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
Rear of House and Backyard
1846 Oil on canvas Nationalgalerie, Berlin.
ID: 19386

Adolph von Menzel Rear of House and Backyard
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Adolph von Menzel Rear of House and Backyard


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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 Balcony Room | The Berlin-Potsdam Railway | Rear Counryard and House | The Berlin-Potsdam Railway | The Berlin-Potsdam Railway |
Related Artists:
Eugene Louis Boudin
(12 July 1824 - 8 August 1898) was one of the first French landscape painters to paint outdoors. Boudin was a marine painter, and expert in the rendering of all that goes upon the sea and along its shores. His pastels, summary and economic, garnered the splendid eulogy of Baudelaire, and Corot who, gazing at his pictures, said to him, "You are the master of the sky." Born at Honfleur, France, he worked in a small art shop where Claude Monet displayed his art work Le Havre and Honfleur across the estuary of the Seine. But before old age came on him, Boudin's father abandoned seafaring, and his son gave it up too, having no real vocation for it, though he preserved to his last days much of a sailor's character, frankness, accessibility, and open-heartedness. In 1835, his family moved to Le Havre, where his father established himself as stationer and frame-maker. He began work the next year as an assistant in a stationery and framing store before opening his own small shop. There he came into contact with artists working in the area and exhibited in his shop the paintings of Constant Troyon and Jean-François Millet, who, along with Jean-Baptiste Isabey and Thomas Couture whom he met during this time, encouraged young Boudin to follow an artistic career. At the age of 22 he abandoned the world of commerce, started painting full-time, and traveled to Paris the following year and then through Flanders. In 1850 he earned a scholarship that enabled him to move to Paris, although he often returned to paint in Normandy and, from 1855, made regular trips to Brittany. The Beach at Villerville, 1864. Eugene Boudin. Oil on canvas. National Gallery of Art, Washington DC. (Zoomview) Rivage de Pontrieux, Cotes-du-Nord. 1874. Eugene Boudin. Landscape with Sunset. 1880-1890. Watercolour. Musee d'Orsay, Paris Berck, Fishermen at Low TideDutch 17th century masters profoundly influenced him, and on meeting the Dutch painter Johan Jongkind, who already made his mark in French artistic circles, Boudin was advised by his new friend to paint outdoors (en plein air). He also worked with Troyon and Isabey, and in 1859 met Gustave Courbet who introduced him to Charles Baudelaire, the first critic to draw Boudines talents to public attention when the artist made his debut at the 1859 Paris Salon. In 1856/57 Boudin met the young Claude Monet who spent several months working with Boudin in his studio. The two remained lifelong friends and Monet later paid tribute to Boudines early influence. Boudin joined Monet and his young friends in the first Impressionist exhibition in 1874, but never considered himself a radical or innovator. Boudines growing reputation enabled him to travel extensively in the 1870s. He visited Belgium, the Netherlands, and southern France, and from 1892 to 1895 made regular trips to Venice. He continued to exhibit at the Paris Salons, receiving a third place medal at the Paris Salon of 1881, and a gold medal at the 1889 Exposition Universelle. In 1892 Boudin was made a knight of the Legion d'honneur, a somewhat tardy recognition of his talents and influence on the art of his contemporaries. Late in his life he returned to the south of France as a refuge from ill-health, and recognizing soon that the relief it could give him was almost spent, he returned to his home at Deauville, to die within sight of Channel waters and under Channel skies.
Emile Munier
was a French academic artist and student of William-Adolphe Bouguereau. Emile Munier was born in Paris and lived with his family at 66 rue des Fosses, St. Marcel. His father, Pierre François Munier, was an artist upholsterer at the Manufacture Nationale des Gobelins and his mother, Marie Louise Carpentier, was a polisher in a cashmere cloth mill. Emile and his two brothers, François and Florimond, were gifted artists and each spent some time at the Gobelins. During Emile's training he developed a close relationship with his professor Abel Lucas and his family. He eventually married Abel's daughter Henriette. During the 1860s, Munier received three medals at the Beaux-Arts and in 1869 he exhibited at the Paris Salon. He became a great supporter of the Academic ideals and a follower of Bouguereau, whose subject matter would be an important inspiration to the young Munier. In 1867, Henriette gave birth to a son, Emile Henri. Six weeks after the birth, having contracted severe rheumatism, Henriette died prematurely. In 1871, Munier abandoned his career as an upholsterer and devoted his time solely to painting; he also began teaching classes to adults three nights a week. Sargine Augrand, a student of Abel Lucas and a close friend of Emile and Henriette (before she died), caught Emile eye; they married in 1872 and lived in a small apartment and studio. Munier frequented the studio of Bouguereau, and they became friends. In 1885 he painted, and exhibited at the Paris Salon, Trois Amis (Favourite Pets). This painting, representing a chubby girl playing on her bed with a kitten and a dog, was an extremely successful work, being reproduced in many forms and used for publicity posters by Pears Soap. With this work, Emile asserted himself as one of inters of young children and their pets; it was eventually acquired by an American collector. Among his many American patrons were Chapman H. Hyams and his wife, who were important collectors of contemporary French paintings during the 19th century and favored artists like Henner, Bouguereau, Gerôme, Vinel and Schreyer. Munier painted their portrait in 1889, and it, along with much of their collection, is now in the New Orleans Museum of Art. During the 1890s Munier continued to paint peasant, mythological and religious subjects. In 1893 he exhibited L'esprit de la chute d'eau, at the Paris Salon, a nude nymph whom is not unlike Naissance de Venus by Bouguereau.
Jean-Auguste Dominique Ingres
French Neoclassical Painter, 1780-1867 was a French Neoclassical painter. Although he considered himself a painter of history in the tradition of Nicolas Poussin and Jacques-Louis David, by the end of his life it was Ingres' portraits, both painted and drawn, that were recognized as his greatest legacy. A man profoundly respectful of the past, he assumed the role of a guardian of academic orthodoxy against the ascendant Romantic style represented by his nemesis Eug??ne Delacroix. His exemplars, he once explained, were "the great masters which flourished in that century of glorious memory when Raphael set the eternal and incontestable bounds of the sublime in art ... I am thus a conservator of good doctrine, and not an innovator." Nevertheless, modern opinion has tended to regard Ingres and the other Neoclassicists of his era as embodying the Romantic spirit of his time, while his expressive distortions of form and space make him an important precursor of modern art..






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