August Gottfried Ludwig Fricke (1829-1894) Original On The Island Of Rugen 1890
When you click on links to various merchants on this site and make a purchase, this can result in this site earning a commission. Affiliate programs and affiliations include, but are not limited to, the eBay Partner Network.
August Gottfried Ludwig Fricke (1829-1894) Original On The Island Of Rugen 1890:
$24888.00
This painting is reframed with an updated, more simple frame. The existing frame will also be available for buyer to take with the newly framed painting. We will update with additional photos.
Free local pick up available in San Diego County. FREE SHIPPING IN USA.
SHIPPING TO BUYERS OUTSIDE OF USA BUYER PAYS ACTUAL SHIPPING CHARGES AND IS RESPONSIBLE FOR CUSTOMS DUTIES AND ALL CUSTOMS CLEARANCES.
Available for inspection and free local pick up in San Diego County. We will also potentially help with inspection and delivery in Los Angeles County.
The frame of the canvas has a very faint stamp from an art canvas supplier in 19th Century Berlin then located at Potsdammer Strasse 118.
BERLIN OPERA STAR AND ACCOMPLISHED PAINTER - A RARE COMBINATION.
This painting would be great returned to its home in Berlin, perhaps at the Berlin Opera House or a related nearby Museum. A beautiful Realist painting from the Gilded Age.
August Gottfried Ludwig Fricke(1829-1894) – GERMAN STATE OPERA SINGER AND LANDSCAPE PAINTER
Fricke studied art with the landscape and figure painter Wilhelm Benjamin Hermann Echke.
Note the depth effect created by the artist with the water on the beach to the right extending back to the sky and boat on the left.
This painting is available for inspection by appointment only. Please contact us if you have additional information about this painting or August Gottfried Ludwig Fricke.
This Painting Canvas measures about 53 ½ inches wide by 33 inches high. With the frame, the outside dimensions of theframe are about 63 ½ inches wide by 43 inches high. It is about 4 inches deep. The painting is professionally framed and ready to ship.
From German Wikipedia: \"Fricke attended the Collegium Carolinum in Brunswick for several years and fought in 1848 as a volunteer in the campaign in Schleswig-Holstein. He received his vocal training from the baritone Hermann Meinhardt in Braunschweig. In 1851 he debuted as bassist in the roles \"Sarastro\" and \"Marcel\" at the Brunswick Court Theater and moved in the same year to the City Theater in Bremen. 1853/1854 he had a commitment in Königsberg and 1855/1856 at the Municipal Theater Szczecin. In Szczecin he met the composer Carl Loewe and became a major interpreter of his works. Carl Loewe dedicated Fricke his Liederkranz for a bass voice (Op 145).
In 1856 Fricke was invited to the Berlin Court Opera, where he appeared as \"Landgraf\", \"Sarastro\" and \"Marcel\". He was then given a permanent job and remained a member of the Berlin Court Opera for 30 years. There he sang in addition to the already mentioned games, among others, the \"Osmin\", \"Fallstaff\" and \"King Henry\". In 1857 he was involved in the premiere of Wilhelm Taubert\'s opera Macbeth. He also gave guest appearances on German and foreign stages, especially in London, he was successful. In mid-June 1864 he visited Karl Marx in London. In May 1886, he retired, now appointed Royal Prussian Kammersänger retired.
In addition to his singing career, Fricke also worked as a painter. In Braunschweig he was a pupil of Heinrich Brandes and in Berlin of Hermann Eschke. From 1870 he exhibited frequently in Berlin, including at the Great Berlin exhibitions in 1893 and 1894. He painted mostly landscapes, especially seascapes, including motifs from Sylt, Rügen and Mecklenburg. In 1878 he became a member of the Verein Berliner Künstler.\"
Free local pick up is available in our secure professional offices. We will use any professional art crating shipping service buyer requestsincluding a service such as www.gonavis.com
We will invoice buyer for actual shipping costs with insurance after we knowyour location and address. We will only ship this painting with adequateinsurance to cover the painting to your location. We will assist buyers in China, Japan, the Middle East, Asia,Europe, etc. with professional international art shipping with insurance.
International shipping: Import duties,taxes, and any additional charges, are sometimes not included in the upfrontshipping costs evaluation and are always the buyers’ responsibility solely, andinternational shipping can take a long time for transport and customs clearance. We must and will fill out allcustoms forms accurately, honestly, and completely. When you buy from us, wewill mark customs forms correctly as “merchandise” with the exact purchaseprice you paid. Entanglements with your country\'s internal customs department and import duties issues (paperwork, fees, customs taxes, etc.) are entirely buyers\' sole responsibility to deal with and buyer bears all risk of transport (including insurance claims process and maintenance of shipping materials for insurance inspection) and all risks associated with damage and insurance claims, dealing with customs clearance in the USA and abroad, and import duties issues.
SHIPPING COSTS STATED ON THE sale ARE ESTIMATES ONLY AND WE WILL INVOICE BUYER OUTSIDE USA FOR ACTUAL SHIPPING COST TO BUYER’SLOCATION WITH INSURANCE. INTERNATIONAL BUYERS ARE RESPONSIBLE FOR ANY DAMAGE DURING SHIPPING, LOSS, CUSTOMS DUTIES, ETC. AND ALL RESPONSIBILITY FOR ITEM IS BUYERS\' AFTER WE PROVIDE BUYERS\' INTERNATIONAL SHIPPING SERVICE WITH THE PAINTING.
***
This important work is by theartistically gifted August Fricke of Berlin. Mr. Fricke was born in Brunschweig, Germany on 24 March 1829 and livedfor most of his life in Berlin, where he died on 27 June 1894. He travelled frequently, and visited NewYork, and also Rugen Island, North of Berlin, in present-day Germany. He married into the Steinway Piano family,and his friendships included William Steinway and other well-known artists andpatrons of the arts during his years of activity in the art scene of Berlinduring the 19th Century.
He was active both as a landscape painter and an opera singer, primarily in theRoyal Berlin Opera during the later half of the 1800’s.
The Painting “On The Island of Rugen” circa 1890, is by August Gottfried LudwigFricke, and was displayed at the Columbian Worlds’ Exposition in 1893 in theGerman Painting Section, West Wall, #220 in the Exhibition. Displayed with the Rugen Painting was anotherlandscape by August Gottfried Ludwig Fricke titled “On the Island of Sylt”#221.
Fricke studied art and painting with the landscape and figure painter WilhelmBenjamin Hermann Eschke (see Wikipediaarticle, etc. on Mr. Eschke), and sang Bass with the Berlin Opera and PrussianState Opera Companies.
While also singing in the Berlin and other Operas, he frequently exhibitedlandscapes at the Berlin Academy and at the Grosse Berliner Kunstausstellung (Great Berlin Art Exhibition).
His paintings included views of Rugen, Mecklenburg, and Sylt. His preference appears to have been painting seaside island locations, and landscapes including the sea with large open sky areas, including extensive use of large canvases and open vast spaces.
In October,1875, AugustFricke married Sophie Steinway, the widow of Charles Godfried Steinway, thefirst member of the well - known Steinway family of piano makers to emigratefrom Germany to live in America.
One well-known work that he painted, almost the exact same size as thepresent Rugen Painting, is titled New York Harbor from Bedloe’s Island. Mr. Fricke obviously favored paintings ofseaside landscapes, and visits to islands for inspiration for his paintings. His brush is recognizable for its realism andbeautiful use of clouds, etc., with influence of his teachers such as Eschkeevident in the paintings. (New YorkHarbor from Bedloe’s Island, c.1890, Oil on Canvas 32 ½ x 53 inches).
Additional information on August Frickeis available in the online historical diary of William Steinway, maintained bythe Smithsonian Institution:
William Steinway Diary Entry, 5 October1875: Today SophiaSteinway is married to the Royal Prussian Opera Singer Mr. Fricke ofBerlin Germany. Wedding takes place at Braunschweig. Mrs. Johanne Steinwaytelegraphs to her husband \"Feiern Heute SophiensHochzeit\" I telegraph to Steinway Braunschweig, \"Ehepaar Frickeherzlichste Gratulation Henry Charles ganze Familie\"
FROM:
Sophia Millinet Steinway Fricke (Wife of August Fricke)
Helene Sophia (sometimes Sophie) Millinet Steinway (b.September 9, 1834, in Lippstadt, Westphalia; d. December 12, 1919, in Berlin,Germany) was the wife of Charles G. Steinway, William\'s brother. Sophia andCharles married in New York City in 1855. They had four children: Henry WilliamTheodore, (b. New York City, 1856), Charles Herman Steinway, (b. New York City,1857), Frederick Theodore Steinway, (b. New York City, 1860), and a stillbornchild in 1861. The two younger sons went on to become presidents of Steinway& Sons.(3)
Sophia\'s life was closely linked to William and his family.The nature of that relationship changed as their lives evolved:
From 1855 to 1865, William knew Sophia as the wife ofCharles and the mother of their three sons, beginning with the marriage ofSophia and Charles in 1855 to the spring of 1865 and the untimely death ofCharles at age 36. During this period, Sophia developed a close relationshipwith William\'s first wife ReginaRoos Steinway;
From 1865 to 1875 William related to Sophia as the widow ofCharles and the guardian of her three sons; this period included importantdecisions about how and where the sons (important to the future of Steinway& Sons) were to be educated. William (along with brother-in-law JacobZiegler) was the executor of Charles\'s estate, which was finally settled incourt around end 1870;
From 1875 (when Sophia married Berlin opera singer AugustFricke on October 7 in Brunswick) to the mid-1890s, a period that began withWilliam\'s divorce and by 1880 William\'s marriage to Elliein Dresden, William\'s later diary entries reflected a more formal relationshipwith Sophia and her new husband. William showed great respect toward Fricke, asuccessful opera star, and enjoyed their time together in Europe and inAmerica. Into the 1890s, William continued to be involved with Sophia\'sfinances (Diary, 1893-12-31).
1855-1865
According to the 1860 census, Sophia and Charles sharedliving quarters near the factory with William and the Steinway parents.(6) By1861 they shared a house on Second Avenue with William and his new wifeRegina.(5) Soon after William and Regina returned to New York City followingtheir marriage in 1861, Sophia went into labor; tragically the child was borndead. (Diary, 1861-06-05) Later that year they decorated the house for theChristmas holiday.(Diary, 1861-12-23, 12-24) Soon it became commonplace forRegina\'s and Sophia\'s names to be mentioned together in the diary. In lateJanuary of 1862, Regina went into labor with her first child, attended bySophia and a midwife, and the following afternoon, she delivered a dead infantboy.(Diary, 1862-01-23) For the next few nights, Sophia stayed up with her,offering what comfort she could.(Diary, 1862-01-27)
In July of 1864, Sophia returned to Germany with Charles,who had suffered a series of illnesses, and their sons, joining brotherTheodore in Braunschweig. At the end of March 1865, Charles died of typhoidfever, leaving Sophia to bring up the children. Sophia and the childrenreturned May 5, 1865; the body of Charles was returned on March 29, 1866, andinterred at Green-WoodCemetery.
1865-1875
After Sophia’s return to the United States, she remained inNew York City for several years, going back to Germany with the children oncemore in the spring of 1867.(Diary, 1867-03-28) William and Regina visitedSophia in Europe the following year.(Diary, 1868-05-25) William was executor ofCharles’s estate. In a letter from Germany dated October 15, 1869, familyfriend and helper, C. Koch, wrote to William that he had seen Sophia and theboys, who were all well, but that both the boys and Sophie were in need offunds from the estate.(2) Sophia brought her boys back to the United States onJuly 1,1870, where they spent a good part of the summer in Long Branch, NewJersey, vacationing with the rest of the family.
