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 :. | Self Portrait with Hat qq | Garten am Thunersee | Segelboot auf dem Tegernsee | Hyazinthenteppich | Heiliger Georg |
Related Artists:
Jan Toorop
1858-1928 Dutch Jan Toorop Gallery He moved to the Netherlands in 1872 and took a course in drawing at the Polytechnische School in Delft (1876-9). He also studied at the Rijksakademie voor Beeldende Kunsten in Amsterdam (1880-82) and at the Ecole des Arts D?coratifs in Brussels (1882-5). In Amsterdam he joined the St Lukas Society, and in Belgium he was a founder-member of Les XX in 1884. Although he had met Jozef Isra?ls in 1880 and respected the style of the Hague school, he was more attracted by what he saw in Brussels, particularly work by French artists. His portraits of 1884 are painted in an Impressionist style. With other members of Les XX he trained himself in plein-air; he learnt from James Ensor how to apply colours with a palette knife and how to use white with the same intensity as other colours. His style, however, remained austere and his scenes of workmen show a sensitive realism reminiscent of Gustave Courbet's work, for example Respect for the Dead.
Jan Brueghel
1568-1625 Flemish Jan Brueghel Locations Jan Brueghel the Elder (b. 1568, Brussels - January 13th 1625, Antwerp) was a Flemish painter, son of Pieter Brueghel the Elder and father of Jan Brueghel the Younger. Nicknamed Velvet Brueghel, Flower Brueghel, and Paradise Brueghel, of which the latter two were derived from favored subjects, while the former may refer to the velveteen sheen of his colors or to his habit of wearing velvet. Bouquet, painted 1603. The Entry of the Animals Into Noah Ark, painted 1613.His father died in 1569, and then, following the death of his mother in 1578, Jan, along with his brother Pieter Brueghel the Younger (Hell Brueghel) and sister Marie, went to live with their grandmother Mayken Verhulst (widow of Pieter Coecke van Aelst). She was an artist in her own right, and according to Carel van Mander, possibly the first teacher of the two sons. The family moved to Antwerp sometime after 1578. He first applied himself to painting flowers and fruits, and afterwards acquired considerable reputation by his landscapes and sea-pieces. He formed a style more independent of his father than did his brother Pieter the Younger. His early works are often landscapes containing scenes from scripture, particularly forest landscapes betraying the influence of the master forest landscape-painter Gillis van Coninxloo. Later in his career, he moved toward the painting of pure landscapes and townscapes, and, toward the end, of still lifes. After residing long at Cologne he travelled into Italy, where his landscapes, adorned with small figures, were greatly admired. He left a large number of pictures, chiefly landscapes, which are executed with great skill.
Girolamo Nerli
1860-1926,was an Italian painter who worked and travelled in Australia and New Zealand in the late 19th century influencing Charles Conder and Frances Hodgkins and helping to move Australian and New Zealand art in new directions. His portrait of Robert Louis Stevenson in the Scottish National Portrait Gallery Edinburgh, is usually considered the most searching portrayal of the writer. Born in Siena in Italy to an Italian aristocrat, Ferdinando Pieri Nerli, his full name was Girolamo Pieri Pecci Ballati Nerli. The fourth of six children he was not a 'Marchese' as he was sometimes styled, or a 'Count', but a 'patrizio di Siena', a minor distinction marking the great antiquity of his family. His father married Henrietta Medwin, an Englishwoman. Her father Thomas Medwin was a minor literary figure in Byron's circle, the author of Journal of the Conversations of Lord Byron and of The Life of Percy Bysshe Shelley; Medwin was a distant relation of Shelley. Girolamo studied art in Florence under Antonio Ciseri and Giovanni Muzzioli and was a younger member of the Italian Macchiaioli school, the 'patch painters', an Italian movement anticipating French Impressionism. He went to Australia in 1885 spending time in Melbourne and Sydney where he was an associate of Tom Roberts and Arthur Streeton and an influence on Charles Conder at the time of the Heidelberg School. Nerli's role in that movement has been disputed but his presence and influence are undeniable. was an Italian painter who worked and travelled in Australia and New Zealand in the late 19th century influencing Charles Conder and Frances Hodgkins and helping to move Australian and New Zealand art in new directions. His portrait of Robert Louis Stevenson in the Scottish National Portrait Gallery Edinburgh, is usually considered the most searching portrayal of the writer. Born in Siena in Italy to an Italian aristocrat, Ferdinando Pieri Nerli, his full name was Girolamo Pieri Pecci Ballati Nerli. The fourth of six children he was not a 'Marchese' as he was sometimes styled, or a 'Count', but a 'patrizio di Siena', a minor distinction marking the great antiquity of his family. His father married Henrietta Medwin, an Englishwoman. Her father Thomas Medwin was a minor literary figure in Byron's circle, the author of Journal of the Conversations of Lord Byron and of The Life of Percy Bysshe Shelley; Medwin was a distant relation of Shelley. Girolamo studied art in Florence under Antonio Ciseri and Giovanni Muzzioli and was a younger member of the Italian Macchiaioli school, the 'patch painters', an Italian movement anticipating French Impressionism. He went to Australia in 1885 spending time in Melbourne and Sydney where he was an associate of Tom Roberts and Arthur Streeton and an influence on Charles Conder at the time of the Heidelberg School. Nerli's role in that movement has been disputed but his presence and influence are undeniable.