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Article

Iain Boyd Whyte

(b Hamburg, April 14, 1868; d Berlin, Feb 27, 1940).

German architect, designer and painter. Progressing from painting and graphics to product design and architecture, Behrens achieved his greatest successes with his work for the Allgemeine Elektrizitäts-Gesellschaft (AEG), in which he reconciled the Prussian Classicist tradition with the demands of industrial fabrication.

After attending the Realgymnasium in Altona, he began his painting studies in 1886 at the Kunstakademie in Karlsruhe. From there he moved to Düsseldorf, where he studied with Ferdinand Brütt. In December 1889 Behrens married Lilli Krämer, and the following year the couple moved to Munich, where he continued his studies with Hugo Kotschenreiter (1854–1908). Behrens was one of the founder-members of the Munich Secession (see Secession, §1) in 1893 and, shortly afterwards, a founder of the more progressive Freie Vereinigung Münchener Künstler, with Otto Eckmann, Max Slevogt, Wilhelm Trübner and Lovis Corinth. He also joined the circle associated with the magazine Pan, which included Otto Julius Bierbaum, Julius Meier-Graefe, Franz Blei, Richard Dehmel and Otto Eckmann....

Article

Sixten Ringbom

(Valdemar) [Gallén, Axel until 1904]

(b Pori [Swed. Björneborg], Finland, April 26, 1865; d Stockholm, March 7, 1931).

Finnish painter, graphic artist and designer. He learnt the elements of drawing and painting in Helsinki at the School of the Finnish Arts Society and the studio of the painter Adolf von Becker (1831–1909).

His first significant painting, The Boy and the Crow (1884; Helsinki, Athenaeum A. Mus.), shows his ambition to keep abreast of developments in Naturalism, a style introduced to him through the works of young Finnish and Scandinavian painters in Paris. In the autumn of 1884 he arrived in Paris, where he attended the Académie Julian and the studio of Fernand Cormon. In 1885 he completed his oil painting Old Woman with a Cat (Turku, A. Mus.), a veristic study of poverty and deprivation. Gallén’s single-figure compositions of this period followed a formula exploited by Jean-François Millet, Jules Breton and Jules Bastien-Lepage. In these seemingly static images, the life story of the protagonist was suggested through significant attributes, physiognomic elaboration and background details....

Article

Ursula Zeller

[Georg]

(b Berlin, July 26, 1893; d W. Berlin, July 6, 1959).

German painter, draughtsman, and illustrator. He is particularly valued for his caustic caricatures, in which he used the reed pen with notable success. Although his paintings are not quite as significant as his graphic art, a number of them are, nonetheless, major works. He grew up in the provincial town of Stolp, Pomerania (now Słupsk, Poland), where he attended the Oberrealschule, until he was expelled for disobedience. From 1909 to 1911 he attended the Akademie der Künste in Dresden, where he met Kurt Günther, Bernhard Kretschmar (1889–1972) and Franz Lenk (1898–1968). Under his teacher Richard Müller (1874–1954), Grosz painted and drew from plaster casts. At this time he was unaware of such avant-garde movements as Die Brücke, also active in Dresden. In 1912 he studied with Emil Orlik at the Kunstgewerbeschule in Berlin. A year later he moved to the Académie Colarossi in Paris, where he learnt a free drawing style that swiftly reached the essence of a motif....

Article

Ruth Rosengarten

(Manuel Navarro)

(b Lisbon, Feb 4, 1914; d Lisbon, June 17, 1988).

Portuguese painter and printmaker. He was known primarily as a landscape painter, although the imagery of his graphic work is often fantastic and dream-like. The expressionism of his early paintings gave way in the 1940s and 1950s to a more sober style emphasizing the density and plasticity of the landscape in broad planes of earthy colours. At around the time of his first solo exhibition (1951; Lisbon, Soc. N.B.A.) Hogan experimented briefly with figure paintings and interiors reminiscent of Vuillard. From 1957 he taught graphics at the Cooperative Society of Portuguese Engravers, specializing in black and white techniques. He spent some time in Paris, Belgium and the Netherlands on a fellowship in 1958. In 1971 his work was included among those selected for the redecoration of the Lisbon café A Brasileira. While there is great stylistic consistency in the uninhabited landscapes that he painted throughout his career, from the early 1970s his work became more stylized, for example ...

Article

(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

(b Hamburg, Sept 14, 1876; d Pansdorf, nr Lübeck, May 13, 1954).

German painter, printmaker, poster and stage designer. He attended the Kunstgewerbeschule in Hamburg (c. 1894), and art academies in Düsseldorf and Berlin (c. 1897). In the first decades of the 20th century he exhibited with the New Secessionists. He drew and painted still-lifes and figures in landscapes and interiors in a strongly Expressionist style, which revealed his admiration for Cubism and for the work of Ferdinand Hodler. He was an assiduous worker; besides paintings, woodcuts and lithographs, he designed stained-glass windows, mosaics (e.g. Kaiser Wilhelm-Gedächtniskirche, Berlin), murals and painted ceilings. He also decorated the interiors of a number of Berlin theatres, as well as the Marmorhaus cinema (1913). Klein and Gerhard Marcks joined Gropius to organize the 1914 Deutscher Werkbund exhibition in Cologne.

