German Painter, 1858-1925 German painter and writer. He grew up on his family's farm and tannery. As a child he showed interest in art, taking informal lessons in drawing from a local carpenter and caricaturing his primary school teachers. Corinth's father sent him to secondary school in the nearby city of K?nigsberg (now Kaliningrad), where he lived with his widowed aunt. A superstitious woman fond of story-telling, she possessed what Corinth later described as a coarse temperament and an unrestrained, 'demonic' humour. These qualities and his aunt's bohemian acquaintances, including fortune-tellers and soothsayers, fascinated the young Corinth, accustomed to his more reserved parents.   Related Paintings of Lovis Corinth :. | Nude Female | Danish Hills | Walchensee im Winter | Portrat des Malers Leo Michelson | Portrait of Gerhart Hauptmann |
Related Artists:
Lochner, Stephan
German Northern Renaissance Painter, ca.1400-1451
Mauve, Anton
Dutch, 1838-1888 Dutch painter. He came from a large family of clergymen in the province of North Holland. At the age of 16 he was apprenticed to the animal painter Pieter Frederik van Os (1808-92): animals (especially sheep, but also cows and horses) became Mauve's preferred theme. He then trained for a few months with Wouterus Verschuur, who gave him his love of horses, in the style, at least, of Paulus Potter and Philips Wouwerman.
WERTINGER, Hans
German painter (b. 1465, Landshut, d. 1533, Landshut) German painter and woodcutter. An artist as ambitious as Lucas Cranach I, he became one of Germany's first accredited court painters, working for the Dukes of Landshut in the triangular area defined by Ingolstadt, Straubing and Munich. The son of a functionary working for the Dukes, he was probably first taught by a certain Sigmund Gleism?ller (c. 1449-1511). Hans Mair (Mair von Landshut), who had come from Augsburg and had settled in Landshut, seems to have prompted him to work as a journeyman in Augsburg. His acquisition of citizen's rights in Landshut in 1491 suggests he was a master by that date. Mair seemingly procured him a series of commissions between 1497 and 1499 from Prince Bishop Philipp of Freising (1480-1541). The only work to survive from this period, however, is the large panel of the Life of St Sigismund (1498) in Freising Cathedral. It retains the deep tones associated with Augsburg painting, and its shape, with a pointed arch at the top, must also have been developed in Augsburg. As in Mair's work, several scenes are assembled in the arch and the side sections, creating a cramped Late Gothic framing architecture,