromatic Cubism, which Apollinaire had called Orphism, influenced Macke's art from that point onwards. His Shops Windows can be considered a personal interpretation of Delaunay's Windows, combined with the simultaneity of images found in Italian Futurism. The exotic atmosphere of Tunisia, where Macke traveled in 1914 with Paul Klee and Louis Moilliet was fundamental for the creation of the luminist approach of his final period, during which he produced a series of works now considered masterpieces. August Macke's oeuvre can be considered as Expressionism, (the movement that flourished in Germany between 1905 and 1925) and also his work was part of Fauvism. The paintings concentrate primarily on expressing emotion, his style of work represents feelings and moods rather than reproducing objective reality, usually distorting colour and form. Macke's career was cut short by his early death at the front in Champagne in September 1914, the second month of World War I. His final painting, Farewell, depicts the mood of gloom that settled after the outbreak of war.   Related Paintings of August Macke :. | park pestaurant | Felsige Landschaft | Native Aericans on horses | Arcade in Thun | Hat Shop |
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ELINGA, Pieter Janssens
Dutch Baroque Era Painter, 1623-ca.1682
Michel-Ange Houasse
1680-1730 French Michel Ange Houasse Gallery Son of Rene-Antoine Houasse. He trained in his father's circle, becoming familiar with the academic teaching methods then fashionable in France and also in Italy, where he went with his father. In 1706 he joined the Acad?mie Royale de Peinture et de Sculpture in Paris, obtaining the rank of Academician in 1707 with the painting Hercules and Lichas (Tours, Mus. B.-A.). In Rome he probably became acquainted with the Marquis d'Aubigny, secretary to the powerful Princess Orsini, who was close to Philip V of Spain. The Spanish King already had the painter Henri de Favanne in his service in Madrid; Michel-Ange was recommended for work at the Spanish court by Count Jean Orry (1652-1719), the King's French finance minister, and arrived there in 1715. He had contact with the French artists at court and married the daughter of the French architect Rene Carlier.
paul delvaux
Delvaux was born in Antheit in the Belgian province of Liege, the son of a lawyer. The young Delvaux took music lessons, studied Greek and Latin, and absorbed the fiction of Jules Verne and the poetry of Homer. All of his work was to be influenced by these readings, starting with his earliest drawings showing mythological scenes. He studied at the Academie Royale des Beaux-Arts in Brussels, albeit in the architecture department owing to his parents' disapproval of his ambition to be a painter. Nevertheless, he pursued his goal, attending painting classes taught by Constant Montald and Jean Delville. The painters Frans Courtens and Alfred Bastien also encouraged Delvaux, whose works from this period were primarily naturalistic landscapes. He completed some 80 paintings between 1920 and 1925, which was the year of his first solo exhibition. Delvaux's paintings of the late 1920s and early 1930s, which feature nudes in landscapes, are strongly influenced by such Flemish Expressionists as Constant Permeke and Gustave De Smet. A change of style around 1933 reflects the influence of the metaphysical art of Giorgio de Chirico, which he had first encountered in 1926 or 1927. In the early 1930s Delvaux found further inspiration in visits to the Brussels Fair, where the Spitzner Museum, a museum of medical curiosities, maintained a booth in which skeletons and a mechanical Venus figure were displayed in a window with red velvet curtains. This spectacle captivated Delvaux, supplying him with motifs that would appear throughout his subsequent work. In the mid-1930s he also began to adopt some of the motifs of his fellow Belgian Rene Magritte, as well as that painter's deadpan style in rendering the most unexpected juxtapositions of otherwise ordinary objects. Delvaux acknowledged his influences, saying of de Chirico, "with him I realized what was possible, the climate that had to be developed, the climate of silent streets with shadows of people who can't be seen, I've never asked myself if it's surrealist or not." Although Delvaux associated for a period with the Belgian surrealist group, he did not consider himself "a Surrealist in the scholastic sense of the word." As Marc Rombaut has written of the artist: "Delvaux ... always maintained an intimate and privileged relationship to his childhood, which is the underlying motivation for his work and always manages to surface there. This 'childhood,' existing within him, led him to the poetic dimension in art." The paintings Delvaux became famous for usually feature numbers of nude women who stare as if hypnotized, gesturing mysteriously, sometimes reclining incongruously in a train station or wandering through classical buildings. Sometimes they are accompanied by skeletons, men in bowler hats, or puzzled scientists drawn from the stories of Jules Verne. Delvaux would repeat variations on these themes for the rest of his long life, although some departures can be noted. Among them are his paintings of 1945-47, rendered in a flattened style with distorted and forced perspective effects, and the series of crucifixions and deposition scenes enacted by skeletons, painted in the 1950s. In the late 1950s he produced a number of night scenes in which trains are observed by a little girl seen from behind. These compositions contain nothing overtly surrealistic, yet the clarity of moonlit detail is hallucinatory in effect. Trains had always been a subject of special interest to Delvaux, who never forgot the wonder he felt as a small child at the sight of the first electric trams in Brussels.