German Expressionist Painter and Sculptor, 1880-1938 was a German expressionist painter and printmaker and one of the founders of the artists group Die Brucke or "The Bridge", a key group leading to the foundation of Expressionism in 20th century art. He volunteered for army service in the First World War, but soon suffered a breakdown and was discharged. In 1933, his work was branded as "degenerate" by the Nazis and in 1937 over 600 of his works were sold or destroyed. In 1938 he committed suicide. In 1913, the first public showing of Kirchner's work took place at the Armory Show, which was also the first major display of modern art in America. In 1921, U.S. museums began to acquire his work and did so increasingly thereafter. His first solo show was at the Detroit Institute of Arts in 1937. In 1992, the National Gallery of Art, Washington, held a monographic show, using its existing collection; a major international loan exhibition took place in 2003. In November 2006 at Christie's, Kirchner's Street Scene, Berlin (1913) fetched $38 million, a record for the artist.  Related Paintings of Ernst Ludwig Kirchner :. | Madchen mit Katze | Stil-life with sculpture in front of a window | Nacked couple on a couch | The Street (mk09) | Lovers |
Related Artists:
percy bysshe shelley
Born: 4 August 1792 Birthplace: Near Sussex, England Died: 8 July 1822 (drowning) Best Known As: 19th century romantic poet
Tito Lessi
Italian artist, 1858-1917
CARDUCHO, Vicente
(b. 1576, Florence, d. 1638, Madrid Painter and theorist, brother of Bartolom Carducho. He became a prolific painter for both the church and the court in Castile, adapting a late 16th-century Italianate style, introduced into Spain in the 1580s, to Spanish themes and settings. After his death this style was superseded in monastic programmes by Zurbarn's pietistic simplicity and in altarpieces and devotional painting by the elegant compositions of van Dyck and Rubens, while Velezquez was unrivalled as a portrait painter. Of more enduring influence than Vicente's paintings, however, was his Dielogos de la pintura (Madrid, 1633), an erudite defence of painting as a noble pursuit and of the artist as a learned humanist. While painters in Spain struggled until the 18th century to attain freedom from artisanship, the Dielogos featured significantly in 17th-century efforts to achieve that goal,