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Article

Peter Stasny

(b Vienna, Oct 22, 1878; d Hamburg, July 30, 1960).

Austrian printmaker, painter, decorative artist and writer. He studied painting with Christian Griepenkerl (1839–1916) at the Akademie der Bildenden Künste in Vienna (1894–9). From 1899 to 1900 he renovated the Patronatskirche of Emperor Francis Joseph in Radmer an dem Hasel, decorating it with frescoes. At the same time he received his first illustration commissions from the publishers Gerlach & Wiedling in Vienna. From 1900 he was a member of the Vienna Secession (see Secession, §3). In 1902 he became an assistant tutor in draughtsmanship at the Kunstgewerbeschule (now Hochschule für Angewandte Kunst) in Vienna, and in 1905 he took over a class in painting and draughtsmanship, being one of Oskar Kokoschka’s first teachers.

In Autumn 1905 Czeschka joined the Wiener Werkstätte. Under their auspices he produced jewellery, fabrics, wallpaper, enamelled pictures and furniture, and repoussé work and glass windows for the Palais Stoclet, Brussels (...

Article

Sabine Kehl-Baierle

(b Bisenz bei Ung Hradisch [now Bzenec], Moravia, Oct 13, 1867; d Vienna, May 9, 1916).

Austrian painter and printmaker. He studied at the Akademie der Bildenden Künste in Vienna under the German painter Christian Griepenkerl (1839–1916) in 1886–8 and the Austrian painter Leopold Carl Müller (1834–92) in 1890–91. He went to Paris to further his studies at the Académie Julian and visited Concarneau in Brittany for the first time in 1893: the Breton people, harbour activity, sunrises and sunsets, sailing ships and the shimmering surface of the water became motifs in his art. In 1894–5 he again studied at the academy in Vienna, this time portrait painting, under the Polish painter Kazimierz Pochwalski (1855–1940). After 1895 he came under the influence of French art (especially plein-air painting, Impressionism and works by Vuillard and Bonnard), which led him to use lighter, brighter colours than before. In 1895 he married Martha Guyot, a Breton woman. Subsequently they spent their summers in Brittany and their winters in Vienna, where in ...

Article

Tone Skedsmo

(b Christiania [Kristiania from 1877; now Oslo], Nov 29, 1869; d Oslo, June 19, 1935).

Norwegian painter and printmaker. Sohlberg decided to be a painter when young, but his father wished him to follow a thorough training as a craftsman. Sohlberg therefore enrolled at the Royal School of Drawing in Kristiania in 1885 under the interior designer Wilhelm Krogh (1829–1913) and stayed at the school until 1890. Subsequently, he attended night classes under the graphic artist and painter Johan Nordhagen (1856–1956) both in the autumn of 1906 and also from 1911 to 1917, when he concentrated on printmaking. Sohlberg painted his first pictures while staying in the Valdrés region to the north-west of Kristiania in summer 1889. The following summer he painted with Sven Jørgensen (1861–1940) at Slagen near Åsgårdstrand, and in autumn 1891 he was a pupil of Erik Werenskiold and Eilif Peterssen in Kristiania. For some months during the winter of 1891–2 Sohlberg attended Kristian Zahrtmann’s art school in Copenhagen. He also studied for four months in ...

Article

Leif Østby

( Theodor )

(b Vinger, Feb 11, 1855; d Oslo, Nov 23, 1938).

Norwegian painter, draughtsman and printmaker . He studied in Christiania (later Kristiania, now Oslo) in 1873–5 under Julius Middelthun, who discovered his unusual gift for drawing, and then at the Akademie der Bildenden Künste in Munich (1876–9). Among his early paintings, Female Half-nude (1877; Bergen, Billedgal.) is typical in revealing an interest in individual personality and psychology even in a traditional academic subject. In 1878, while on a visit to Kristiania, Werenskiold met the collector and editor Peter Christien Asbjørnsen (1812–85) and was engaged as an illustrator for his new edition of Norwegian fairy tales (Kristiania, 1879). Together with Theodor Kittelsen, he continued to contribute illustrations to Absjørnsen’s publications. In his drawings for tales such as De Kongsdøtre i berget det blå (‘The three princesses in the mountain-in-the-blue’; Kristiania, 1887), he achieved a striking combination of realistic observation, fantasy and humour, his imaginary creatures being especially successful. During the 1880s Werenskiold was also active as a painter. He left Munich early in ...