Adolph Menzel
Adolph Menzel's Oil Paintings
Adolph Menzel Museum
December 8, 1815 Breslau - February 9, 1905 Berlin.

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Adolph von Menzel
A Paris Day
mk87 1869 Oil on canvas 50x71cm Dusseldorf,Kunstmuseum Dusseldorf
ID: 33912

Adolph von Menzel A Paris Day
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Adolph von Menzel A Paris Day


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Adolph von Menzel

1815-1905 German Adolph von Menzel Gallery His father was the headmaster of a school for girls, and intended to educate his son as a professor; but he would not thwart his taste for art. Left an orphan in 1832, Menzel had to maintain his family. In 1833 Sachse of Berlin published his first work, an album of pen-and-ink drawings reproduced on stone, to illustrate Goethe's little poem, Kunstlers Erdenwallen. He executed lithographs in the same manner to illustrate Denkw??rdigkeiten aus der brandenburgisch-preussischen Geschichte; The Five Senses and The Prayer, as well as diplomas for various corporations and societies. From 1839 to 1842 he produced 400 drawings, largely introducing to Germany the technique of wood engraving, to illustrate the Geschichte Friedrichs des Grossen (History of Frederick the Great) by Franz Kugler. He subsequently brought out Friedrichs der Grossen Armee in ihrer Uniformirung (The Uniforms of the Army under Frederick the Great), Soldaten Friedrichs der Grossen (The Soldiers of Frederick the Great); and finally, by order of the king Frederick William IV, he illustrated the works of Frederick the Great, Illustrationen zu den Werken Friedricks des Grossen (1843-1849). By these works Menzel established his claim to be considered one of the first, if not actually the first, of the illustrators of his day in his own line. Pencil drawing by Menzel, 1891.Meanwhile Menzel had set himself to study unaided the art of painting, and he soon produced a great number and variety of pictures, always showing keen observation and honest workmanship in subjects dealing with the life and achievements of Frederick the Great, and scenes of everyday life, such as In the Tuileries, The Ball Supper, and At Confession. Among the most important of these works are The Forge (1875) and The Market-place at Verona. Invited to paint The Coronation of William I at Koenigsberg, he produced an exact representation of the ceremony without regard to the traditions of official painting. In Germany he received many honors, and was the first painter to be given the Order of the Black Eagle in 1898 which included a title of nobility, becoming von Menzel.  Related Paintings of Adolph von Menzel :. | The Back Garden | Plaster Casts on the Studio Wall | Frederick the Great addresses his Generals before the Battle of Leuthen | Friedrichsgracht bei Mondschein | The Flute concert of Frederick the Great at Sanssouci |
Related Artists:
Kurt Schwitters
German Dadaist Painter and Sculptor, 1887-1948 German painter, sculptor, designer and writer. He studied at the Kunstakademie in Dresden (1909-14) and served as a clerical officer and mechanical draughtsman during World War I. At first his painting was naturalistic and then Impressionistic, until he came into contact with Expressionist art, particularly the art associated with Der Sturm, in 1918. He painted mystical and apocalyptic landscapes, such as Mountain Graveyard (1912; New York, Guggenheim), and also wrote Expressionist poetry for Der Sturm magazine. He became associated with the DADA movement in Berlin after meeting Hans Arp, Raoul Hausmann, Hannah H?ch and Richard Huelsenbeck, and he began to make collages that he called Merzbilder. These were made from waste materials picked up in the streets and parks of Hannover, and in them he saw the creation of a fragile new beauty out of the ruins of German culture. Similarly he began to compose his poetry from snatches of overheard conversations and randomly derived phrases from newspapers and magazines. His mock-romantic poem An Anna Blume, published in Der Sturm in August 1919, was a popular success in Germany. From this time 'Merz' became the name of Schwitters's one-man movement and philosophy. The word derives from a fragment of the word Kommerz, used in an early assemblage (Merzbild, 1919; destr.; see Elderfield, no. 42), for which Schwitters subsequently gave a number of meanings, the most frequent being that of 'refuse' or 'rejects'. In 1919 he wrote: 'The word Merz denotes essentially the combination, for artistic purposes, of all conceivable materials, and, technically, the principle of the equal distribution of the individual materials .... A perambulator wheel, wire-netting, string and cotton wool are factors having equal rights with paint'; such materials were indeed incorporated in Schwitters's large assemblages and painted collages of this period, for example Construction for Noble Ladies (1919; Los Angeles, CA, Co. Mus. A.; see fig. 1; see also COLLAGE). Schwitters's essential aestheticism and formalism alienated him from the political wing of German Dada led by Huelsenbeck, and he was ridiculed as 'the Caspar David Friedrich of the Dadaist Revolution'. Although his work of this period is full of hints and allusions to contemporary political and cultural conditions, unlike the work of George Grosz or John Heartfield it was not polemical or bitterly satirical.
