Arnold Boecklin

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Boecklin, Arnold


Born Oct. 16, 1827, in Basel, Switzerland; died Jan. 16, 1901, in San Domenico di Fiesole, Italy. Swiss painter.

Boecklin studied in Düsseldorf (1845–47) and worked in Basel, Munich, and Italy. Wishing to avoid depicting reality, he created an imaginary world in his pictures, often purposely mysterious. At first, he painted romantic landscapes with mythological figures; later, fantastic scenes with nymphs, sea monsters, and so on (Triton and Nereid, 1873–74). His later compositions (Island of the Dead, 1880, Museum of Art in Basel), in which artificial symbolism was combined with naturalistically authentic details, had an influence on German symbolism and Jugendstil. Boecklin’s pictures are painted in bright, harsh colors, mainly with tempera.


Schmidt, G. Boecklin heute. Basel, 1951.
References in periodicals archive ?
While we may be aware of Swiss artists such as Arnold Bocklin, Jean-Etienne Liotard, Felix Vallotton and Giovanni Giacometti, Dinkel's name is not a familiar one, and this exhibition, showing his engaging watercolours of Swiss women in regional costume alongside landscapes by his contemporaries, comes as an agreeable surprise.
Two of his Tone Poems after Arnold Bocklin proved delightful miniatures, persuasively introduced by Edward Gardner, the orchestra's popular principal guest conductor.
1, entitled Plague, is by Arnold Bocklin (1827-1901).
Focusing on his inner life (rather than all aspects of his biography), she examines its representation in his poetry, his exploration of pantheism, mystical encounters during his European travels, the influence of painter Arnold Bocklin, his affair with Anna Nikolaevna Gippius, his friend and posthumous publisher Valerii Briusov, his poetry collection Dreams and Meditations, his desire to abolish death through mysticism, the influence of Nietzsche, and his accidental drowning at the age of twenty-three.
At age 18, de Chirico began his studies at Munich's Academy of Fine Arts, and began reading the philosophical works of Nietzsche and Schopenhauer, and studying the paintings of Arnold Bocklin, the Swiss painter whose magic realism appealed to and influenced the young art student.
More recently, a 2006 group show at the Institut Mathildenhohe in Darmstadt, Germany, "Mathilda Is Calling," featured Macuga's The Past Is a Foreign Country: They Do Things Differently There, 2006, which incorporated works from the city's museum collections, making explicit references to Joseph Beuys (including a remake of his Wirtschaftswerte [Economic Values], 1980), Martin Kippenberger, Jugendstil design, and Swiss symbolist painter Arnold Bocklin.
Well-reproduced illustrations, matched to informative introductions, trace the beginnings of Symbolism through the Pre-Raphaelites, Pierre Puvis de Chavannes, Gustave Moreau, and Arnold Bocklin.
De Chirico first saw the paintings of Arnold Bocklin some time in late 1906 or early 1907, while a student in Munich.
And works by Nineteenth Century Swiss masters such as Arnold Bocklin, Ferdinand Hodler, Albert Anker, Felix Valloton or Giovanni Segantini all have a place of honour in the collections of renowned museums.
Apart from 19th-century painters such as Adolph Menzel, Arnold Bocklin, and Franz von Lenbach, German painters had never made significant inroads in the United States, partly because the American public automatically censored everything that was new and daring.
As overdetermined as it is in its almost comic lugubriousness, the image retains a certain Friedrichian sublimity (mediated here by the reference to Island of the Dead, 1880, by Arnold Bocklin, himself a follower of the German master).
They include a strong self-portrait by Kathe Kollwitz -the third work by this artist acquired by the Barber in little over a decade -a spectacular etching by Max Klinger of a ruined castle, based on a drawing by the Swiss artist Arnold Bocklin, and an etching, The Shell-fisherman, by the 19th century Dutch artist Josef Israels.