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Stalheim (1842) |
Fra Fortundalen (1842) |
Bjerk i storm (1849) |
Hjelle i Valdres (1850) |
Stugunøset på Filefjell (1851) |
Måbødalen (1851) |
Gallery |
References |
Sources |
Aubert, Andreas (1893) Professor Dahl. Et stykke af Aarhundredets Kunst- og Kulturhistorie |
Aubert, Andreas (1894) Den Norske Naturfølelse og Professor Dahl. Hans Kunst og dens Stilling i Aarhundredets Utvikling |
Aubert, Andreas (1920) Maleren Johan Christian Dahl. Et stykke av forrige aarhundres kunst- og kulturhistorie |
Bang, Marie Lødrup (1988) Johan Christian Dahl 1788-1857: Life and Works Volume 1-3 (Scandinavian University Press Publication) |
Heilmann, Christoph (1988) Johan Christian Dahl. 1788-1857 Neue Pinakothek Munchen-1988-1989 (Edition Lipp) |
External links |
Media related to Johan Christian Clausen Dahl at Wikimedia Commons |
Caspar David Friedrich: Moonwatchers, a full text exhibition catalog from The Metropolitan Museum of Art, which contains material on Johan Christian Dahl (no. 12–15) |
Johann Alexander Thiele (26 March 1685 in Erfurt – 22 May 1752 in Dresden) was a German painter and engraver. |
Life and work |
After five years of apprenticeship as a printer in Erfurt, he was married in Arnstadt in 1710 and moved to Dresden in 1715, where he copied old paintings, was a student of Christoph Ludwig Agricola and worked briefly with Adam Manyoki, although he remained largely an auto-didact. In 1722, he presented his paintings for the first time during a carnival held at the Zwinger Palace. Many of his works were purchased by the former Saxon Minister of War, Jacob Heinrich von Flemming. |
After Flemming's death in 1728, Thiele returned to Arnstadt. In 1729, he became court painter to Günther XLIII, Prince of Schwarzburg-Sondershausen, but he also worked for the courts in Braunschweig and Kassel. In 1738, he was named court painter for King Augustus III of Poland and, in 1740, acquired the patronage of Heinrich von Brühl. During this period, he received 1000 Thalers and free lodging for creating four landscape views of the Eastern Ore Mountains and Mount Oybin in the Zittau Mountains, as well as some of the first paintings of the Lößnitz region. |
Unfortunately, 1740 was also the year when his wife died. After completing his commission, in 1743, he remarried and was awarded the title of "Hofkommissar" (Court Inspector). Six years later, he commissioned to do another series of landscapes; this time of Mecklenburg, under the direction of Duke Christian Ludwig II. |
Three years after his death, the art historian and collector Christian Ludwig von Hagedorn wrote his biography (although it appears to be unavailable at present). His son, Johann Friedrich Alexander Thiele, also became a well-known landscape painter. |
References |
Further reading |
Moritz Stubel, Der Landschaftsmaler Johann Alexander Thiele und seine sächsischen Prospekt, B.C. Teubner, 1914 |
Hendrik Bärnighausen, et al. "Wie über die Natur die Kunst des Pinsels steigt": Johann Alexander Thiele (1685-1752) : Thüringer Prospekte und Landschafts-Inventionen, Volume 2 of Sondershäuser Kataloge, Hain, 2003 ISBN 3-898070-62-X |
External links |
ArtNet: More works by Thiele. |
Literature by and about Johann Alexander Thiele in the German National Library catalogue |
Johann Carl Loth (Baptized 8 August 1632 – 6 October 1698) was a German Baroque painter who spent most of his life in Venice. His name is also rendered as Johann Karl, Karel and, in Italy, Carlotto or Carlo Lotti. |
He specialized in history paintings; generally crowded group scenes. His subjects were typically from classical mythology or the Old Testament. |
Biography |
He was born in Munich, in the Electorate of Bavaria. According to the biographer, Arnold Houbraken, he was one of the three grand masters of art named "Karel", or "Carl" (the other two were Karel Dujardin and Karel Marat, usually called Carlo Maratta). |
He was the son and pupil of Johann Ulrich Loth and was possibly influenced by Giovan Battista Langetti. He was once commissioned to paint for the emperor Leopold I in Vienna and worked together with Pietro Liberi in Venice, where he lived from 1663 until his death in 1698. His brother Franz (1639–1710) was also a painter in Venice and Germany and often collaborated with Carl. |
He had numerous pupils, including Michael Wenzel Halbax, Santo Prunati, Johann Michael Rottmayr, Hans Adam Weissenkircher, Daniel Seiter, and Baron Peter Strudel. |
Popularity among Dutch artists |
He attracted well-to-do artists, such as Cornelis de Bruijn and Jan van Bunnik, who made trips especially to visit his studio. Willem Drost and Jan Vermeer van Utrecht were among his close friends. He is buried in the church of San Luca, Venice. |
Collections |
