Hans Von Marées

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Marées, Hans Von

 

Born Dec. 24, 1837, in Elberfeld, North Rhine-Westphalia; died June 5, 1887, in Rome. German painter.

Marées studied with K. Steffeck in Berlin in 1854 and 1855. Having lived in Italy from 1864 to 1870, he settled there permanently in 1873. Under the influence of Italian Renaissance art, Marees painted murals and sought to achieve lifelike representations (frescoes in the Zoological Station in Naples, 1873-74). He shared the aesthetic views of A. Hildebrand and K. Fiedler (neo-idealism), seeking to embody the dream of the “golden age” of humanity in allegorical images and to invest his works with expressive, purely plastic elements (The Golden Age, two versions, 1879-85, New Pinakothek, Munich).

Marées’s subsequent triptych cycles on mythological themes are marked by clearly arranged masses, rhythmical forms, and rather bright colors; their two-dimensional and linear compositions anticipated art nouveau painting. The artist’s striving for an abstract artistic ideal, based on associations with classical art, introduced elements of cold abstractness into his works (The Judgment of Paris, 1880-81, National Gallery, Berlin; The Hesperides, 1884-87, New Pinakothek, Munich).

REFERENCES

Kuttner, E. Hans von Marees. Dresden [1958].
Einem, H. von. Hans von Marees. Munich, 1967.
References in periodicals archive ?
Hans von Marees, soberly registering the irretrievability of the past) and the explosive vitality of Arnold Bocklin.
The Cult of the Artist" (through February 15), celebrating such artists as Joseph Beuys, Caspar David Friedrich, Alberto Giacometti, Martin Kippenberger, Paul Klee, Jeff Koons, Hans von Marees, Karl Friedrich Schinkel, Andy Warhol, and, indirectly, the Pharaonic sculptor Thutmose.
This is turn-of-the-century Symbolism with a German accent, with highly romantic, sometime morbid and often erotic images from artists ranging from Arnold Bocklin and Franz von Stuck to the little known Hans Thoma, Ludwig Van Hoffmann and Hans von Marees.
Another looted work, Self Portrait by Hans Von Marees, will also be given to her.
As a belated Symbolist in the tradition of Hans von Marees, he produced an unforgettable series of devotional triptychs.
This is turn-of-the-century Symbolism with a German accent with highly romantic, sometimes morbid, and often erotic images from artists ranging from Arnold Bocklin and Franz von Stuck to the little known Hans Thoma, Ludwig Van Hoffmann and Hans von Marees.
Like his German contemporaries Anselm Feuerbach and Hans von Marees, Bocklin enjoyed long sojourns in Italy, where his imagination was fired with visions of antiquity, as if on a sunny excursion to Capri he might stumble upon no less an adversary than Polyphemus.
This is turn-of-the-century Symbolism with a German accent with highly romantic, sometime morbid, and often erotic images from artists ranging from Arnold Bocklin to the little known Hans Thoma, Ludwig Van Hoffmann and Hans von Marees.
This is turn-of-the-centiury symbolism with a German accent, highly romantic, sometimes morbid and often erotic images from artists ranging from Arnold Bocklin to the little known Hans Thoma, Ludwig Van Hoffmann and Hans von Marees.