In the post-World War I ferment of cultural and political activity, Klein, with Max Pechstein and others, founded the Novembergruppe in Berlin in ...

Article

Sergey Kuznetsov

(b Kaunas, June 1, 1929; d Vilnius, Feb 10, 1977).

Lithuanian draughtsman, printmaker and illustrator. He studied at the Lithuanian State Institute of Art in Vilnius (1952–8) and taught there from 1961. During the early 1950s his drawing was impressionistic, as in Portrait of My Wife (1959; artist’s estate). He was also a follower of German Expressionism, as represented by the group Die Brücke. Towards the 1960s he developed two different styles of illustration: the first consisted of flat, flowing lines, used mainly in linocuts; the second consisted of sculptural shapes expressed in woodcuts. Krasauskas gradually moved towards the embodiment of abstract ideas in his work and became interested in zincography. From the mid-1960s he used his linear style to indicate the masculine creative principle and the sculptural to indicate eternal life, the feminine principle. The unpublished series of linocuts illustrating the Song of Songs (1964) was followed by the series Movement (1971), an apologia for sporting competitions and physical and moral efforts to attain success. Among his greatest achievements was the series ...

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 ...

Article

Shulamith Behr

(Baruch)

(b Bernstadt, Prussia [now Germany], April 18, 1884; d Darmstadt, May 14, 1966).

German painter, draughtsman, graphic artist, writer and teacher. He was born into a middle-class Jewish family during the late Wilhelmine period, and his parents wanted him to pursue a profession more practical than an artistic one. Nonetheless, while apprenticed to a bricklayer in 1901, Meidner produced highly accomplished pen-and-ink drawings. Their imagery reveals his attempts to align his Jewish heritage with that of modern-day Christianity and Socialism, an intellectual preoccupation that was to remain consistent throughout his career (e.g. Ibn Esra, 1901; Darmstadt, Stadtmus. & Städt. Kstsamml.). In 1903 he studied at the Königliche Akademie in Breslau (now Wrocław, Poland) and in 1905 moved to Berlin where, to earn a living, he designed advertisements for furriers. A stipend from an aunt enabled him to visit Paris between 1905 and 1907. There he met Modigliani, briefly attended the Académie Julian and Académie Cormon and generally broadened his experience of city life. Nonetheless, his correspondence at that time reveals his preference for Berlin, the ‘struggling, earnest burgeoning city…the world’s intellectual and moral capital’ (letter to Franz Landsberger, ...

Article

G. Jansen

(b Kralingen, June 13, 1866; d Bussum, Jan 8, 1947).

Dutch sculptor. He received his first artistic training in Amsterdam, first in the form of drawing lessons from painter and illustrator Bernard Willem Wierink (1856–1939) and later at the Quellinusschool under the direction of engineer Emmanuel Constant Edouard Colinet (1840–90) and at the School for Applied Arts. There he became friendly with, among others, Joseph Mendes da Costa; through the society Labor et Ars he met Gerrit Willem Dijsselhof, Jan Eisenlöffel, H. P. Berlage, K. P. C. de Bazel and J. L. Mathieu Lauweriks. In the company of these young artists, who disliked the traditional styles, his attention was directed particularly to ancient Egyptian and Assyrian art.

In 1893 Zijl was invited by Berlage to collaborate on his building (destr. 1964) for De Algemeene life insurance company on the Damrak, Amsterdam. For this building and particularly for the Koopmansbeurs (1898–1903), Amsterdam, also by Berlage, he developed a style that can be seen as the high point of his career. This so-called ‘architecture sculpture’ is always considered as a subsidiary to the architectural concept of the whole, therefore contributing to the ...

Article

Lenka Bydžovská

(b Vadin, near Havlíčkův Brod, Nov 5, 1890; d Prague, Oct 12, 1977).

Czech painter and illustrator . He studied painting in Prague, first in private schools, then at the School of Applied Art (1907–9). In autumn 1907 he made his first, brief visit to Paris. Shortly after his return he succeeded for the first time in expressing his own inner world, infused with a new melancholy, in a small pastel Valley of Sadness (1907; painted version, 1908; both Prague, N.G.), which he looked upon as his talisman throughout his life. His early work ranged from flat and linear painting in the Gauguin tradition, via remarkable collages made from coloured foil, to rhapsodic Expressionism, as in Antichrist (1909; Prague, N.G.). Several self-portraits of 1908–9 bear witness to his quest for himself and to his penchant for self-stylization.

Zrzavý’s emphasis on the symbolic and psychic roots of his artistic work brought him into the Sursum group, which in 1910–12 attracted the second Symbolist generation in Bohemia, including ...