Also, during this time, the court case settling the estateof Charles was still in progress. It seems to have been settled around November1870, as William mentions paying the associated legal costs.(Diary, 1870-11-10)]Sophia and her sons returned to Germany August 31, 1870, so that the older boyscould continue their education with a private tutor in Braunschweig.(1) Theeducation of the sons was so important to Charles that his will included thefollowing: \"I hereby nominate, constitute and appoint my wife and mybrother William Steinweg and my brother in law Jacob Zieglerto be guardians of my infant children and I desire and request that my childrenreceive a good and liberal education.\" (7) Sophia seemed to have the lastword about the education of the boys, as William noted in his diary that he hada letter from Sophia \"in which she says that she will not permit Fred toreturn to America.\" (Diary, 1872-07-22) Six years later, William noted:\"Sophia Fricke writes to Chas. St. that Fred. St has gone through hisArbiturienten Examen at Berlin successfully.\" (Diary, 1878-04-17)
1875-1890s
Sophia married again, to August Fricke, the opera singer.(Diary,1875-10-05) She stayed in contact with the Steinway family, visiting them inthe United States with her new husband in 1876 (Diary, 1876-06-18), and inlater years hosting the Steinways on their European trips.(Diary, 1890-08-04)August Fricke died in London in 1894,(4) and Sophia\'s son Frederick, by thenworking at Steinway & Sons, headed off to Britain to be with his mother.(Diary,1894-06-28) Sophia returned again to Germany, where she died in 1919.(3) Theeldest son, Henry William Theodore (also referred to as HWT or Harbuckle)worked for Steinway & Sons for several years before entering a series oflawsuits against William and Steinway & Sons for what he considered to beobjectionable business practices; He was fired from the company and removedfrom all Steinway & Sons documents. The second son, Charles H. becamepresident of Steinway & Sons in 1896 after the death of William. Hisyounger brother Frederick (Fred, Fritz) became president in 1919 after thedeath of his brother Charles.
Sources:Fostle, D. W., The Steinway Saga: An American Dynasty, New York: Scribner, 1995, p. 135.Koch, C. letter to William Steinway in New York, October 15, 1869, Steinway & Sons Collection, La Guardia and Wagner Archives, Fiorello H. LaGuardia Community College/CUNY, Long Island City, Queens, New York.Maniha, Ken, Steinway Family Genealogy.\"Obituary,\" The Musical Times, August 1, 1894, p. 554. www.books.google.comSteinway, Charles, Henry and William, letter to C.F. Theodore, March 30, 1861, Steinway & Sons Collection, LaGuardia and Wagner Archives, Fiorello H. LaGuardia Community College/CUNY, Long Island City, Queens, New YorkSteinway, Henry, U S Census 1860, County of New York, State of New York, 4th District, 6th Ward, Series M653, Roll 791, Page 229. Steinweg, Charles. Last Will and Testament, July 1, 1864, New York City
****
We encourage potential and/or actual buyers to perform their own due diligence,examining the historical facts supporting the origin of any painting, andserious potential buyers will be supplied additional research materials andphotos, including of the reverse of the painting, an inscription on the reverseof the painting, canvas stamp, etc. that help establish the accurate provenance and historyof the painting. We greatly appreciate anyresearch pointers, photos, or other research materials that any individuals,particularly those interested in 19th Century German paintings, may forward us. Thank you for reading and looking at oursale.
Authenticity of any antique or painting is not guaranteed. To the best of our knowledge the items are as we state they are,however our statements are non-expert opinions only.
Colors vary on various monitors; if color is important to you, we encourageyou to look at items on various computer screens prior to purchase.
Thank you for yourinterest.
***
CLICK HERE OR CLICK LINK “See Other Items” ON UPPER RIGHT OF PAGE TO SEE OUR OTHER ARTWORK FOR SALE
PLEASE CONTACT US IF YOU HAVEQUESTIONS OR CAN GIVE US INTERESTING INFORMATION ABOUT ANY OF OUR LISTINGS BYCLICKING ON THE “ASK A QUESTION” LINK AT THE BOTTOM OF THE PAGE.
We strive to make sure that every customer is happy withtheir purchase. Please contact us and communicate any issues or concerns youhave prior to leaving anything other than great response.
Please mark our seller ID as one of your favorites and checkback as we are loading new items from our collection on all the time; ouritems will tend to be from countries we have visited around the world,especially from Asia: Tibet, China, India, Nepal, Vietnam, Cambodia, Thailand,Japan, and other Asian /oriental antiques and collectibles. Some Coins,artwork, modern artwork, abstract paintings, lithographs, mixed media, drawings,original paintings, sketches, prints, statues, and other collectibles as well.
Standard information placed on all our sales below:
Our shipping fees are averaged and stated on the sale asa flat rate for the convenience of our customers. We incur costs for drivingthe item to the shipping point (often one item on a given day as we shippromptly), tracking fees, and packaging costs in addition to the charges yousee on the postage. Additional unseenfactors include self-insurance in the sense that many items are not coveredwith postal insurance or any other kind of insurance in order to save onshipping costs. Also remember that both and PayPal take commission onshipping fees of about 12– 15%. In other words, we receive only about $8.50 ofthe $10 charged for shipping after they take their fees…Therefore, in the eventthat our shipping charge is higher for your item than the postage on the boxyou receive (we often end up subsidizing the actual shipping charge and do notcharge enough), please remember the above. We do not intentionally charge moreon shipping for any reason.
WE WILL COMBINE ITEMS TO SAVE ON SHIPPING IF YOU BUY MORE THAN ONE ITEM(if possible given the type of items, and size of items, etc.)
Payment is due within 2 days of sale.
FREE LOCAL PICK UP IN SAN DIEGO, CALIFORNIA is always available.
No returns accepted on this painting due to high shipping costs.
Thank you very much for your business; we appreciate our customers.
INTERNATIONAL POTENTIAL buyers/ SHIPPING: WE SHIP INTERNATIONALLY AT OUR SOLE DISCRETION AND ON A CASE BY CASE EVALUATED BASIS. As we are sure you understand, this is due to the high rate of issues (i.e. potential Fraud) encountered with sales to various international locations.
INTERNATIONAL POTENTIAL CUSTOMERS: We will only accept buyers subject to our case by case evaluation of the transaction and other details involving international potential customers, payment due within 2 days via PayPal, and we must ship allitems to valid PayPal confirmed PayPal shipping address covered by PayPal sellers’protection policy only. Please carefullyevaluate the high costs of international shipping prior to offerding.
International Shipping is estimated on the sale and ifthe estimated price is not close to the actual shipping charge the international buyer will need to pay the actual shipping charge to the buyer’slocation prior to the item being shipped. The flat shipping charge on thesale is only an estimate of international shipping to convenient locationssuch as Canada and Mexico, and costs to your location may be much higher. Atthe sole discretion of seller, we may request the actual shipping charge priorto completing the sale transaction and shipping the item to your international location.
International shipping: Import duties, taxes, and anyadditional charges, are sometimes not included in the upfront shipping costsevaluation and are always the buyers’ responsibility solely, and internationalshipping can take a longtime. We must and will fill out all customs formsaccurately, honestly, and completely. When you buy from us, we will markcustoms forms correctly as “merchandise”. We are NOT responsible for internal customsforms or other bureaucratic requirements of your country’s customs departmentsbeyond the forms required by the U.S. Postal Service. Buyer is responsible for any and all internalcustoms requirements of their own country outside of the USA. We are also not responsible if the customs departmentin your country seizes, holds, delays, or otherwise interferes with yourpurchase. We encourage you to vote forrepresentatives that do not promote interference with trade and high taxes.
DISCLAIMERS & STANDARD LEGAL STUFF:
LIMITATION OF DAMAGES: BUYERS\' SOLE REMEDY SHALL BE A REFUND OF THE PURCHASE PRICE; SELLER IS NOT RESPONSIBLE FOR CONSEQUENTIAL OR ANY OTHER DAMAGES OF ANY KIND. PURCHASE OF ANY ITEM FROM SELLER CONSTITUTES ACKNOWLEDGEMENT AND ACCEPTANCE OF THESE TERMS OF SALE INTHEIR ENTIRETY.
Authenticity of any coin, antique, art work, print, media, designeritem, etc. is not guaranteed. To the best of our knowledge the items are as westate they are, however our statements are non-expert opinions only, and wealso provide no questions asked refunds in almost all circumstances; contact us and please communicate if you are unhappy for any reason. Thank you.
We are not experts at determining copyright or authenticity or potential counterfeits. We would never knowingly list and sell any counterfeit item or any item that violates a copyright. If we have unknowingly infringed on copyrightor innocently listed a counterfeit item, please contact us and we will removethe item immediately. We are oftenselling second hand items, of which we do not know the history, etc.
Colors vary on various monitors; if color is important to you, we encourageyou to look at items on various computer screens prior to purchase.
Framed antique or vintage art must be hung with care and old wires and hanging materials need to be evaluated for safety by a professional priorto hanging. Consult your localprofessional framer and art installation expert and please make sure to hangyour art safely and professionally. Seller is not responsible for any damage to art, property, individuals, etc.,that occurs during the art installation or hanging process of buyer.
Relevant Wikipedia Articles:List of German painters
From Wikipedia, the free encyclopedia
[hide]This article has multiple issues. Please help improve it or discuss these issues on the talk page.
