Ernst Barlach, lo scultore censurato dai nazisti

Ernst Barlach (1870-1938) è stato uno dei più importanti scultori, grafici e scrittori Tedesci, appartenente al movimento Espressionista.

Barlach nacque a Wedel nella Germania settentrionale, il più anziano di quattro figli della coppia formata da Johanna Luise Barlach e dal dottore Georg Barlach.

Frequentò i primi corsi di studio a Ratzeburg.

Restò orfano di padre durante questo periodo, nel 1884.

Franz Marc: "Art is nothing but the expression of our dream"!

👉 "Blue is the male principle, stern and spiritual. Yellow the female principle, gentle, cheerful and sensual. Red is matter, brutal and heavy and always the colour which must be fought and vanquished by the other two".

👉 "Il blu rappresenta il principio maschile, austero e spirituale. Il giallo il principio femminile, gentile, allegro e sensuale. Il rosso è materia, brutale e pesante, ed è sempre il colore che deve essere combattuto e sconfitto dagli altri due".

Oswald Achenbach | Düsseldorf school of painting

Oswald Achenbach (1827-1905) was a German painter associated with the Düsseldorf school of painting.

Though little known today, during his lifetime he was counted among the most important landscape painters of Europe.

Through his teaching activities, he influenced the Kunstakademie Düsseldorf.

His brother, Andreas Achenbach, who was twelve years older, was also among the most important German landscape painters of the 19th century.

The two brothers were humorously called "the A and O of Landscapes" (a reference to their initials matching a common German reference to the Alpha and Omega).

Eliseu Visconti | Impressionist / Art Nouveau painter

Eliseu Visconti (born Eliseo d'Angelo; July 30, 1866 – October 15, 1944) was an Italian-born Brazilian painter, designer, and educator widely celebrated for introducing Impressionism and Art Nouveau to Brazil.

Spanning a highly transitional era between academic traditions and early modernism, he remains one of the most versatile and influential visual artists in Brazilian history.

He entered in 1884 the Liceu de Artes e Ofícios do Rio de Janeiro, where studied under Victor Meireles.

Julien Stappers | Still life with Flowers painter

Julien Stappers (1875-1960) was an Belgian flower painter, celebrated for his radiant and technically superb floral still lifes.

Part of the traditional Belgian school, his signature style is defined by a cool, delicate palette and a highly diffusive, luminous management of light that gives his floral arrangements an energetic yet soothing quality.

Training at the The Royal Academy of Fine Arts Antwerp in Juliaan De Vriendt (1894-1899) and at the Higher Institute of Fine Arts in Antwerp (1899-1901). First exhibition in 1903.

A presentation to the "Rubens" Gallery in Brussels in 1959 and 1960, the "Jordaens" gallery in Ghent in 1957, 1959 and 1960.

Francesco Gioli | Macchiaioli painter

Francesco Gioli (June 29, 1846 - February 4, 1922) was a prominent Italian painter associated with the Macchiaioli movement and Tuscan Naturalism.

Born into a wealthy family in San Frediano a Settimo (Pisa), he became celebrated for his elegant depictions of rural Tuscan life, atmospheric landscapes and intimate portraits.

Gioli initially trained under academic masters like Antonio Ciseri and Enrico Pollastrini, starting his career with traditional historical paintings.

Franz Richard Unterberger | Romantic painter of waterscapes

Austrian painter Franz Richard Unterberger (1838-1902), a Romantic style painter of waterscapes, landscapes, architecture and Genre, was born in Innsbruck, in what was then the Austro-Hungarian Empire, on 15th August 1838, one of eleven children of a wealthy bourgeois family.

He decided to pursue a career as an artist at a relatively young age and enrolled in the Academy in Munich.

Here he studied with Albert Zimmerman (1808-1888) a professor and landscape painter at the Academy and with Julius Lange (1817-1878).

Love Letter from Auguste Rodin to Camille Claudel, 1886

"My ferocious friend".... "Mia feroce amica"...

Thus begins Rodin’s desperate cry of love to Camille Claudel in the early years of their relationship.

Rodin was soon captivated by this pupil who became his assistant, mistress and muse, while Claudel outwardly remained in complete control of her feelings.

Consumed and tormented by an obsessive love, he implores her - “on his knees” - to ease his suffering from beginning to end of this letter, written in a muddled style, with erroneous syntax and imperfect spelling.