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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".
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 3 ¾” x 3 ¾” B W: Fodder in the Shock: woodcut 1930 4 15/16” x 7” W M: Franklin: woodcut 1923 5 ⅜” x 3 ¾” W: Full Moon and Path Uphill: woodcut block mid-century 5 15/16” x 3 ⅞” B: Geese: woodcut 1927 4” x 6” W M: The Grim Reaper: woodcut` 1927 3 ½” x 2 5/16” B W: Hartley’s Elevator: woodcut 1932 5 ...
The post-Venetian woodcuts show Dürer's development of chiaroscuro modelling effects, [24] creating a mid-tone throughout the print to which the highlights and shadows can be contrasted. Other works from this period include the thirty-seven Little Passion woodcuts, published in 1511, and a set of fifteen small engravings on the same theme in 1512.
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]
German Expressionism was an artistic movement in the early 20th century that emphasized the artist's inner emotions rather than attempting to replicate reality. [1] German Expressionist films rejected cinematic realism and used visual distortions and hyper-expressive performances to reflect inner conflicts. [2]
The Women from the Folies Bergères (German: Die Frauen von Folies Bergères) is a 1927 French-German silent film directed by Joe Francis and Max Obal and starring Claire Rommer, Carl Auen and Josephine Baker. [1] It was shot at the Johannisthal Studios in Berlin. The film's sets were designed by the art director Hermann Warm.