This article does not cite any references or sources. (July 2014)
This article may require cleanup to meet Wikipedia\'s quality standards. The specific problem is: Needs to be re-alphabetized, as many painters are listed under middle names or titles (such as \"von\"). (June 2014)
Contents
Part of a series on the
Culture of Germany
History[show]
People[show]
Languages[show]
Traditions[show]
Mythology and folklore[show]
Cuisine[show]
Festivals
Religion[show]
Art[show]
Literature[show]
Music and performing arts[show]
Media[show]
Sport[show]
Monuments[show]
Symbols[show]
Germany portal
vte
This is a list of German painters.A
Karl Abt
Tomma Abts
Andreas Achenbach
Oswald Achenbach
Herbert Achternbusch
Franz Ackermann
Johann Adam Ackermann
Max Ackermann
Otto Ackermann
Albrecht Adam
Benno Adam
Emil Adam
Eugen Adam
Franz Adam
Heinrich Adam
Luitpold Adam
Jankel Adler
Richard Adler
Salomon Adler
Karl Agricola
August Ahlborn
Alfred Ahner
Erwin Aichele
Wolfram Aichele
Max Ainmiller
Josef Albers
Heinrich Jacob Aldenrath
William Alexander
Christian Wilhelm Allers
Ernst Alt
Jakob Alt
Theodor Alt
Kai Althoff
Karl Altmann
Katrin Alvarez
Hans am Ende
Christoph Amberger
Heinrich Amersdorffer
Tobias Andreae
Peter Angermann
Hermann Anschütz
Horst Antes
Johann Anton de Peters
Johann Samuel Arnhold
Ferdinand von Arnim
Heinrich Gotthold Arnold
Ulrike Arnold
Georg Arnold-Graboné
Carl Arp
Hans Arp
Otto Arpke
Isidor Ascheim
Dieter Aschenborn
Hans Aschenborn
Uli Aschenborn
Fritz Ascher
Louis Asher
Frank Auerbach
Friedrich August von Kaulbach
Friedrich August Elsasser
Friedrich August Bouterwek
Friedrich August von KlinkowströmB
Johannes Theodor Baargeld
Karl Daniel Friedrich Bach
Elvira Bach
Emanuel Bachrach-Barée
Johann Daniel Bager
Johann Karl Bähr
Theodor Baierl
Jan Balet
Karl Ballenberger
Hans Baluschek
Fritz Bamberger
Ernst von Bandel
Caroline Bardua
Eduard Bargheer
Hans von Bartels
Emil Bartoschek
Ludwig Barth
Georg Baselitz
Emil Bauch
Herbert Bauer
Michael Bauer
Rudolf Bauer
Gustav Bauernfeind
Paul Baum
Armin Baumgarten
Thomas Baumgartner
Willi Baumeister
Karin Baumeister-Rehm
Tilo Baumgartel
August von Bayer
Thommie Bayer
Alf Bayrle
Fritz Beblo
Ulrich Becher
August Becker
Ferdinand Becker
Jakob Becker
Ludwig Hugo Becker
Philipp Jakob Becker
Max Beckmann
Heinrich Beck
Walter Becker
Karl Becker
Peter Becker
Hermann Becker
Benedikt Beckenkamp
Ludwig Beckmann
Heinz Beck
Josef Konstantin Beer
Adalbert Begas
Carl Joseph Begas
Oskar Begas
Akbar Behkalam
Günter Beier
Johannes Beilharz
Gisela Beker
Hans Bellmer
Eduard Bendemann
Max Bentele
William Berczy
Charlotte Berend-Corinth
Josefa Berens-Totenohl
Rudolf Bergander
Georg Bergmann
Julius Bergmann
Claus Bergen
Otto Berg
Max Bergmann
Josef Bergenthal
Michael Berger
Johann Martin Bernatz
Walter Bernstein
Meister Bertram
Sebastian Bieniek
Adolf Bierbrauer
Karl Eduard Biermann
Peter Binoit
Norbert Bisky
Carl Blechen
Georg Bleibtreu
Fritz Bleyl
Josef Block
Hugo von Blomberg
Oscar Bluemner
Peter Blum
Leopold Bode
Arnold Bode
Gottlieb Bodmer
Pedro Boese
Christian Friedrich Boetius
Corbinian Böhm
Hans Bohrdt
Melchior Boisserée
Paul Bojack
Hanns Bolz
Friedrich von Bömches
Hinrik Bornemann
Friedrich Boser
Harald Julius von Bosse
Otto Richard Bossert
Eberhard Bosslet
Anton Braith
Martin Brandenburg
Marianne Brandt
Heinrich Brandes
Alexander Braun
Louis Braun
Kaspar Braun
VG Braun-Dusemond
Rudolf Bredow
Ferdinand Max Bredt
K.P. Brehmer
Carl Breitbach
Heinrich Breling
Albert Heinrich Brendel
Louise Catherine Breslau
Heinrich Brocksieper
Christian Brod
August Bromeis
Franz Bronstert
Hans Brosamer
Wilhelm Brücke
Alexander Bruckmann
Ferdinand Brütt
Christoph Brüx
Carl Buchheister
Ludwig Buchhorn
Erich Buchholz
Lothar-Günther Buchheim
Heinz Budweg
Robert Budzinski
Karl Albert Buehr
Franz Bunke
Ludwig Burger
Jonas Burgert
Anton Burger
Heinrich Bürkel
Fritz Burkhardt
Heinrich Burkhardt
Peter Burnitz
Friedrich Bury
Wilhelm Busch
Michael Buthe
Bernhard Buttersack
Erich Büttner
André ButzerC
Dalton Caffe
Daniel Caffé
Heinrich Campendonk
Wilhelm Camphausen
Massimo Campigli
Peter Candid
Carl Gustav Carus
Ludwig Choris
Philipp Christfeld
Johann Christian von Mannlich
Gunter Christmann
Kiddy Citny
Gustav Adolf Closs
Ferdinand Collmann
Edward Harrison Compton
Edward Theodore Compton
Carl Conjola
Carl Emanuel Conrad
Lovis Corinth
Peter von Cornelius
Erich Correns
Molly Cramer
Augustin CranachD
Eduard Daege
Heinrich Anton Dähling
Karl Dannemann
Maximilian Dasio
Gabriela Dauerer
Max Dauthendey
Heinrich Maria Davringhausen
John Decker
Wilm Dedeke
Ernst Deger
Balthasar Denner
Ludwig des Coudres
Adolf des Coudres
Christa Dichgans
Christophe Didillon
Karl Diebitsch
Karl Wilhelm Diefenbach
Jakob Fürchtegott Dielmann
Albert Christoph Dies
Wendel Dietterlin
Anton Dietrich
Feodor Dietz
Ludwig Dill
Johann Georg von Dillis
Fritz Dinger
Georg Friedrich Dinglinger
Otto Dix
Carl Emil Doepler
Emil Doepler
Max Doerner
Jiri Georg Dokoupil
Pranas Domšaitis
Franz Burchard Dörbeck
Johann Jakob Dorner the Elder
Heinz Drache
Anton Josef Dräger
Heinrich Dreber
Johann Friedrich Dryander
Eugen Dücker
Balthasar Anton Dunker
Hermann Dyck
Udo DzierskE
Robert Eberle
Konrad Eberhard
Syrius Eberle
Adam Eberle
Johann Christian Eberlein
John Giles Eccardt
Michael Echter
Friedrich Eckenfelder
Heinrich Ambros Eckert
Otto Eckmann
John Eckstein
Martin Eder
Carl Eggers
Franz Xaver Eggert
Julie von Egloffstein
Paul Ehrenberg
Friedrich Eibner
Franz Eichhorst
Andreas Eigner
Franz Eisenhut
Knut Ekwall
Marie Ellenrieder
Adam Elsheimer
Ludwig Elsholtz
Wilhelm Emelé
Edgar Ende
Sylvester Engbrox
Horus Engels
Robert Engels
Carl Engel von der Rabenau
Josef Benedikt Engl
Josef Otto Entres
Otto Erdmann
Fritz Erler
Johann Franz Ermels
Richard Ermisch
Max Ernst
Stefan Ettlinger
Ernst Ewald
Reinhold Ewald
Julius Exter
Adolf EybelF
Christian Wilhelm von Faber du Faur
Johann Joachim Faber
Carl Ferdinand Fabritius
Ludwig Fahrenkrog
Jeremias Falck
Joseph Fassbender
Berthold Faust
Joseph Fay
Christian Gottlob Fechhelm
Eduard Clemens Fechner
Hans Feibusch
Paul Feiler
Friedrich Kurt Fiedler
Max Feldbauer
Conrad Felixmüller
Ferdinand Fellner
Melchior Feselen
Rainer Fetting
Anselm Feuerbach
Martin von Feuerstein
Willy Fick
Johann Dominicus Fiorillo
Oskar Fischer
Klaus Fisch
Heinz Fischer
John Fischer
Joseph Anton Fischer
Theodor Fischer
Walter Fischer
Oskar Fischinger
Arthur Fitger
Ferdinand Wolfgang Flachenecker
Albert Flamm
Georg Flegel
Adolf Fleischmann
François Fleischbein
Lutz Fleischer
Max Fleischer
Gerlach Flicke
Fedor Flinzer
Josef Fluggen
Gisbert Flüggen
Daniel Fohr
Karl Philipp Fohr
Philipp Foltz
Günther Förg
Ernst Joachim Förster
Arnold Forstmann
Kurt Frank
Meister Francke
Julius Frank
Michael Sigismund Frank
Eduard Frederich
Hermann Freese
Otto Freundlich
Maria Elektrine von Freyberg
Achim Freyer
Heinrich Jakob Fried
Johnny Friedlaender
Fred Friedrich
Caroline Friederike Friedrich
Caspar David Friedrich
Bernhard Fries
Ernst Fries
Karl Friedrich Fries
Woldemar Friedrich
Richard Friese
Fritz Friedrichs
Philipp Friedrich von Hetsch
Johann Christoph Frisch
Karl Ludwig Frommel
Günter Fruhtrunk
Werner Fuchs
Ulrich Füetrer
Heinrich Füger
Hinrik Funhof
Edmund Fürst
Klaus Fußmann
Conrad FyollG
Eduard Gaertner
Bernd Erich Gall
Franz Gareis
Friedrich Gärtner
Heinrich Gärtner
Heinrich Gätke
Jakob Gauermann
Ernst Gebauer
Eduard von Gebhardt
Josef Anton Gegenbauer
Johannes Gehrts
Rupprecht Geiger
Otto Geigenberger
Nikolaus Geiger
Willi Geiger
Kirsten Geisler
Carl Geist
Bonaventura Genelli
Hanns Georgi
Ludger Gerdes
Eduard Gerhardt
Till Gerhard
Robert Gernhardt
Hermann Geyer
Ludwig Geyer
Wilhelm Geyer
Hans Freiherr von Geyer zu Lauf
Torben Giehler
Henning von Gierke
Werner Gilles
Julius E.F. Gipkens
Erich Glas
Horst Gläsker
Ludwig von Gleichen-Rußwurm
Otto Gleichmann
Hermann Glöckner
Gotthold Gloger
Ludwig Godenschweg
Paul Salvator Goldengreen
Hermann Goldschmidt
Dieter Goltzsche
Paul Gosch
Jakob Götzenberger
Hermann Götz
Karl Otto Götz
Leo Götz
Carl Götzloff
Henry Gowa
Gustav Graef
Peter Graf
Albert Gräfle
August Grahl
Walter Gramatté
Fritz Grasshoff
Gotthard Graubner
Otto Greiner
Otto Griebel
Christian Griepenkerl
HAP Grieshaber
Arthur Grimm
Ludwig Emil Grimm
Paul Grimm
Friedrich Carl Gröger
Carl Grossberg
George Grosz
Theodor Grosse
Michael Gruber
Hans Grundig
Emil Otto Grundmann
Jakob Grünenwald
Eduard von Grützner
Richard Guhr
Louis Gurlitt
Karl Gussow
Aldona GustasH
Carl Haag
August Haake
Hugo von Habermann
Wenzel Hablik
Karl Hagedorn
Karl Hagemeister
Theodor Hagen
Magda Hagstotz
Wilhelm Haller
Eugen Hamm
Christian Gottlob Hammer
Alois Hanslian
Sophus Hansen
Johann Gottlieb Hantzsch
Heinrich Harder
Harro Harring
Hans Hartung
Robert Hartmann
Walter Hartwig
Franz Hartmann
Petre Hârtopeanu
Wilhelm Hasemann
Carl Hasenpflug
Max Haushofer
Florian Havemann
Eberhard Havekost
John Heartfield
Kati Heck
Hein Heckroth
Michael Heckert
Erich Heckel
Gert Heinrich Wollheim
Johann Heinrich Ramberg
Wilhelm Heine
Johann Heinrich Schönfeld
Georg Heinrich Crola
Johann Heinrich Roos
Johann Heinrich Tischbein
Georg Heinrich Busse
Johannes Heisig
Werner Heldt
Wilhelm Hempfing
Hermann Hendrich
Wilhelm Hensel
Thomas Herbst
Friedrich Herlin
Franz Georg Hermann
Johann Hermann Carmiencke
Frank Herzog
Karl Hess
Eva Hesse
Rudolf Hesse
Hans Heyer
Philipp Hieronymus Brinckmann
Ernst Hildebrand
Eduard Hildebrandt
Theodor Hildebrandt
