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April 6 or March 28, 1483 – April 6, 1520. Italian painter.

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Franz Marc
Drei Tiere
1912(1912) Medium oil on canvas Dimensions 80 X 105 cm cyf
ID: 96494

Franz Marc Drei Tiere
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Franz Marc Drei Tiere


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Franz Marc

1880-1916 German Franz Marc Locations Franz Marc was born in 1880, in the German town of Munich. His father, Wilhelm, was a professional landscape painter, and his mother Sophie was a strict Calvinist. He began study at the Academy of Fine Arts, Munich in 1900. In 1903 and 1907 he spent time in Paris and discovered a strong affinity for the work of Vincent van Gogh. Marc developed an important friendship with the artist August Macke in 1910. In 1911 he formed the Der Blaue Reiter artist circle with Macke, Wassily Kandinsky, and other artists who decided to split off from the Neue K??nstlervereinigung movement. He showed several of his works in the first Der Blaue Reiter exhibition at the Thannhauser Galleries in Munich between December 1911 and January 1912. The exhibition was the apex of the German expressionist movement and also showed in Berlin, Köln, Hagen, and Frankfurt. In 1912, Marc also met Robert Delaunay, whose use of color and futurist method was a major influence on Marc's work. Marc became influenced by futurism and cubism, and his art became stark and abstract in nature. His name was on a list of notable artists to be withdrawn from combat in World War I. Before the orders were carried out, he was struck in the head and killed instantly by a shell splinter during the Battle of Verdun (1916).   Related Paintings of Franz Marc :. | Deer in a Monastery Garden (mk34) | Details of Rain (mk34) | The Steer (mk34) | Watering Place on Rubinber (mk34) | Broken Forms (mk34) |
Related Artists:
BOTTICINI, Francesco
Italian Early Renaissance Painter, ca.1446-1498 Francesco di Giovanni Botticini (1446 ?C July 22, 1498) was an Italian Early Renaissance painter. He studied under Cosimo Rosselli and Andrea del Verrocchio. He was born in Florence in 1446 and is mostly remembered for his painting entitled "Assumption of the Virgin"; he died in 1498 (some sources say 1497). He established his own workshop after a brief period as Neri di Bicci's assistant; the shop was renowned for its decorative works, a few of which can be seen in the cloistered church of Empoli. Some of Botticini's works are said to be overshadowed by his Florentine contemporaries, such as Filippino Lippi and Botticelli, who often influenced Botticini's works.
Maria Quiteria
(1792-1853) was a Brazilian Lieutenant and national heroine. She served in the Brazilian war of independence in 1822-23 dressed as a man. She was promoted to cadet and Lieutenant and decorated with the Imperial order. She has been called "Brazilian Joan of Arc".
HALL, Peter Adolf
1739-1793 Swedish painter and collector. In 1753 he attended Uppsala Universitet to study medicine and natural history. In 1755 he went on a study trip abroad, led by his drawing-master Lars Brisman. While in Germany (1756-9) he studied miniature painting with Eichhardt in Berlin and with Karl Friedrich Wilhelm Richard (1725-70) in Hamburg. After this trip, he decided to become a professional portrait painter, and in 1759 he enrolled at the Kungliga Akademi for de Fria Konsterna in Stockholm, studying drawing with the French sculptor Pierre-Hubert Larchaveque (1721-78) and painting with Gustaf Lundberg. He attracted the attention of C. F. Adelcrantz, who in 1766 gained for him a commission for the pastel portrait of Princes Karl and Fredrik Adolf. In that year he also executed a miniature portrait of Crown Prince Gustav on the occasion of his engagement to Princess Sophia Magdalena of Denmark. Also in 1766 he received a royal travel grant to study in Paris, where he developed a completely new technique of miniature painting using sweeping brushwork and a clear and fresh range of colour that allowed for lively characterization. He made exquisite detailed studies of the backgrounds of his paintings, as well as his sitters costumes and their attributes and accessories. His new technique involved applying gouache to the ivory in a manner that allowed the ivory to show through, a method that was particularly successful in depicting drapery. The smooth surface of the ivory also allowed freer brushwork associated with full-scale portraits.






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