Ernst Ludwig Kirchner
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 :. | Modern Boheme | Nude young woman in front of a oven - Woodcut - Museumslandschaft Hessen, Kassel | Stilleben mit Krugen und Kerzen | Selfportrait with model | German,Circur Rider | Related Artists: Eduard von Grutzner (May 26, 1846 - April 2, 1925) was a German painter and professor of art especially noted for his genre paintings of monks.
Gretzner was born in 1846, the youngest of children, into a farming family in Groß-Karlowitz near Neisse, Upper Silesia in what is now Poland. The local pastor often visited his parents' home, as his father was a prominent member of the church. He recognized early on Eduard's talent and inclination for painting. Even as a child he drew on everything that fell into his hands. The administrator of a ducal country house in the neighborhood got him paper, and eventually the pastor gained him entrance to the Gymnasium (a university preparatory school) of Neisse, and brought him in 1864 with the help of an architect Hirschberg for art education at the private school of Herman Dyck in Munich. Augsburger Schulepainted Allegory of Remorselessness in between 1580(1580) and 1600(1600)
Govaert Flinck1615-1660
Dutch
Govaert Flinck Locations
Born at Cleves, he was apprenticed by his father to a silk mercer, but having secretly acquired a passion for drawing, was sent to Leeuwarden, where he boarded in the house of Lambert Jacobszon, a Mennonite, better known as an itinerant preacher than as a painter.
Here Flinck was joined by Jacob Backer, and the companionship of a youth determined like himself to be an artist only confirmed his passion for painting. Amongst the neighbours of Jacobszon at Leeuwarden were the sons and relations of Rombertus van Uylenburgh, whose daughter Saske married Rembrandt in 1634. Other members of the same family lived at Amsterdam, cultivating the arts either professionally or as amateurs. The pupils of Lambert probably gained some knowledge of Rembrandt by intercourse with the Ulenburgs. Certainly Joachim von Sandrart, who visited Holland in 1637, found Flinck acknowledged as one of Rembrandt best pupils, and living habitually in the house of the dealer Hendrik Uylenburg at Amsterdam.
For many years Flinck laboured on the lines of Rembrandt, following that master style in all the works which he executed between 1636 and 1648. With aspirations as a history painter, however, he looked to the swelling forms and grand action of Peter Paul Rubens, which led to many commissions for official and diplomatic painting. Flinck relations with Cleves became in time very important. He was introduced to the court of the Great Elector, Friedrich Wilhelm I of Brandenburg, who married in 1646 Louisa of Orange. He obtained the patronage of John Maurice of Nassau, who was made stadtholder of Cleves in 1649. In 1652 a citizen of Amsterdam, Flinck married in 1656 an heiress, daughter of Ver Hoeven, a director of the Dutch East India Company. He was already well-known even then in the patrician circles over which the burgomasters De Graef and the Echevin Six presided; he was on terms of intimacy with the poet Vondel and the treasurer Uitenbogaard. In his house, adorned with antique casts, costumes, and a noble collection of prints, he often received the stadtholder John Maurice, whose portrait is still preserved in the work of the learned Barleius.
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