Carl Hinrichs
Ludwig Hirschfeld Mack
Rudolf Hirth du Frênes
Dora Hitz
Paul Hoecker
Hannah Höch
Angelika Hoerle
Bernhard Hoetger
Heinrich Hoffmann
Wolf Hoffmann
Margret Hofheinz-Döring
Hans Hofmann
Paul Hofmann
Otto Hofmann
Hans-Jörg Holubitschka
Johann Evangelist Holzer
Helene Holzman
Barbara Honigmann
Daniel Hopfer
Theodor Horschelt
Theodor Hosemann
Woldemar Hottenroth
Karl Hubbuch
Konrad Huber
Georg Huber
Ulrich Hübner
Julius Hübner
Carl Hummel
Otto Hupp
Karl Hurm
Auguste Hüssener
Maria Innocentia HummelI
Berthold Imhoff
Jörg Immendorff
Carl G. von IwonskiJ
Johann Jacob Tischbein
Paul Emil Jacobs
Ferdinand Jagemann
Michael Jäger
Gustav Jäger
Karl Jäger
Helmut Jahn
Heinrich Jakob Fried
Christian Jank
Peter Janssen
Georg Jauss
Halina Jaworski
Alfred Jensen
Franz Joachim Beich
Rudolf Jordan
Ernst Jordan
Tina JuretzekK
Leo Kahn
Johannes Kahrs
Friedrich Kaiser
Aris Kalaizis
Arthur Kampf
Thomas Kapielski
Albert Kappis
Joseph Karl Stieler
Suzan Emine Kaube
Hans Kaufmann
Hugo Kauffmann
Arthur Kaufmann
Friedrich Kaulbach
Ferdinand Keller
Moritz Kellerhoven
Thomas Kemper
Werner Kempf
George Kenner
Klark Kent
Chaim Kiewe
Wilhelm Kimmich
Martin Kippenberger
Frank Kirchbach
Günther C. Kirchberger
Konrad Klapheck
Mati Klarwein
Anna Klein
Johann Adam Klein
Richard Klein
Paul Kleinschmidt
Heinrich Kley
Max Klinger
Hans Kloss
Robert Klümpen
Georg Klusemann
Karl Knabl
Hermann Knackfuß
Michael Knauth
Heinrich Knirr
Imi Knoebel
Martin Kober
Rudolf Koch
Hans Koch
Robert Koehler
Matthias Koeppel
Alois Kolb
Heinrich Christoph Kolbe
Helmut Kolle
Otto Konrad
Emma Körner
Frank Kortan
Rudolf Kortokraks
Theodor Kotsch
Lambert Krahe
Friedrich Kraus
William Krause
Rudolf Kraus
Wilhelm Krause
Robert Kretschmer
Conrad Faber von Kreuznach
Andrei Krioukov
Vlado Kristl
Karl Kröner
Sebastian Krüger
Franz Krüger
Friedrich Krüger
Christiane Kubrick
Gotthardt Kuehl
Hans Kuhn
Konrad Kujau
Friedrich KunathL
Curt Lahs
Mark Lammert
Christian Landenberger
Friedrich Lange
Joseph Lange
Julius Lange
Max Lange
Michael Lange
Michael Langer
Hermann Lang
Richard Lauchert
Rainer Maria Latzke
Paul Lautensack
Franz Lefler
Rudolf Lehmann
Fridolin Leiber
Ulrich Leman
August Lemmer
Ernst Leonhardt
Reinhold Lepsius
Sabine Lepsius
Carl Friedrich Lessing
Wolfgang Lettl
Emanuel Leutze
Max Liebermann
Adolf Heinrich Lier
Hans Lietzmann
Hermann Linde
Heinrich Eduard Linde-Walther
Richard Lindner
Paul Linke
Karl Friedrich Lippmann
Stephan Lochner
August Löffler
Max Lohde
Otto Lohmüller
Elfriede Lohse-Wächtler
Bernard Lokai
David Lorenz
Karl Lorenz
Károly Lotz
Friedrich Ludwig
Carl Ludwig Jessen
Max Ludwig
Christoph Ludwig Agricola
Andreas Ludwig
Ernst Ludwig Kirchner
Markus Lüpertz
Erika LustM
Hans Maaß
Thilo Maatsch
Fritz Mackensen
August Macke
Heinz Mack
Josef Madlener
Alfred Mahlau
Werner Maier
Carl Malchin
Christian Mali
Lothar Malskat
Henriette Manigk
Ludwig Manzel
Franz Marc
Heinrich Maria von Hess
Jacob Marrel
Johann Martin von Rohden
Joachim Martin Falbe
Johannes Martini
Karl Marx
Michael Mathias Prechtl
Johann Matthias Kager
Fritz Maurischat
Karl May
Louis Mayer
Carl Mayer
Jonathan Meese
Lothar Meggendorfer
Ludwig Meidner
Else Meidner
Georg Meistermann
Johann Melchior Roos
Hans Memling
Peter Menne
Carlo Mense
Joseph Anton Merz
Hans Metzger
Claus Meyer
Friedrich Eduard Meyerheim
Paul Friedrich Meyerheim
Paul Michaelis
Johann Michael Feuchtmayer
Johann Michael Voltz
Johann Michael Bretschneider
Abraham Mignon
Carl Julius Milde
Paula Modersohn-Becker
Manfred Mohr
Christian Morgenstern
Sabine Moritz
Friedrich Mosbrugger
Georg Muche
Heinrich Mücke
Armin Mueller-Stahl
Otto Mueller
Fritz Mühlenweg
Georg Mühlberg
Victor Müller
Andreas Müller
Otto Müller
Gustav Müller
Fritz Müller
Ludwig Müller
Paul Müller-Kaempff
Herbert Müller
August Müller
Moritz Müller
Heiko Müller
Heinz Müller
Maler Müller
Moritz Müller
Moritz Müller
Gabriele Münter
Gustav MützelN
Paul Nagel
Charles Christian Nahl
Eugen Napoleon Neureuther
August Natterer
Julius Naue
Horst Naumann
Otto Nebel
Carl Nebel
Rolf Nesch
Caspar Netscher
Paul Neu
Gert Neuhaus
Uwe Neuhaus
Wolfgang Neumann
Gerhard Neumann
Jo Niemeyer
Emil Nolde
Franz Nölken
Bernt Notke
Felix NussbaumO
Franz Ignaz Oefele
Max Oehler
Ernst Erwin Oehme
August Friedrich Oelenhainz
Hans Olde
Friedrich von Olivier
Philipp Otto Runge
Hermann Ottomar Herzog
Michael Otto
Friedrich OverbeckP
Amalia Pachelbel
Blinky Palermo
Otto Pankok
Jürgen Partenheimer
Richard Paul
Eduard Pechuel-Loesche
Werner Peiner
Carl Gottlieb Peschel
Rudolf Peschel
Johann Peter Krafft
Philipp Peter Roos
Hans Peters
Wilhelm Petersen
Wilhelm Peters
Heinrich Petersen-Angeln
Wolfgang Petrick
Johann Baptist Pflug
Martin Erich Philipp
Jakob Philipp Hackert
Georg Philipp Rugendas
Georg Philipp Wörlen
Gustav Philipp Zwinger
Otto Piene
Ludwig Pietsch
Bruno Piglhein
Hartmut Piniek
Theodor Pixis
Hermann Pleuer
Bernhard Plockhorst
Alois Plum
Tobias Pock
Leon Pohle
Sigmar Polke
Johann Daniel Preissler
Hermann Prell
Heimrad Prem
Johann Georg Primavesi
Hans Purrmann
Leo PutzQ
Franz Quaglio
Simon Quaglio
Otto Quante
Silvia Quandt
Curt Querner
Tobias Querfurt
August QuerfurtR
A. R. Penck
Johann Anton Ramboux
Lilo Ramdohr
Lilo Rasch-Naegele
Karl Raupp
Christopher Rave
Anita Rée
Dan Reeder
Willy Reetz
Theodor Rehbenitz
Elke Rehder
Hans Reichel
Tom Reichelt
Carl Theodor Reiffenstein
Johann Friedrich Reiffenstein
Heinrich Reinhold
Robert Reinick
Otto Reinhold Jacobi
Carl Reinhardt
Fritz Reiss
Moritz Retzsch
Gerhardt Wilhelm von Reutern
Gustav Richter
Paul Richter
Hans Richter
Ludwig Richter
Frank Richter
Erik Richter
Johann Elias Ridinger
August Riedel
Franz Riepenhausen
Johann Christoph Rincklake
Thomas Ring
Joachim Ringelnatz
Wilhelm Ripe
Otto Ritschl
Paul Ritter
Günter Rittner
Lorenz Ritter
Theodor Rocholl
Carl Röchling
Hermen Rode
Bernhard Rode
Stefan Roloff
Theodor Roos
Ludwig Rosenfelder
Mike Rose
Arthur Rose
Anna Rosina de Gasc
Kurt Roth
Eugen Roth
Ferdinand Rothbart
Johannes Rottenhammer
Christian Ruben
Dieter RübsaamenS
Jochen Sachse
Rolf Sackenheim
Hubert Salentin
Johann Salomon Wahl
Charlotte Salomon
Wilhelm Sauter
Edwin Scharff
Hermann Schaper
Thomas Scheibitz
Paul Scheffer
Wolfram Adalbert Scheffler
Wilhelm Schirmer
Adolf Schinnerer
Osmar Schindler
Robert Schiff
Eduard Schleich the Elder
Oskar Schlemmer
Eberhard Schlotter
Hans-Jürgen Schlieker
Karl Schlösser
Torsten Schlüter
Max Schmidt
Joost Schmidt
Alfred Schmidt
Julia Schmidt
Wolfgang Schmidt
Jürgen Schmitt
Hermann Schmitz
Gerda Schmidt-Panknin
Marc Schmitz
Georg Friedrich Schmidt
Leonhard Schmidt
Karl Schmidt-Rottluff
Sascha Schneider
Robert Schneider
Paul Schneider
Joseph Anton Schneiderfranken
Julius Schnorr von Carolsfeld
Friedrich Schneider
Georg Scholz
Otto Scholderer
Karl Schorn
Ludwig Schongauer
Richard Schoenfeld
Heinrich Schönfeld
Julius Schoppe
Georg Schrimpf
Lothar Schreyer
Adolf Schreyer
Ernst Schroeder
Hans Schröder
Werner Schramm
Liselotte Schramm-Heckmann
Emil Schumacher
Peter Schubert
Bernard Schultze
Daniel Schultz
Fritz Schwegler
Heinrich Schwarz
Carlos Schwabe
Otto Schwerdgeburth
Kurt Schwitters
Reinhard Sebastian Zimmermann
Johann Sebastian Bach
Adolf Seel
Else Sehrig-Vehling
Louise Seidler
Joseph Anton Settegast
Oskar Seyffert
Richard Simon
Franz Skarbina
Dirk Skreber
Maria Slavona
Max Slevogt
Karl Ferdinand Sohn
Daniel Soreau
Isaak Soreau
Michael Sowa
August Specht
Friedrich Specht
Erwin Speckter
Hans Speidel
Johann Sperl
Walter Spies
Eugene Spiro
Carl Spitzweg
Hans Springinklee
Anton Stankowski
Carl Steffeck
Hermann Stehr
Jakob Steinhardt
David D. Stern
Max Stern
Robert Sterl
Franz Seraph Stirnbrand
Dora Stock
Curt Stoermer
Fritz Stoltenberg
Sebastian Stoskopff
Willy Stöwer
Paul Strecker
Bernhard Strigel
Hermann Struck
Fritz Stuckenberg
Absolon Stumme
Emil Stumpp
Helmut Sturm
Karl Stürmer
Rudolph Suhrlandt
Florian Süssmayr
Stefan SzczesnyT
Ruben Talberg
Ebba Tesdorpf
Heinz Tetzner
Carl Theodor von Piloty
Anna Dorothea Therbusch
Ludwig Thiersch
Günther Thiersch
Hans Thoma
Paul Thumann
Ernst Toepfer
Christiaan Tonnis
Martin Torp
Gero Trauth
Hann Trier
Wilhelm TrübnerU
Otto Ubbelohde
Günther Uecker
Philipp Uffenbach
Fred Uhlman
Hans Ulrich Franck
Lesser Ury
Adolf UzarskiV
Johann Valentin Tischbein
Johan van den Mynnesten
Funny van Dannen
Philipp Veit
Johannes Veit
Frederick Vezin
Henry Vianden
Carl Christian Vogel von Vogelstein
Heinrich Vogeler
Karl Völker
Adolph Friedrich Vollmer
Friedrich Voltz
Fritz von Uhde
Joachim von Sandrart
Hilla von R
Wilhelm von Kügelgen
Leo von Klenze
Karl von Kügelgen
Hans von Aachen
Hans von Marées
Karl von Enhuber
Philipp von Foltz
Peter von Hess
Ludwig von Herterich
Wilhelm von Kobell
Ludwig von Löfftz
Ludwig von Hofmann
Carl von Marr
Clemens von Zimmermann
Franz von Stuck
August von Kreling
Ludwig von Hagn
Adolf von Heydeck
Franz von Lenbach
Theobald von Oer
Wilhelm von Köln
Thomas von Nathusius
Hans von Bartels
Gabriel von Hackl
Hugo von Blomberg
Gerhard von Kügelgen
Henning von Gierke
Patrick von Kalckreuth
Benjamin von Block
Karl von Appen
Wilhelm von Diez
Hermann von Kaulbach
Bernhard von Neher
Heinrich von Rustige
Heinrich von Zügel
Alexej von Jawlensky
Friedrich Vordemberge-Gildewart
Wolf VostellW
Manfred W. Jürgens
Rolf Wagner
Carl Wagner
Hans Wagner
Horst Walter
Petrus Wandrey
Corinne Wasmuht
August Weber
Theodor Weber
Hubert Weber
Paul Weber
Felix Weber
Vincent Weber
Johannes Wechtlin
Karl Weinmair
