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One of the earliest list of woodcuts by Dürer was assembled in 1808 by Adam Bartsch in his "Le Peintre Graveur" volume 7 [1] and in the appendix. In 1862 Johann David Passavant expanded "Le Peintre Graveur" [2] adding additional woodcuts. Bartsch and Passavant works, which were organized alphabetically, are the source of "B." and "P." numbers ...
Influenced by German Gothic—Kirchner studied Durero's woodcuts in depth—African art, Arts and Crafts, Jugendstil, the Nabis and artists such as Van Gogh, Gauguin and Munch, were interested in a type of subject matter centered on life and nature, reflected in a spontaneous and instinctive way, so their main themes are the nude -whether ...
woodcut 1927 5 5/16” x 3 11/16” W: Lindy: woodcut 1927 7” x 5” W: Livery Stable (aka Old Livery Stable, The Star Livery) woodcut 1925 4” x 6” B W: Lone Elm: woodcut 1925 4” x 3 ½” B W: Lonely Farmhouse: woodcut 1934 8” x 8” B: Lonely Tree: woodcut c. 1925 2 ½” x 3” W: Lost Hope: woodcut 1927 9” x 7” W M (McCormick ...
The Four Horsemen c. 1496–98 by Albrecht Dürer, depicting the Four Horsemen of the Apocalypse. Woodcut is a relief printing technique in printmaking.An artist carves an image into the surface of a block of wood—typically with gouges—leaving the printing parts level with the surface while removing the non-printing parts.
Scherer became seriously ill in autumn 1926 and died in Basel 13 May 1927. The artist was commemorated that year by an exhibition at the Kunsthalle Basel , which displayed over 200 of his works. The Dreiländermuseum in Lörrach holds 118 of Scherer’s works, including many woodcuts and the "Portrait of Otto Staiger".
(Frans Masereel, 25 Images of a Man's Passion, 1918) The wordless novel is a narrative genre that uses sequences of captionless pictures to tell a story. As artists have often made such books using woodcut and other relief printing techniques, the terms woodcut novel or novel in woodcuts are also used. The genre flourished primarily in the ...
At the end of the war he became a member of the Arbeitsrat für Kunst in Berlin, which was an anti-academic, socialist movement of German artists during the German Revolution of 1918–19. Schmidt-Rottluff’s angular, contrasting style became more colorful and looser in the early 1920s, and by the mid-1920s he began to evolve into flat shapes ...
Kollwitz was born in Königsberg, Prussia, as the fifth child in her family.Her father, Karl Schmidt, was a Social Democrat who became a mason and house builder. Her mother, Katherina Schmidt, was the daughter of Julius Rupp, [8] a Lutheran pastor who was expelled from the official Evangelical State Church and founded an independent congregation. [9]