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Donna Corbin

(b Munich, June 20, 1868; d Munich, April 13, 1957).

German designer, architect and painter. The son of a textile manufacturer, he studied painting at the Staatliche Kunstakademie in Munich (1888–90); he painted primarily at the beginning and end of his career, and he was a member of the Munich Secession. In 1895 Riemerschmid designed his first furniture, in a neo-Gothic style, for his and his wife’s flat on Hildegardstrasse in Munich. In 1897 he exhibited furniture and paintings at the seventh Internationale Kunstausstellung held at the Glaspalast in Munich. Immediately following the exhibition, the committee members of the decorative arts section, including Riemerschmid and Hermann Obrist, founded the Vereinigte Werkstätten für Kunst im Handwerk. In 1898 Riemerschmid was commissioned to design a music room for the Munich piano manufacturer J. Mayer & Co., which was subsequently exhibited at the Deutsche Kunstausstellung exhibition in Dresden in 1899. The armchair and side chair, with its diagonal bracing, designed for this room, are some of his most original and best-known designs. In ...

Article

Jane Block and Paul Kruty

(b Antwerp, April 3, 1863; d Zurich, Oct 25, 1957).

Belgian designer, architect, painter, and writer. He was one of the leading figures in the creation of Art Nouveau in the 1890s.

From 1880 to 1883 Van de Velde studied at the Academie voor Schone Kunsten in Antwerp, exhibiting for the first time in 1882. In 1883 he was a founder-member of the art group Als Ik Kan, which fostered the position of the artist outside of the Salon. His earliest paintings, such as the Guitar-player (1883; Brussels, priv. col., see Canning, p. 100), are in a Realist vein with sombre tones. In October 1884 Van de Velde travelled to Paris. Although he entered the studio of the academic painter Carolus-Duran, where he remained until the spring of 1885, he was strongly attracted to the works of Jean-François Millet (ii). His works after his stay in Paris, such as Still-life with Fruit Dish (1886; Otterlo, Kröller-Müller), display the characteristic broken brushstroke of the Impressionists, although this style is often combined with subjects drawn from Millet, seen in the ...