Max Weinberg
Friedrich Georg Weitsch
Theodor Leopold Weller
Gottlieb Welté
Walter Werneburg
Fritz Werner
Eberhard Werner
Wilhelm Wessel
Brigitta Westphal
Fritz Wiedemann
Albert Wigand
Christian Wilberg
Ludwig Wilding
Karl Wilhelm Wach
Ernst Wilhelm Nay
Friedrich Wilhelm Kuhnert
Carl Wilhelm von Heideck
Johann Wilhelm Cordes
Christian Wilhelm Ernst Dietrich
Paul Wilhelm
Johann Wilhelm Baur
Hermann Wilhelm
Johann Wilhelm Beyer
Hugo Wilhelm Arthur Nahl
Johann Wilhelm Schirmer
August von Wille
Michael Willmann
Albert Windisch
Harald Winter
Fritz Winter
Hermann Wislicenus
Adolf Wissel
Johann Michael Wittmer
Julie Wolfthorn
Karl Wolf
Balduin Wolff
Joseph Wolf
Michael Wolff
Michael Wolgemut
Walter Womacka
Franz Wulfhagen
Paul Wunderlich
Noah Wunsch
Franz Xaver WinterhalterXYZ
Johann Zacharias Kneller
Erich Zander
Herbert Zangs
Johann Eleazar Zeissig
Bartholomäus Zeitblom
Wolfgang Zelmer
Januarius Zick
Alexander Zick
Adolf Ziegler
Adolf Zimmermann
Albert Zimmermann
Max Zimmermann
Emil Zimmermann
HP Zimmer
Richard Zimmermann
Carl ZimmermannGerman art
From Wikipedia, the free encyclopedia
Late Gothic altar by Tilman RiemenschneiderCulture of Germany
Architecture
Art
Cinema
Cuisine
Fashion
Folklore
Literature
Media
Music
Philosophy
Sciences
Sports
vte
German art has a long and distinguished tradition in the visual arts, from the earliest known work of figurative art to its current output of contemporary art.
Germany has only been united into a single state since the 19th century, and defining its borders has been a notoriously difficult and painful process. For earlier periods German art often effectively includes that produced in German-speaking regions including Austria, Alsace and much of Switzerland, as well as largely German-speaking cities or regions to the east of the modern German borders.
Contents1 Prehistory to Late Antiquity2 Middle Ages3 Renaissance painting and prints4 Sculpture5 17th to 19th-century painting5.1 Baroque, Rococo and Neoclassicism5.2 Writing about art5.3 Romanticism and the Nazarenes5.4 Naturalism and beyond6 20th century6.1 Weimar period6.2 Art in the Third Reich7 Post WWII art8 Notes9 References10 Further readingPrehistory to Late Antiquity
Venus of Hohle Fels, 35,000 to 40,000 BP, the oldest known figurative work of art (true height 6 cm (2.4 in)).
The area of modern Germany is rich in finds of prehistoric art, including the Venus of Hohle Fels. This appears to be the oldest undisputed example of Upper Paleolithic art and figurative sculpture of the human form in general, from over 35,000 years BP, which was only discovered in 2008;[1] the better-known Venus of Willendorf (24–22,000 BP) comes from a little way over the Austrian border. The spectacular finds of Bronze Age golden hats are centred on Germany, as was the \"central\" form of Urnfield culture, and Hallstatt culture. In the Iron Age the \"Celtic\" La Tène culture centred on Western Germany and Eastern France, and Germany has produced many major finds of Celtic art like the elite burials at Reinheim and Hochdorf, and oppida towns like Glauberg, Manching and Heuneburg.
After lengthy wars, the Roman Empire settled its frontiers in Germania with the Limes Germanicus to include much of the south and west of modern Germany. The German provinces produced art in provincial versions of Roman styles, but centres there, as over the Rhine in France, were large-scale producers of fine Ancient Roman pottery, exported all over the Empire. Rheinzabern was one of the largest, which has been well-excavated and has a dedicated museum.[2]
Non-Romanized areas of the later Roman period fall under Migration Period art, notable for metalwork, especially jewellery (the largest pieces apparently mainly worn by men).Middle Ages
The Bamberg Apocalypse, from the Ottonian Reichenau School, achieves monumentality in a small scale. 1000–1020.
German medieval art really begins with the Frankish Empire of Charlemagne (d. 814), the first state to rule the great majority of the modern territory of Germany, as well as France and much of Italy. Carolingian art was restricted to a relatively small number of objects produced for a circle around the court and a number of Imperial abbeys they sponsored, but had a huge influence on later Medieval art across Europe. The most common type of object to survive is the illuminated manuscript; wall paintings were evidently common but, like the buildings that housed them, have nearly all vanished. The earlier centres of illumination were located in modern France, but later Metz in Lorraine and the Abbey of Saint Gall in modern Switzerland came to rival them. The Drogo Sacramentary and Folchard Psalter are among the manuscripts they produced.[3]
No Carolingian monumental sculpture survives, although perhaps the most important patronage of Charlemagne was his commissioning of a life-size gold figure of Christ on a crucifix for his Palatine Chapel in Aachen; this is only known from literary references and was probably gold foil around a wooden base, probably modelled with a gesso layer, like the later and rather crumpled Golden Madonna of Essen. Early Christian art had not featured monumental sculptures of religious figures as opposed to rulers, as these were strongly associated by the Church Fathers with the cult idols of Ancient Roman religion. Byzantine art and modern Eastern Orthodox religious art have maintained the prohibition to the present day, but Western art was apparently decisively influenced by the example of Charlemagne to abandon it. Charlemagne\'s circle wished to revive the glories of classical style, which they mostly knew in its Late Antique form, and also to compete with Byzantine art, in which they appear to have been helped by refugee artists from the convulsions of the Byzantine iconoclasm. As Charlemagne himself does not appear to have been very interested in visual art, his political rivalry with the Byzantine Empire, supported by the Papacy, may have contributed to the strong pro-image position expressed in the Libri Carolini, which set out the position on images held with little variation by the Western Church for the rest of the Middle Ages, and beyond.[4]
Under the next Ottonian dynasty, whose core territory approximated more closely to modern Germany, Austria, and German-speaking Switzerland, Ottonian art was mainly a product of the large monasteries, especially Reichenau which was the leading Western artistic centre in the second half of the 10th century. The Reichenau style uses simplified and patterned shapes to create strongly expressive images, far from the classical aspirations of Carolingian art, and looking forward to the Romanesque. The wooden Gero Cross of 965–970 in Cologne Cathedral is both the oldest and the finest early medieval near life-size crucifix figure; art historians had been reluctant to credit the records giving its date until they were confirmed by dendrochronology in 1976.[5] As in the rest of Europe, metalwork was still the most prestigious form of art, in works like the jewelled Cross of Lothair, made about 1000, probably in Cologne.
Romanesque carving from Maria Laach Abbey
Romanesque art was the first artistic movement to encompass the whole of Western Europe, though with regional varieties. Germany was a central part of the movement, though German Romanesque architecture made rather less use of sculpture than that of France. With increasing prosperity massive churches were built in cities all over Germany, no longer just those patronized by the Imperial circle.[6] The French invented the Gothic style, and Germany was slow to adopt it, but once it had done so Germans made it their own, and continued to use it long after the rest of Europe had abandoned it. According to Henri Focillon, Gothic allowed German art \"to define for the first time certain aspects of its native genius-a vigorous and emphatic conception of life and form, in which theatrical ostentation mingled with vehement emotional frankness.\"[7] The Bamberg Horseman of the 1330s, in Bamberg Cathedral, is the oldest large post-antique standing stone equestrian statue; more medieval princely tomb monuments have survived from Germany than France or England. Romanesque and Early Gothic churches had wall paintings in local versions of international styles, of which few artists\' names are known.[8]
Three Foolish Virgins, Magdeburg Cathedral, c. 1250.
The court of the Holy Roman Emperor, then based in Prague, played an important part in forming the International Gothic style in the late 14th century.[9] The style was spread around the wealthy cities of Northern Germany by artists such Conrad von Soest in Westphalia and Meister Bertram in Hamburg, and later Stefan Lochner in Cologne. Hamburg was one of the cities in the Hanseatic League, then at the height of its prosperity, and Bertram was succeeded in the city by artists such as Master Francke, the Master of the Malchin Altar, Hans Bornemann, Hinrik Funhof and Wilm Dedeke who survived into the Renaissance period. Hanseatic artists painted commissions for Baltic cities in Scandinavia and the modern Baltic states to the east. In the south, the Master of the Bamberg Altar is the first significant painter based in Nuremberg, while the Master of Heiligenkreuz and then Michael Pacher worked in Austria.