Jerg Ratgeb
Jerg Ratgeb (also Jörg) (born circa 1480 in Schwäbisch Gmend; died 1526 in Pforzheim) was a German painter and contemporary of Derer. Around the turn of the 15th to 16th century, Ratgeb appears to have spent time in Italy, where he came in contact with Italian Renaissance art and with the recently developed use of perspective in painting. After returning to Germany, he settled in Heilbronn. In 1510, he painted the altar of Saint Barbara in the church of nearby Schwaigern. From 1514 to 1517 he was in Frankfurt am Main, where he painted the walls of the refectory and cloister of the Karmeliterkloster (Carmelite Monastery). The paintings, of which only fragments survive, are the largest wall paintings known to the north of the Alps from that period. His most famous work is the Herrenberg Altarpiece, completed in 1521. It was originally painted for the Stiftskirche (abbey church) of Herrenberg. Today, it is on display in the Staatgalerie at Stuttgart. Ratgeb had developed a distinctive personal expressive style, visibly influenced by artists such as Albrecht Derer, Matthias Grenewald and Hieronymus Bosch. Fresco in the Karmeliterkloster, Frankfurt am Main. Copy of the altarpiece in the abbey church at Herrenberg - here depicted when closed Because of his marriage with a serf of the Duke of Werttemberg he lost most of his rights as a citizen of Heilbronn. He moved to Stuttgart, where he became a member of the city council. In that position, he negotiated with the rebelling farmers during the German Peasants' War in 1525. He became part of the military contingent requested by the rebels and was elected councillor and chancellor by the peasants. After the suppression of the rebellion, he was arrested, accused of high treason ("because of the Peasant War and on behalf of Duke Ulrich") and finally executed in Pforzheim in 1526, by being torn apart by four horses.
Gustave Dore
(French pronunciation: January 6, 1832 - January 23, 1883) was a French artist, engraver, illustrator and sculptor. Dore worked primarily with wood engraving and steel engraving. Dore was born in Strasbourg and his first illustrated story was published at the age of fifteen. His skill had manifested itself even earlier, however. At age five he had been a prodigy troublemaker, playing pranks that were mature beyond his years. Seven years later, he began carving in cement. Subsequently, as a young man, he began work as a literary illustrator in Paris, winning commissions to depict scenes from books by Rabelais, Balzac, Milton and Dante. In 1853, Dore was asked to illustrate the works of Lord Byron. This commission was followed by additional work for British publishers, including a new illustrated English Bible. A decade later, he illustrated a French edition of Cervantes's Don Quixote, and his depictions of the knight and his squire, Sancho Panza, have become so famous that they have influenced subsequent readers, artists, and stage and film directors' ideas of the physical "look" of the two characters. Dore also illustrated an oversized edition of Edgar Allan Poe's "The Raven", an endeavor that earned him 30,000 francs from publisher Harper & Brothers in 1883. Dore's English Bible (1866) was a great success, and in 1867 Dore had a major exhibition of his work in London. This exhibition led to the foundation of the Dore Gallery in Covelant Bond Street. In 1869, Blanchard Jerrold, the son of Douglas William Jerrold, suggested that they work together to produce a comprehensive portrait of London. Jerrold had obtained the idea from The Microcosm of London produced by Rudolph Ackermann, William Pyne, and Thomas Rowlandson in 1808. Dore signed a five-year contract with the publishers Grant & Co that involved his staying in London for three months a year, and he received the vast sum of £10,000 a year for the project. Dore was mainly celebrated for his paintings in his day. His paintings remain world renowned, but his woodcuts and engravings, like those he did for Jerrold, are where he really excelled as an artist with an individual vision. The completed book, London: A Pilgrimage, with 180 engravings, was published in 1872. It enjoyed commercial and socioeconomical success, but the work was disliked by many contemporary critics. Some of these critics were concerned with the fact that Dore appeared to focus on the poverty that existed in parts of London. Dore was accused by the Art Journal of "inventing rather than copying." The Westminster Review claimed that "Dore gives us sketches in which the commonest, the vulgarest external features are set down." The book was a financial success, however, and Dore received commissions from other British publishers.






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