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 :. | Staudacher's house at the Tegernsee | Portrait of the artist's wife with a hat | Landschaft bei Hammamet | Two women in front of a hat shop | Russian Ballet I |
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Alonzo Cano
Alonzo Cano or Alonso Cano (19 March 1601 - 3 September 1667) was a Spanish painter, architect and sculptor born in Granada. He learned architecture from his father, Miguel Cano;painting in the academy of Juan del Castillo, and from Francisco Pacheco the teacher of Velezquez; and sculpture from Juan Martenez Montañes. As a sculptor, his most famous works are the Madonna and Child in the church of Lebrija (also called Nebrija), and the colossal figures of San Pedro and San Pablo. He was made first royal architect, painter to Philip IV, and instructor to the prince, Balthasar Charles, Prince of Asturias. The King gave him the church preferment of a canonof the Granada Cathedral (1652), in order to take up a position as chief architect of the cathedral, where his main achievement in architecture was the façade, designed at the end of his life and erected to his design after his death.[citation needed] Ideal portrait of a Spanish King.He was notorious for his ungovernable temper; and it is said that once he risked his life by committing the then capital offence of dashing to pieces the statue of a saint, when in a rage with the purchaser who begrudged the price he demanded.[1] According to another story, he found his house robbed after coming home one evening, his wife murdered, and his Italian servant fled. Notwithstanding the presumption against the fugitive, the magistrates condemned Cano, because he was of a jealous temper. Upon this he fled to Valencia, but afterwards returned to Madrid, where he was put to the torture, which he endured without incriminating himself, and the king received him into favour. After the death of his wife he took Holy Orders as a protection from farther prosecution, but still continued his professional pursuits. He died in 1676. In his last moments, when the priest held to him a crucifix, he told him to take it away; according to the Catholic Encyclopedia, this was because the priest gave the Sacrament to conversos.
AACHEN, Hans von
German Mannerist Painter, 1552-1615 (b Cologne, 1552; d Prague, 4 March 1615). German painter and draughtsman, active also in Italy and Bohemia. One of the foremost painters of the circle gathered at the Prague court of Emperor Rudolf II.
Domenico Fetti
Italian painter , Rome 1589 - Venice 1623 was an Italian Baroque painter active mainly in Rome, Mantua and Venice. Born in Rome to a little-known painter, Pietro Fetti, Domenico is said to have apprenticed initially under Ludovico Cigoli, or his pupil Andrea Commodi in Rome from circa 1604-1613. He then worked in Mantua from 1613 to 1622, patronized by the Cardinal, later Duke Ferdinando I Gonzaga. In the Ducal Palace, he painted the Miracle of the Loaves and Fishes. The series of representations of New Testament parables he carried out for his patron's studiolo gave rise to a popular specialty, and he and his studio often repeated his compositions. In August or September 1622, his feuds with some prominent Mantuans led him to move to Venice, which for the first few decades of the seventeenth century had persisted in sponsoring Mannerist styles (epitomized by Palma the Younger and the successors of Tintoretto and Veronese). Into this mix, in the 1620s?C30s, three "foreigners"??Fetti and his younger contemporaries Bernardo Strozzi and Jan Lys??breathed the first influences of Roman Baroque style. They adapted some of the rich coloration of Venice but adapted it to Caravaggio-influenced realism and monumentality. In Venice where he remained despite pleas from the Duke to return to Mantua, Fetti changed his style: his formalised painting style became more painterly and colourful.