His works are mostly in Germany and Italy. Other museums with works by Loth include the Art Institute of Chicago and the National Gallery, London. Burghley House in England has two large paintings in the chapel. |
Isaac Blessing Jacob is on long-term loan to the Skirball Cultural Center in Los Angeles, having recently been reclaimed by the Bloch family, originally from Brno, Czechoslovakia. |
In 2023 a Loth painting that had been looted by the Nazis was found after a search of more than 80 years by the family of Jewish Czech industrialist Johann Bloch. Changes in the title and attribution had made the search particularly difficult. |
Gallery |
References |
Dictionary of Painters and Engravers. Michael Bryan. pp. 78–79. |
External links |
Media related to Johann Carl Loth at Wikimedia Commons |
Johann Carl Loth on Artnet |
Johann Liss or Jan Lys (c. 1590 or 1597 – 1629 or 1630) was a leading German Baroque painter of the 17th century, active mainly in Venice. |
Biography |
Liss was born in Oldenburg (Holstein) in Schleswig-Holstein, Germany. After an initial education in his home state, he continued his studies, according to Houbraken, with Hendrick Goltzius in Haarlem and Amsterdam. Around 1620 he travelled through Paris to Venice. He moved to Rome around 1620–1622, and his first works there were influenced by the style of Caravaggio. |
Although his earlier work was concerned with the contrasts of light and shadow, his final move to Venice in the early 1620s modified his style and gave impetus to brilliant color and a spirited treatment of the painted surface. In 1627, he painted an admired large altarpiece, the Inspiration of Saint Jerome in San Nicolò da Tolentino. His loose brushstrokes seem precursor to rococo styles of the Guardi brothers. This final style, along with that of other "foreign" painters residing in Venice, Domenico Fetti and Bernardo Strozzi, represent the first inroads of Baroque style into the republic. |
Liss fled to Verona to escape the plague spreading in Venice, but succumbed there prematurely in 1629. According to Houbraken, he worked day and night on his paintings, so that Joachim von Sandrart felt that his health was at risk and urged him to join him in Rome. |
His legacy is as a painter of both sensuous mythological and pious biblical subjects, a master of colors and Baroque painting. He was most influential to Venetian 18th-century painters like Sebastiano Ricci, Giovanni Battista Tiepolo and Giovanni Piazzetta. |
Joachim von Sandrart wrote in 1675 that "because he fared well in Venice, he soon returned there ... he died along with many others during the plague that began in 1629." |
Nazi looting and restitution |
In 1939, the Liss drawing entitled "Allegory of Christian Faith" was one of 750 Old Master drawings seized from the home of Arthur Feldmann and his wife by the Nazis. The Cleveland Museum of Art, which acquired the drawing from the art dealer Herbert Bier in 1953, reached a settlement with the Feldmann heirs in 2013. The Feldmanns, a Jewish couple, were murdered in the Holocaust. |
Examples of work |
Lute Player |
Visitation of St Jerome |
Vision of Saint Jerome |
Peasants playing mora |
Judith in the Tent of Holofernes (c.1622, National Gallery, London) |
Death of Cleopatra |
Abel mourned by his parents |
Venus in front of mirror (1625–26, Uffizi) |
Death of Phaeton |
Cupid (Cleveland Art Museum, Cleveland, Ohio) |
References |
Further reading |
General studies |
Biedermann, Rolf; Lee, Shermann E.; et al. (1975). Johann Liss (exhibition catalogue). Augsburg: Presse-Druck- und Verlags-GmbH. ISBN 0-910386-25-0. OCLC 1256249652 – via the Internet Archive. |
Klessmann, Rüdiger (1999). Johann Liss: Eine Monographie mit kritischem Oeuvrekatalog (biography and catalogue raisonné). Jahresgabe des Deutschen Vereins für Kunstwissenschaft (in German). Doornspijk: Davaco. ISBN 90-70288-07-9. OCLC 231834709. |
Additional studies and notes |
Spear, Richard E. (December 1976). "Johann Liss Reconsidered". The Art Bulletin. 58 (4): 582–593. doi:10.2307/3049572. JSTOR 3049572. |
Wittkower, Rudolf (1993). "ch. 5". Pelican History of Art, Art and Architecture Italy, 1600-1750. 1980. Penguin Books Ltd. pp. 106–7. |
Johann Wolfgang Baumgartner (1702 in Ebbs, Tirol - 7 September 1761 in Augsburg) was an Austrian-German Rococo painter. |
Life |
He was born Johann Wolfgang Baumgartner in Tyrol and he learned glass painting in Salzburg. He moved to Augsburg and worked as a glass painter. The ceiling painting in the Sanctuary of the Holy Cross of the former Klosters Mountains is considered as his largest and most important work. |
Works |
Ceiling frescoes of the Sanctuary of St. Mary of Mount Carmel in Baitenhausen in Meersburg on Lake Constance, 1760 |
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