Like that of Pacher, the workshop of Bernt Notke, a painter from the Hanseatic city of Lübeck, both painted altarpieces or carved them in the increasingly elaborate painted and gilded style used as frameworks or alternatives for painted panels. South German wood sculpture was important in developing new subjects that reflected the intensely emotional devotional life encouraged by movements in late medieval Catholicism such as German mysticism. These are often known in English as andachtsbilder (devotional images) and include the Pietà, Pensive Christ, Man of Sorrows, Arma Christi, Veil of Veronica, the severed head of John the Baptist, and the Virgin of Sorrows, many of which would spread across Europe and remain popular until the Baroque and, in popular religious imagery, beyond. Indeed \"Late Gothic Baroque\" is a term sometimes used to describe hyper-decorated and emotional 15th-century art, above all in Germany.[10]
Martin Schongauer, who worked in Alsace in the last part of the 15th century, was the culmination of late Gothic German painting, with a sophisticated and harmonious style, but he increasingly spent his time producing engravings, for which national and international channels of distribution had developed, so that his prints were known in Italy and other countries. His predecessors were the Master of the Playing Cards and Master E. S., both also from the Upper Rhine region.[11] German conservatism is shown in the late use of gold backgrounds, still used by many artists well into the 15th century.[12]Renaissance painting and prints
The Heller altar by Albrecht Dürer
The concept of the Northern Renaissance or German Renaissance is somewhat confused by the continuation of the use of elaborate Gothic ornament until well into the 16th century, even in works that are undoubtedly Renaissance in their treatment of the human figure and other respects. Classical ornament had little historical resonance in much of Germany, but in other respects Germany was very quick to follow developments, especially in adopting printing with movable type, a German invention that remained almost a German monopoly for some decades, and was first brought to most of Europe, including France and Italy, by Germans.
Printmaking by woodcut and engraving (perhaps another German invention) was already more developed in Germany and the Low Countries than anywhere else, and the Germans took the lead in developing book illustrations, typically of a relatively low artistic standard, but seen all over Europe, with the woodblocks often being lent to printers of editions in other cities or languages. The greatest artist of the German Renaissance, Albrecht Dürer, began his career as an apprentice to a leading workshop in Nuremberg, that of Michael Wolgemut, who had largely abandoned his painting to exploit the new medium. Dürer worked on the most extravagantly illustrated book of the period, the Nuremberg Chronicle, published by his godfather Anton Koberger, Europe\'s largest printer-publisher at the time.
After completing his apprenticeship in 1490, Dürer travelled in Germany for four years, and Italy for a few months, before establishing his own workshop in Nuremberg. He rapidly became famous all over Europe for his energetic and balanced woodcuts and engravings, while also painting. Though retaining a distinctively German style, his work shows strong Italian influence, and is often taken to represent the start of the German Renaissance in visual art, which for the next forty years replaced the Netherlands and France as the area producing the greatest innovation in Northern European art. Dürer supported Martin Luther but continued to create Madonnas and other Catholic imagery, and paint portraits of leaders on both sides of the emerging split of the Protestant Reformation.
The Crucifixion, central panel of the Isenheim Altarpiece by Matthias Grünewald.
Dürer died in 1528, before it was clear that the split of the Reformation had become permanent, but his pupils of the following generation were unable to avoid taking sides. Most leading German artists became Protestants, but this deprived them of painting most religious works, previously the mainstay of artists\' revenue. Martin Luther had objected to much Catholic imagery, but not to imagery itself, and Lucas Cranach the Elder, a close friend of Luther, had painted a number of \"Lutheran altarpieces\", mostly showing the Last Supper, some with portraits of the leading Protestant divines as the Twelve Apostles. This phase of Lutheran art was over before 1550, probably under the more fiercely aniconic influence of Calvinism, and religious works for public display virtually ceased to be produced in Protestant areas. Presumably largely because of this, the development of German art had virtually ceased by about 1550, but in the preceding decades German artists had been very fertile in developing alternative subjects to replace the gap in their order books. Cranach, apart from portraits, developed a format of thin vertical portraits of provocative nudes, given classical or Biblical titles.[13]
Lying somewhat outside these developments is Matthias Grünewald, who left very few works, but whose masterpiece, his Isenheim Altarpiece (completed 1515), has been widely regarded as the greatest German Renaissance painting since it was restored to critical attention in the 19th century. It is an intensely emotional work that continues the German Gothic tradition of unrestrained gesture and expression, using Renaissance compositional principles, but all in that most Gothic of forms, the multi-winged triptych.[14]
Albrecht Altdorfer (c.1480–1538), Danube landscape near Regensburg c. 1528, one of the earliest Western pure landscapes, from the Danube School in southern Germany.
The Danube School is the name of a circle of artists of the first third of the 16th century in Bavaria and Austria, including Albrecht Altdorfer, Wolf Huber and Augustin Hirschvogel. With Altdorfer in the lead, the school produced the first examples of independent landscape art in the West (nearly 1,000 years after China), in both paintings and prints.[15] Their religious paintings had an expressionist style somewhat similar to Grünewald\'s. Dürer\'s pupils Hans Burgkmair and Hans Baldung Grien worked largely in prints, with Baldung developing the topical subject matter of witches in a number of enigmatic prints.[16]
Hans Holbein the Elder and his brother Sigismund Holbein painted religious works in the late Gothic style. Hans the Elder was a pioneer and leader in the transformation of German art from the Gothic to the Renaissance style. His son, Hans Holbein the Younger was an important painter of portraits and a few religious works, working mainly in England and Switzerland. Holbein\'s well known series of small woodcuts on the Dance of Death relate to the works of the Little Masters, a group of printmakers who specialized in very small and highly detailed engravings for bourgeois collectors, including many erotic subjects.[17]
The outstanding achievements of the first half of the 16th century were followed by several decades with a remarkable absence of noteworthy German art, other than accomplished portraits that never rival the achievement of Holbein or Dürer. The next significant German artists worked in the rather artificial style of Northern Mannerism, which they had to learn in Italy or Flanders. Hans von Aachen and the Netherlandish Bartholomeus Spranger were the leading painters at the Imperial courts in Vienna and Prague, and the productive Netherlandish Sadeler family of engravers spread out across Germany, among other counties.[18] This style was continued for another generation by Bartholomeus Strobel, an example of an essentially German artist born and working in Silesia, in today\'s Poland, until he emigrated to escape the Thirty Years War and become painter at the Polish court. Adam Elsheimer, the most influential German artist in the 17th century, spent his whole mature career in Italy, where he began by working for another emigré Hans Rottenhammer. Both produced highly finished cabinet paintings, mostly on copper, with classical themes and landscape backgrounds.Sculpture
Wessobrunner stucco at Schussenried Abbey
In Catholic parts of South Germany the Gothic tradition of wood carving continued to flourish until the end of the 18th century, adapting to changes in style through the centuries. Veit Stoss (d. 1533), Tilman Riemenschneider (d.1531) and Peter Vischer the Elder (d. 1529) were Dürer\'s contemporaries, and their long careers covered the transition between the Gothic and Renaissance periods, although their ornament often remained Gothic even after their compositions began to reflect Renaissance principles.[19] Two and a half centuries later, Johann Joseph Christian and Ignaz Günther were leading masters in the late Baroque period, both dying in the late 1770s, barely a decade before the French Revolution. A vital element in the effect of German Baroque interiors was the work of the Wessobrunner School, a later term for the stuccoists of the late 17th and 18th centuries. Another manifestation of German sculptural skill was in porcelain; the most famous modeller is Johann Joachim Kaendler of the Meissen factory in Dresden, but the best work of Franz Anton Bustelli for the Nymphenburg Porcelain Manufactory in Munich is often considered the greatest achievement of 18th century porcelain.[20]17th to 19th-century painting
The Fall of Phaeton by Johann Liss.
Gottlieb Schick, Frau von Cotta, 1802Baroque, Rococo and Neoclassicism
Baroque painting was slow to arrive in Germany, with very little before about 1650, but once established seems to have suited German taste well. Baroque and Rococo periods saw German art producing mostly works derivative of developments elsewhere, though numbers of skilled artists in various genres were active. The period remains little-known outside Germany, and though it \"never made any claim to be among the great schools of painting\", its neglect by non-German art history remains striking.[21] Many distinguished foreign painters spent periods working in Germany for princes, among them Bernardo Bellotto in Dresden and elsewhere, and Gianbattista Tiepolo, who spent three years painting the Würzburg Residence with his son. Many German painters worked abroad, including Johann Liss who worked mainly in Venice, Joachim von Sandrart and Ludolf Bakhuisen, the leading marine artist of the final years of Dutch Golden Age painting. In the late 18th century the portraitist Heinrich Füger and his pupil Johann Peter Krafft, whose best known works are three large murals in the Hofburg, had both moved to Vienna as students and stayed there.[22]
Neoclassicism appears rather earlier in Germany than in France, with Anton Raphael Mengs (1728–79), the Danish painter Asmus Jacob Carstens (1754–98), and the sculptor Gottfried Schadow (1764–1850). Mengs was one of the most highly regarded artists of his day, working in Rome, Madrid and elsewhere, and finding an early Neo-Classical style that now seems rather effete, although his portraits are more effective. Carstens\' shorter career was turbulent and troubled, leaving a trail of unfinished works, but through pupils and friends such as Gottlieb Schick, Joseph Anton Koch and Bonaventura Genelli, more influential.[23] Koch was born in the mountains of the Austrian Tyrol and became the leading Continental painter of landscapes, concentrating on mountain views, despite spending much of his career in Rome.
Daniel Chodowiecki was born in Danzig, and at least partly identified as Polish, although he only spoke German and French. His paintings and hundreds of prints, book illustrations and political cartoons are an invaluable visual record of the everyday life and the increasingly complex mentality of Enlightenment Germany, and its emerging Nationalism.[24] The Swiss-born Anton Graff was a prolific portraitist in Dresden, who painted literary figures as well as the court. The Tischbein dynasty were solid all-rounders who covered most of the 18th century between them, as did the Zick family, initially mainly painters of grand Baroque ceilings, who were still active in the 20th century in the person of the illustrator Alexander Zick.[25] Both the Asam brothers, and Johann Baptist Zimmermann and his brother, were able between them to provide a complete service for commissions for churches and palaces, designing the building and executing the stucco and wall-paintings. The combined effect of all the elements of these buildings in South Germany, Austria and Bohemia, especially their interiors, represent some of the most complete and extreme realizations of the Baroque aspiration to overwhelm the viewer with the \"radiant fairy world of the nobleman\'s dwelling\", or the \"foretaste of the glories of Paradise\" in the case of churches.[26]
The earliest German academy was the Akademie der Künste founded in Berlin in 1696, and through the next two centuries a number of other cities established their own institutions, in parallel with developments in other European nations. In Germany the uncertain market for art in a country divided into a multitude of small states meant that significant German artists have been to the present day more likely to accept teaching posts in the academies and their successor institutions than their equivalents in England or France have been. In general German academies imposed a particular style less rigidly than was for long the case in Paris, London, Moscow or elsewhere.Writing about art
Caspar David Friedrich, Wanderer above the Sea of Fog (1818)
The Enlightenment period saw German writers becoming leading theorists and critics of art, led by Johann Joachim Winckelmann, who exalted Ancient Greek art and, despite never visiting Greece or actually seeing many Ancient Greek statues, set out an analysis distinguishing between the main periods of Ancient Greek art, and relating them to wider historical movements. Winckelmann\'s work marked the entry of art history into the high-philosophical discourse of German culture; he was read avidly by Goethe and Friedrich Schiller, both of whom began to write on the history of art, and his account of the Laocoon occasioned a response by Lessing. Goethe had tried to train as an artist, and his landscape sketches show \"occasional flashes of emotion in the presence of nature which are quite isolated in the period\".[27] The emergence of art as a major subject of philosophical speculation was solidified by the appearance of Immanuel Kant\'s Critique of Judgment in 1790, and was furthered by Hegel\'s Lectures on Aesthetics. In the following century, German universities were the first teach art history as an academic subject, beginning the leading position that Germany (and Austria) was to occupy in the study of art history until the dispersal of scholars abroad in the Nazi period. Johann Gottfried Herder championed what he identified in the Gothic and Dürer as specifically Germanic styles, beginning an argument over the proper models for a German artist against the so-called \"Tyranny of Greece over Germany\" that would last nearly two centuries.[28]Romanticism and the Nazarenes
German Romanticism saw a revival of innovation and distinctiveness in German art. Outside Germany only Caspar David Friedrich is well-known, but there were a number of artists with very individual styles, notably Philipp Otto Runge, who like Friedrich had trained at the Copenhagen Academy and was forgotten after his death until a revival in the 20th century. Friedrich painted almost entirely landscapes, with a distinctive Northern feel, and always a feeling of quasi-religious stillness. Often his figures are seen from behind – they like the viewer are lost in contemplation of the landscape.[29] Runge\'s portraits, mostly of his own circle, are naturalistic except for his huge-faced children, but the other works in his brief career increasingly reflected a visionary pantheism.[30] Adrian Ludwig Richter is mainly remembered for his portraits, and Carl Wilhelm Kolbe was purely an etcher (as well as a philologist), whose later prints show figures almost swallowed up by gigantic vegetation.[31]
Johann Friedrich Overbeck of the Nazarene movement, Italia und Germania.
