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(b Amsterdam, Dec 4, 1868; d Bloemendaal, Dec 31, 1938).

Dutch painter, printmaker, illustrator, writer and stained-glass artist. He trained at the Rijksakademie in Amsterdam (1886–90), under the directorship of August Allebé. Having initially painted and drawn Impressionistic landscapes, he started working in the ’t Gooi region in 1892, where, influenced by Vincent van Gogh and Jan Toorop, he made a number of Symbolist drawings and lithographs. In 1896 he married the Dutch writer Henriette van der Schalk. They both devoted themselves to the recently founded Sociaal Democratische Arbeiders Partij. In the years up to c. 1900 Holst produced among other things a series of lithographs of political cartoons with socialist content, as well as serene landscapes and paintings of girls from the village of Huizen. His allegorical murals (1902; in situ), on topics such as ‘Industry’ or ‘Commerce’, in the new Koopmansbeurs in Amsterdam by H. P. Berlage (1876–1903), marked an important point in his career as his first opportunity to construct a monumental piece of work. Partly inspired by the murals in the town hall at ’s Hertogenbosch by Antoon Derkinderen, he developed a tight, stylized type of design, which he believed to be ideal for visually representing idealistic and exalted thoughts. In his murals (...

Article

Christoph Brockhaus

(Leopold Isidor)

(b Leitmeritz, northern Bohemia [now Litoměřice, Czech Republic], April 10, 1877; d Schloss Zwickledt, nr Wernstein, Aug 20, 1959).

Austrian draughtsman, illustrator, painter and writer. In 1892 he was apprenticed in Klagenfurt to the landscape photographer Alois Beer. Though learning very little, he remained there until 1896, when he attempted to commit suicide as a result of his unstable disposition. A brief period in the Austrian army in 1897 led to a nervous collapse, after which he was allowed to study art. In 1898 he moved to Munich, where he studied first at the private school run by the German painter Ludwig Schmidt-Reutte (1863–1909) and then briefly at the Akademie der Bildenden Künste in the drawing class of Nikolaus Gysis in 1899. In Munich he first saw the graphic work of James Ensor, Goya, Max Klinger, Edvard Munch, Odilon Redon and Félicien Rops, finding Klinger’s work closest to his own aesthetic. He also read Arthur Schopenhauer’s pessimistic philosophy, which he found attractive, and befriended many artists, including the Elf Scharfrichter circle around Frank Wedekind. His work of the period largely consisted of ink and wash drawings modelled on Goya’s and Klinger’s aquatint technique. By their inclusion of fantastic monsters and deformed or maimed humans, these drawings revealed Kubin’s abiding interest in the macabre. Thematically they were related to Symbolism, as shown by the ink drawing ...