1887-1914 August Macke Locations August Macke was born in Meschede, Germany. His father, August Friedrich Hermann Macke (1845-1904), was a building contractor and his mother, Maria Florentine, n??e Adolph, (1848-1922), came from a farming family in Germany's Sauerland region. The family lived at Br??sseler Straße until August was 13. He then lived most of his creative life in Bonn, with the exception of a few periods spent at Lake Thun in Switzerland and various trips to Paris, Italy, Holland and Tunisia. In Paris, where he traveled for the first time in 1907, Macke saw the work of the Impressionists, and shortly after he went to Berlin and spent a few months in Lovis Corinth's studio. His style was formed within the mode of French Impressionism and Post-impressionism and later went through a Fauve period. In 1909 he married Elizabeth Gerhardt. In 1910, through his friendship with Franz Marc, Macke met Kandinsky and for a while shared the non-objective aesthetic and the mystical and symbolic interests of Der Blaue Reiter. Macke's meeting with Robert Delaunay in Paris in 1912 was to be a sort of revelation for him. Delaunay's chromatic Cubism, which Apollinaire had called Orphism, influenced Macke's art from that point onwards. His Shops Windows can be considered a personal interpretation of Delaunay's Windows, combined with the simultaneity of images found in Italian Futurism. The exotic atmosphere of Tunisia, where Macke traveled in 1914 with Paul Klee and Louis Moilliet was fundamental for the creation of the luminist approach of his final period, during which he produced a series of works now considered masterpieces. August Macke's oeuvre can be considered as Expressionism, (the movement that flourished in Germany between 1905 and 1925) and also his work was part of Fauvism. The paintings concentrate primarily on expressing emotion, his style of work represents feelings and moods rather than reproducing objective reality, usually distorting colour and form. Macke's career was cut short by his early death at the front in Champagne in September 1914, the second month of World War I. His final painting, Farewell, depicts the mood of gloom that settled after the outbreak of war.   Related Paintings of August Macke :. | Portrait with Apples : Wife of the Artist | Schlucht | Garden Gate | Mit gelber Jacke | Bildnis Bernhard Koehler |
Related Artists:
Juan Gris
1887-1927 Born in Madrid, he studied mechanical drawing at the Escuela de Artes y Manufacturas in Madrid from 1902 to 1904, during which time he contributed drawings to local periodicals. From 1904 to 1905 he studied painting with the academic artist Jose Maria Carbonero. In 1906 he moved to Paris and became friends with Henri Matisse, Georges Braque, Fernand Leger, and in 1915 he was painted by his friend, Amedeo Modigliani. In Paris, Gris followed the lead of another friend and fellow countryman, Pablo Picasso. His portrait of Picasso in 1912 is a significant early Cubist painting done by a painter other than Picasso or Georges Braque. (Although he regarded Picasso as a teacher, Gertrude Stein acknowledged that Gris "was the one person that Picasso would have willingly wiped off the map.") Portrait of Picasso, 1912, The Art Institute of Chicago.Although he submitted darkly humorous illustrations to journals such as Le Rire, L'assiette au beurre, Le Charivari, and Le Cri de Paris, Gris began to paint seriously in 1910. By 1912 he had developed a personal Cubist style. At first Gris painted in the analytic style of Cubism, but after 1913 he began his conversion to synthetic Cubism, of which he became a steadfast interpreter, with extensive use of papier coll??. Unlike Picasso and Braque, whose Cubist works were monochromatic, Gris painted with bright harmonious colors in daring, novel combinations in the manner of his friend Matisse. In 1924, he first designed ballet sets and costumes for Sergei Diaghilev and the famous Ballets Russes. Gris articulated most of his aesthetic theories during 1924 and 1925. He delivered his definitive lecture, Des possibilit??s de la peinture, at the Sorbonne in 1924. Major Gris exhibitions took place at the Galerie Simon in Paris and the Galerie Flechtheim in Berlin in 1923, and at the Galerie Flechtheim in D??sseldorf in 1925. He died in Boulogne-sur-Seine (Paris) in the spring of 1927 at the age of forty, leaving a wife, Josette, and a son, Georges.
J.M.W.Turner
English Romantic Painter, 1775-1851, British land- and seascape artist. Born in London the son of a barber, Turner was precociously talented. He entered the RA Schools in 1789, had a drawing exhibited at the academy in 1790, and was elected a full academician in 1802. He became professor of perspective in 1807. A prolific artist of amazing range of subject and style, he began work in water-colours, quickly founding both a reputation and a fortune, which made him independent of changing public taste. His work was not appreciated by everyone, but his supporters included Thomas Lawrence, John Ruskin, and the earl of Egremont. He died in eccentric obscurity under a false name.
Jan Baptiste Vanmour
1671-1737 was a Flemish-French painter, remembered for his detailed portrayal of life in the Ottoman Empire during the Tulip Era and the rule of Sultan Ahmed III. Van Mour was a native of Valenciennes, a Flemish town that at he time of his birth belonged to the Spanish Netherlands, but since 1678 to France. He studied art in the studio of Jacques-Albert Gerin, and his work attracted the attention of an aristocrat and statesman of the time, Marquis Charles de Ferriol. Van Mour was invited to go to Istanbul when De Ferriol was appointed there as the French Ambassador in 1699. De Ferriol commissioned van Mour to do one hundred portraits of the local people. In 1711 De Ferriol returned to France and van Mour worked for a variety of other diplomats. In the meantime De Ferriol published a series of one hundred engravings (after the paintings) in Recueil de cent estampes representant differentes nations du Levant. The book had a great influence in Western Europe and was published in at least five languages. Painting audiences with the Sultan became van Mour's speciality; he only had to change the setting and a few faces. Van Mour worked with assistants to fulfill all his obligations. In 1725 he was granted the extraordinary title of Peintre Ordinaire du Roy en Levant in recognition of both his and the Levant's importance to the French government. In 1727 the Dutch ambassador Cornelis Calkoen asked Van Mour to record his audience with Sultan Ahmed III on canvas. Van Mour was allowed to enter the palace during these ceremonies accompanying the ambassador and his retinue; therefore, he was familiar with the special protocol that prevailed in the Ottoman court for ambassador's receptions. Calkoen took many paintings of Jean-Baptiste van Mour with him, when he was appointed as ambassador in Dresden for the Dutch Republic.