The Nazarene movement, the coinage of a mocking critic, denotes a group of early 19th-century German Romantic painters who aimed to revive honesty and spirituality in Christian art. The principal motivation of the Nazarenes was a reaction against Neoclassicism and the routine art education of the academy system. They hoped to return to art which embodied spiritual values, and sought inspiration in artists of the late Middle Ages and early Renaissance, rejecting what they saw as the superficial virtuosity of later art. Their programme was not dissimilar to that of the English Pre-Raphaelite Brotherhood in the 1850s, although the core group took it as far as wearing special pseudo-medieval clothing. In 1810 Johann Friedrich Overbeck, Franz Pforr, Ludwig Vogel and the Swiss Johann Konrad Hottinger moved to Rome, where they occupied the abandoned monastery of San Isidoro. They were joined by Philipp Veit, Peter von Cornelius, Julius Schnorr von Carolsfeld, Friedrich Wilhelm Schadow and a loose grouping of other German artists. They met up with the Austrian romantic landscape artist Joseph Anton Koch, (1768–1839) who became an unofficial tutor to the group. In 1827 they were joined by Joseph von Führich, and Eberhard Wächter was later associated with the group. Unlike the strong support given to the Pre-Raphaelites by the dominant art critic of the day, John Ruskin, Goethe was dismissive of the Nazarenes: \"This the first case in the history of art when real talents have taken the fancy to form themselves backwards by retreating into their mother\'s womb, and thus found a new epoch in art.\"[32]
Led by the Nazarene Schadow, son of the sculptor, the Düsseldorf school was a group of artists who painted mostly landscapes, and who studied at, or were influenced by the Düsseldorf Academy, founded in 1767. The academy\'s influence grew in the 1830s and 1840s, and it had many American students, several of whom became associated with the Hudson River School.
The family of the painter Carl Begas, 1808, celebrating domesticity in Biedermeier styleNaturalism and beyond
Biedermeier refers to a style in literature, music, the visual arts and interior design in the period between the end of the Napoleonic Wars in 1815 and the revolutions of 1848. Biedermeier art appealed to the prosperous middle classes by detailed but polished realism, often celebrating domestic virtues, and came to dominate over French-leaning aristocratic tastes, as well as the yearnings of Romanticism. Carl Spitzweg was a leading German artist in the style.[33]
In the second half of the 19th century a number of styles developed, paralleling trends in other European counties, though the lack of a dominant capital city probably contributed to even more diversity of styles than in other countries.[34]
Franz Stuck (1873) Sünde (Sin)
Adolph Menzel enjoyed enormous popularity both among the German public and officialdom; at his funeral Kaiser Wilhelm II walked behind his coffin. He dramaticised past and contemporary Prussian military successes both in paintings and brilliant wood engravings illustrating books, yet his domestic subjects are intimate and touching. He followed the development of early Impressionism to create a style that he used for depicting grand public occasions, among other subjects like his Studio Wall. Karl von Piloty was a leading academic painter of history subjects in the latter part of the century who taught in Munich; among his more famous pupils were Hans Makart, Franz von Lenbach, Franz Defregger, Gabriel von Max and Eduard von Grützner. The term \"Munich school\" is used both of German and of Greek painting, after Greeks like Georgios Jakoofferes studied under him. The Berlin Secession was a group founded in 1898 by painters including Max Liebermann, who broadly shared the artistic approach of Manet and the French Impressionists, and Lovis Corinth then still painting in a naturalistic style. The group survived until the 1930s, despite splits, and its regular exhibitions helped launch the next two generations of Berlin artists, without imposing a particular style.[35] Near the end of the century, the Benedictine Beuron Art School developed a style, mostly for religious murals, in rather muted colours, with a medievalist interest in pattern that drew from Les Nabis and in some ways looked forward to Art Nouveau or the Jugendstil (\"Youth Style\") as it is known in German.[36] Franz von Stuck and Max Klinger are the leading German Symbolist painters.20th century
Rehe im Walde (\"Roe deer in the forest\") by Franz Marc
Even more than in other countries, German art in the early 20th century developed through a number of loose groups and movements, many covering other artistic media as well, and often with a specific political element, as with the Arbeitsrat für Kunst and November Group, both formed in 1918. By the 1920s a \"Cartel of advanced artistic groups in Germany\" (Kartell fortschrittlicher Künstlergruppen in Deutschland) was found necessary.
Die Brücke (\"The Bridge\") was one of two groups of German painters fundamental to expressionism, the other being Der Blaue Reiter group. Die Brücke was a group of German expressionist artists formed in Dresden in 1905 by architecture students who wanted to be painters: Fritz Bleyl (1880–1966), Erich Heckel (1883–1970), Ernst Ludwig Kirchner (1880–1938) and Karl Schmidt-Rottluff (1884–1976), with Max Pechstein and others later joining.[37] The notoriously individualistic Emil Nolde (1867–1956) was briefly a member of Die Brücke, but was at odds with the younger members of the group. Die Brücke moved to Berlin in 1911, where it eventually dissolved in 1913. Perhaps their most important contribution had been the rediscovery of the woodcut as a valid medium for original artistic expression.
Der Blaue Reiter (\"The Blue Rider\") formed in Munich, Germany in 1911. Wassily Kandinsky, Franz Marc, August Macke, Alexej von Jawlensky, Marianne von Werefkin and others founded the group in response to the rejection of Kandinsky\'s painting Last Judgment from an exhibition by Neue Künstlervereinigung—another artists\' group of which Kandinsky had been a member. The name Der Blaue Reiter derived from Marc\'s enthusiasm for horses, and from Kandinsky\'s love of the colour blue. For Kandinsky, blue is the colour of spirituality—the darker the blue, the more it awakens human desire for the eternal (see his 1911 book On the Spiritual in Art). Kandinsky had also titled a painting Der Blaue Reiter (see illustration) in 1903.[38] The intense sculpture and printmaking of Käthe Kollwitz was strongly influenced by Expressionism, which also formed the starting point for the young artists who went on to join other tendencies within the movements of the early 20th century.[39]
Otto Dix, Portrait of the Journalist Sylvia von Harden, 1926
Die Brücke and Der Blaue Reiter were both examples of tendency of early 20th-century German art to be \"honest, direct, and spiritually engaged\"[40] The difference in how the two groups attempted this were telling, however. The artists of Der Blaue Reiter were less oriented towards intense expression of emotion and more towards theory- a tendency which would lead Kandinsky to pure abstraction. Still, it was the spiritual and symbolic properties of abstract form that were important. There were therefore Utopian tones to Kandinsky\'s abstractions: \"We have before us an age of conscious creation, and this new spirit in painting is going hand in hand with thoughts toward an epoch of greater spirituality.\"[41] Die Brücke also had Utopian tendencies, but took the medieval craft guild as a model of cooperative work that could better society- \"Everyone who with directness and authenticity conveys that which drives him to creation belongs to us\".[42] The Bauhaus also shared these Utopian leanings, seeking to combine fine and applied arts (Gesamtkunstwerk) with a view towards creating a better society.Weimar period
A major feature of German art in the early 20th century until 1933 was a boom in the production of works of art of a grotesque style.[43][44] Artists using the Satirical-Grotesque genre included George Grosz, Otto Dix and Max Beckmann, at least in their works of the 1920s. Dada in Germany, the leading practitioners of which were Kurt Schwitters and Hannah Höch, was centered in Berlin, where it tended to be more politically oriented than Dada groups elsewhere.[45] They made important contributions to the development of collage as a medium for political commentary- Schwitters later developed his Merzbau, a forerunner of installation art.[45] Dix and Grosz were also associated with the Berlin Dada group. Max Ernst led a Dada group in Cologne, where he also practiced collage, but with a greater interest in Gothic fantasy than in overt political content- this hastened his transition into surrealism, of which he became the leading German practitioner.[46] The Swiss-born Paul Klee, Lyonel Feininger and others experimented with cubism.
The New Objectivity, or Neue Sachlichkeit (new matter-of-factness), was an art movement which arose in Germany during the 1920s as an outgrowth of, and in opposition to, expressionism. It is thus post-expressionist and applied to works of visual art as well as literature, music, and architecture. It describes the stripped-down, simplified building style of the Bauhaus and the Weissenhof Settlement, the urban planning and public housing projects of Bruno Taut and Ernst May, and the industrialization of the household typified by the Frankfurt kitchen. Grosz and Dix were leading figures, forming the \"Verist\" side of the movement with Beckmann and Christian Schad, Rudolf Schlichter, Georg Scholz (in his early work), Elfriede Lohse-Wächtler, and Karl Hubbuch. The other tendency is sometimes called Magic Realism, and included Anton Räderscheidt, Georg Schrimpf, Alexander Kanoldt, and Carl Grossberg. Unlike some of the other groupings, the Neue Sachlichkeit was never a formal group, and its artists were associated with other groups; the term was invented by a sympathetic curator, and \"Magic Realism\" by an art critic.[47]
Plakatstil, \"poster style\" in German, was an early style of poster design that began in the early 20th century, using bold, straight fonts with very simple designs, in contrast to Art Nouveau posters. Lucian Bernhard was a leading figure.Art in the Third Reich
Made in Germany (German: Den macht uns keiner nach), by George Grosz, drawn in pen 1919, photo-lithograph 1920.
Main article: Art of the Third Reich
The Nazi regime banned modern art, which they condemned as degenerate art (from the German: entartete Kunst). According to Nazi ideology, modern art deviated from the prescribed norm of classical beauty. While the 1920s to 1940s are considered the heyday of modern art movements, there were conflicting nationalistic movements that resented abstract art, and Germany was no exception. Avant-garde German artists were now branded both enemies of the state and a threat to the German nation. Many went into exile, with relatively few returning after World War II. Dix was one who remained, being conscripted into the Volkssturm Home Guard militia; Pechstein kept his head down in rural Pomerania. Nolde also stayed, creating his \"unpainted pictures\" in secret after being forofferden to paint. Beckmann, Ernst, Grosz, Feininger and others went to America, Klee to Switzerland, where he died. Kirchner committed suicide.
