| Arnold Böcklin | |
|---|---|
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| Self-portrait Oil on canvas (1872) |
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| Birth name | Arnold Böcklin |
| Born | 16 October 1827 Basel |
| Died | 16 January 1901 San Domenico |
| Nationality | Swiss |
| Field | Painting |
| Movement | Symbolism |
| Works | Isle of the Dead |
| Influenced | Sergei Rachmaninoff, Max Reger, Hugo von Hofmannsthal, Stefan George, Max Klinger, Edvard Munch, Giorgio de Chirico, Max Ernst, Salvador Dalí |
Arnold Böcklin (16 October 1827 – 16 January 1901) was a symbolist Swiss painter.
==Life and art== juan is a .... I HATE U He studied at Düsseldorf where he became a friend of Ludwig Andreas Feuerbach. Originally a landscape painter, his travels through Brussels, Zurich, Geneva and Rome, exposed him to classical and Renaissance art, and the Mediterranean landscape. These new influences brought allegorical and mythological figures into his compositions. In 1866 he resided at Basel, in 1871 in Munich, in 1885 in Hottingen (Switzerland) and at the end of his life in Fiesole near Florence.
Influenced by Romanticism his painting is symbolist with mythological subjects often overlapping with the Pre-Raphaelites. His pictures portray mythological, fantastical figures along classical architecture constructions (revealing often an obsession with death) creating a strange, fantasy world.
Böcklin is best known for his five versions of Isle of the Dead, which partly evokes the English Cemetery, Florence, close to his studio and where his baby daughter Maria had been buried. An early version of the painting was commissioned by a Madame Berna, a widow who wanted a painting with a dream-like atmosphere.[1]
Clement Greenberg wrote in 1947 that Böcklin's work "is one of the most consummate expressions of all that was now disliked about the latter half of the nineteenth century."[2]
Böcklin exercised an influence on Surrealist painters like Max Ernst and Salvador Dalí, and on Giorgio de Chirico.
Otto Weisert designed an Art Nouveau typeface in 1904 and named it “Arnold Böcklin” in his honor.
Böcklin's paintings, especially The Isle of the Dead, inspired several late-Romantic composers. Sergei Rachmaninoff and Heinrich Schülz-Beuthen both composed symphonic poems after it, and in 1913 Max Reger composed a set of Four Tone Poems after Böcklin of which the third movement is The Isle of the Dead (The others are The Hermit playing the Violin, At play in the waves and Bacchanal). Hans Huber's second symphony is entitled "Böcklin-Sinfonie", after the artist and his paintings.
Rachmaninoff was also inspired by Böcklin’s painting The Return when writing his Prelude in B Minor, Op. 32, No. 10. [3][4]
Adolf Hitler was fond of Böcklin’s work, at one time owning 11 of his paintings.[5]
When asked who was his favorite painter, Marcel Duchamp controversially named Arnold Böcklin as having a major influence on his art. Whether Duchamp was serious in this assertion is still debated.
H. R. Giger has a picture called "Hommage to Boecklin", based upon "Isle of the Dead."
ARNOLD BOCKLIN (1827-1901), Swiss painter, was born at Basel on the 16th of October 1827. His father, Christian Frederick BOcklin (b. 1802), was descended from an old family of Schaffhausen, and engaged in the silk trade. His mother, Ursula Lippe, was a native of the same city. In 1846 he began his studies at the Dusseldorf academy under Schirmer, who recognized in him a student of exceptional promise, and sent him to Antwerp and Brussels, where he copied the works of Flemish and Dutch masters. BOcklin then went to Paris, worked at the Louvre, and painted several landscapes; his "Landscape and Ruin" reveals at the same time a strong feeling for nature and a dramatic conception of scenery. After serving his time in the army he set out for Rome in March 1850, and the sight of the Eternal City was a fresh stimulus to his mind. So, too, was the influence of Italian nature and that of the dead pagan world. At Rome he married (June 20, 1853) Angela Rosa Lorenza Pascucci. In 1856 he returned to Munich, and remained there four years. He then exhibited the "Great Park," one of his earliest works, in which he treated ancient mythology with the stamp of individuality, which was the basis of his reputation. Of this period, too, are his "Nymph and Satyr," "Heroic Landscape" (Diana Hunting), both of 1858, and "Sappho" (1859). These works, which were much discussed, together with Lenbach's recommendation, gained him his appointment as professor at the Weimar academy. He held the office for two years, painting the "Venus and Love," a "Portrait of Lenbach," and a "Saint Catherine." He was again at Rome from 1862 to 1866, and there gave his fancy and his taste for violent colour free play in his "Portrait of Mme BOcklin," now in the Basel gallery, in "An Anchorite in the Wilderness" (1863); a "Roman Tavern," and "Villa on the Sea-shore" (1864); this last, one of his best pictures. He returned to Basel in 1866 to finish his frescoes in the gallery, and to paint, besides several portraits, "The Magdalene with Christ" (1868); "Anacreon's Muse" (1869); and "A Castle and Warriors" (1871). His "Portrait of Myself," with Death playing a violin (1873), was painted after his return again to Munich, where he exhibited his famous "Battle of the Centaurs" (in the Basel gallery); "Landscape with Moorish Horsemen" (in the Lucerne gallery); and "A Farm" (1875). From 1876 to 1885 Bocklin was working at Florence, and painted a "Pieta," "Ulysses and Calypso," "Prometheus," and the "Sacred Grove." From 1886 to 1892 he settled at Zurich. Of this period are the "Naiads at Play," "A Sea Idyll," and "War." After 1892 Bocklin resided at San Domenico, near Florence. An exhibition of his collected works was held at Basel from the 10th of September to the 24th of October 1897. He died on the 16th of January 1901.
His life has been written by Henri Mendelssohn. See also F. Hermann, Gazette des Beaux Arts (Paris, 1893); Max Lehrs, Arnold Bocklin, Ein Leitfaden zum Verstcindniss seiner Kunst (Munich, 1897); W. Ritter, Arnold Bocklin (Gand, 1895); Katalog der Bocklin Jubildums Ausstellung (Basel, 1897). (H. FR.)
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