In July, 1937, the Nazis mounted a polemical exhibition entitled Entartete Kunst (Degenerate Art), in Munich; it subsequently travelled to eleven other cities in Germany and Austria. The show was intended as an official condemnation of modern art, and included over 650 paintings, sculptures, prints, and books from the collections of thirty two German museums. Expressionism, which had its origins in Germany, had the largest proportion of paintings represented. Simultaneously, and with much pageantry, the Nazis presented the Grosse deutsche Kunstausstellung (Great German art exhibition) at the palatial Haus der deutschen Kunst (House of German Art). This exhibition displayed the work of officially approved artists such as Arno Breker and Adolf Wissel. At the end of four months Entartete Kunst had attracted over two million visitors, nearly three and a half times the number that visited the nearby Grosse deutsche Kunstausstellung.[48]Post WWII art
Joseph Beuys, wearing his ubiquitous fedora, delivers a lecture on his theory of social sculpture, 1978
Post-war art trends in Germany can broadly be divided into Neo-expressionism and Conceptualism.
Especially notable neo-expressionists include or included Georg Baselitz, Anselm Kiefer, Jörg Immendorff, A. R. Penck, Markus Lüpertz, Peter Robert Keil and Rainer Fetting. Other notable artists who work with traditional media or figurative imagery include Martin Kippenberger, Gerhard Richter, Sigmar Polke, and Neo Rauch.
Leading German conceptual artists include or included Bernd and Hilla Becher, Hanne Darboven, Hans-Peter Feldmann, Hans Haacke, and Charlotte Posenenske.[49]
The Performance artist, sculptor, and theorist Joseph Beuys was perhaps the most influential German artist of the late 20th century.[50] His main contribution to theory was the expansion of the Gesamtkunstwerk to include the whole of society, as expressed by his famous expression \"Everyone is an artist\". This expanded concept of art, known as social sculpture, defines everything that contributes creatively to society as artistic in nature. The form this took in his oeuvre varied from richly metaphoric, almost shamanistic performances based on his personal mythology (How to Explain Pictures to a Dead Hare, I Like America and America Likes Me) to more direct and utilitarian expressions, such as 7000 Oaks and his activities in the Green party.
Famous for their happenings are HA Schult and Wolf Vostell. Wolf Vostell is also known for his early installations with television. His first installations with television the Cycle Black Room from 1958 was shown in Wuppertal at the Galerie Parnass in 1963 and his installation 6 TV Dé-coll/age was shown at the Smolin Gallery [51] in New York also in 1963.[52][53]
HA Schult, Trash People, shown in Cologne
The art group Gruppe SPUR included: Lothar Fischer (1933–2004), Heimrad Prem (1934–1978), Hans-Peter Zimmer (1936–1992) and Helmut Sturm (1932). The SPUR-artists met first at the Academy of Fine Arts, Munich and, before falling out with them, were associated with the Situationist International. Other groups include the Junge Wilde of the late 1970s to early 1980s.
documenta (sic) is a major exhibition of contemporary art held in Kassel every five years (2007, 2012...), Art Cologne is an annual art fair, again mostly for contemporary art, and Transmediale is an annual festival for art and digital culture, held in Berlin.
Other contemporary German artists include Jonathan Meese, Daniel Richter, Albert Oehlen, Markus Oehlen, Rosemarie Trockel, Andreas Gursky, Thomas Ruff, Blinky Palermo, Sebastian Bieniek, Hans-Jürgen Schlieker, Günther Uecker, Aris Kalaizis, Katharina Fritsch, Fritz Schwegler and Thomas Schütte.
The case of Wolfgang Beltracchi became known as one of the biggest art forger lawsuits in history.Notes
Venus figurine sheds light on origins of art by early humans Los Angeles Times, May 14, 2009, accessed December 11, 2009 Terra Sigillata Museum Rheinzabern (in German) See Hinks throughout, Chapters 1 of Beckwith and 3–4 of Dodwell Dodwell, 32 on the Libri Carolini Beckwith, Chapter 2 Beckwith, Chapter 3 Focillon, 106 Dodwell, Chapter 7 Levey, 24-7, 37 & passim, Snyder, Chapter II Snyder, 308 Snyder, Chapters IV (painters to 1425), VII (painters to 1500), XIV (printmakers), & XV (sculpture). Focillon, 178–181 Snyder, Part III, Ch. XIX on Cranach, Luther etc. Snyder, Ch. XVII Wood, 9 – this is the main subject of the whole book Snyder, Ch. XVII, Bartrum, 1995 Snyder, Ch. XX on the Holbeins, Bartrum (1995), 221–237 on Holbein\'s prints, 99–129 on the Little Masters Trevor-Roper, Levey Snyder, 298–311 Savage, 156 Griffiths & Carey, 24 (quotation), and Scheyer, 9 (from 1960, but the point remains valid) Novotny, 62–65 Novotny, 49–59 Griffiths & Carey, 50–68, Novotny, 60–62 Novotny, 60 Gombrich, 352–357; quotes from pp. 355 & 357 Novotny, 78 (quotation); and see index for Winckelmann etc. The rhetorical phrase was coined, or popularized, by: Butler, Eliza M., \"The Tyranny of Greece over Germany: a study of the influence exercised by Greek art and poetry over the great German writers of the eighteenth, nineteenth, and twentieth centuries\" (Cambridge Univ. Press, London, 1935) Novotny, 95–101 Novotny, 106–112 Griffiths and Carey, 112–122 Griffiths & Carey, 24–25 and passim, quotation from p. 24 Doyle, Margaret, in Encyclopedia of the Romantic Era, 1760–1850, Volume 1, ed. Christopher John Murray, p. 89, Taylor & Francis, 2004 ISBN 1-57958-361-X, Google books Hamilton, 180 Hamilton, 181–184, and see index for later mentions Hamilton, 113 Hamilton, 197–204, and Honour & Fleming, 569–576 Honour & Fleming, 569–576, and Hamilton, 215–221 Hamilton, 189–191 Hunter, Jacobus, and Wheeler (2000) p. 113 qtd. Hunter et al p. 118 From the Manifesto of Die Brücke, qtd Hunter et al p. 113 Esti Sheinberg (2000) Irony, Satire, Parody and the Grotesque in the Music of Dmitrii SHostakovich, pp.248–9, ISBN 978-0-7546-0226-2 Pamela Kort (2004) Comic Grotesque, Prestel Publishing ISBN 978-3-7913-3195-9 Hunter, Jacobus, and Wheeler (2000) pp. 173–77 Hamilton, 473–478 Hamilton, 478–479 Hamilton, 486–487 Marzona, Daniel. (2005) Conceptual Art. Cologne: Taschen. Various pages Moma Focus, retrieved 16 December 2009 Rolf Wedewer. Wolf Vostell. Retrospektive, 1992, ISBN 3-925520-44-9 Wolf Vostell, Cycle Black Room, 1958, installation with television Wolf Vostell, 6 TV Dé-coll/age, 1963, installation with televisionReferences
Wikimedia Commons has media related to Art in Germany.
Part of a series on the
Culture of Germany
History[show]
People[show]
Languages[show]
Traditions[show]
Mythology and folklore[show]
Cuisine[show]
Festivals
Religion[show]
Art[show]
Literature[show]
Music and performing arts[show]
Media[show]
Sport[show]
Monuments[show]
Symbols[show]
Germany portal
vte
Bartrum, Giulia (1995); German Renaissance Prints, 1490–1550; British Museum Press, 1995, ISBN 0-7141-2604-7
Bartrum, Giulia (2002), Albrecht Dürer and his legacy: the graphic work of a Renaissance artist, British Museum Press, 2002, ISBN 978-0-7141-2633-3
Beckwith, John. Early Medieval Art: Carolingian, Ottonian, Romanesque, Thames & Hudson, 1964 (rev. 1969), ISBN 0-500-20019-X
Clark, Sir Kenneth, Landscape into Art, 1949, page refs to Penguin edn of 1961
Dodwell, C.R.; The Pictorial arts of the West, 800–1200, 1993, Yale UP, ISBN 0-300-06493-4
Focillon, Henri, The Art of the West in the Middle Ages, Volume II, Gothic Art, Phaidon/Oxford University Press, 3rd edn, 1980, ISBN 0-7148-2100-4
Gombrich, E.H., The Story of Art, Phaidon, 13th edn. 1982. ISBN 0-7148-1841-0
Gossman, Lionel, Making of a Romantic Icon: The Religious Context of Friedrich Overbeck’s ‘Italia und Germania.\' American Philosophical Society, 2007. ISBN 0-87169-975-3. [1]
Griffiths, Antony and Carey, Francis; German Printmaking in the Age of Goethe, 1994, British Museum Press, ISBN 0-7141-1659-9
Hamilton, George Heard, Painting and Sculpture in Europe, 1880–1940 (Pelican History of Art), Yale University Press, revised 3rd edn. 1983 ISBN 0-14-056129-3
Harbison, Craig. The Art of the Northern Renaissance, 1995, Weidenfeld & Nicholson, ISBN 0-297-83512-2
Hugh Honour and John Fleming, A World History of Art,1st edn. 1982 & later editions, Macmillan, London, page refs to 1984 Macmillan 1st edn. paperback. ISBN 0-333-37185-2
Hunter, Sam; John Jacobus, Daniel Wheeler (2000) Modern Art: Painting, Sculpture, Architecture. New York: Prentice Hall and Harry N. Abrams
Kitzinger, Ernst, Early Medieval Art at the British Museum, (1940) 2nd edn, 1955, British Museum
Michael Levey, Painting at Court, Weidenfeld and Nicholson, London, 1971
Novotny, Fritz, Painting and Sculpture in Europe, 1780–1880 (Pelican History of Art), Yale University Press, 2nd edn. 1971 ISBN 0-14-056120-X
George Savage, Porcelain Through the Ages, Penguin, (2nd edn.) 1963
Schultz, Ellen (ed). Gothic and Renaissance Art in Nuremberg, 1986, New York, Metropolitan Museum of Art, ISBN 978-0-87099-466-1
Scheyer, Ernst, Baroque Painting in Germany and Austria: A Gap in American Studies, Art Journal, Vol. 20, No. 1 (Autumn, 1960), pp. 9–18, JSTOR online text
Snyder, James; Northern Renaissance Art, 1985, Harry N. Abrams, ISBN 0-13-623596-4
Trevor-Roper, Hugh; Princes and Artists, Patronage and Ideology at Four Habsburg Courts 1517–1633, Thames & Hudson, London, 1976, ISBN 0-500-23232-6
Christopher S Wood, Albrecht Altdorfer and the Origins of Landscape, 1993, Reaktion Books, London, ISBN 0-948462-46-9Further reading
German masters of the nineteenth century: paintings and drawings from the Federal Republic of Germany. New York: The Metropolitan Museum of Art. 1981. ISBN 978-0-87099-263-6.
Nancy Marmer, \"Isms on the Rhine: Westkunst,\" Art in America, Vol. 69, November 1981, pp. 112–123.
[hide]
vte
European art
Sovereign states
Albania
Andorra
Armenia
Austria
Azerbaijan
Belarus
Belgium
Bosnia and Herzegovina
Bulgaria
Croatia
Cyprus
Czech Republic
Denmark
Estonia
Finland
France
Georgia
Germany
Greece
Hungary
Iceland
Ireland
Italy
Kazakhstan
Latvia
Liechtenstein
Lithuania
Luxembourg
Macedonia
Malta
Moldova
Monaco
Montenegro
Netherlands
Norway
Poland
Portugal
Romania
Russia
San Marino
Serbia
Slovakia
Slovenia
Spain
Sweden
Switzerland
Turkey
Ukraine
United Kingdom
States with limited
recognition
Abkhazia
Kosovo
Nagorno-Karabakh
Northern Cyprus
South Ossetia
Transnistria
Dependencies and
other territories
Åland
Faroe Islands
Gibraltar
Guernsey
Jersey
Isle of Man
Svalbard
August Gottfried Ludwig Fricke (1829-1894) Original On The Island Of Rugen 1890:
$24888.00