Arnold Bocklin
Swiss 1827-1901 Arnold Bocklin Locations Arnold Bocklin was born on Oct. 16, 1827, in Basel. He attended the Dusseldorf Academy (1845-1847). At this time he painted scenes of the Swiss Alps, using light effects and dramatic views subjectively to project emotional moods into the landscape. In 1848 this romantic introspection gave way to plein air (open-air) objectivity after he was influenced by Camille Corot, Eugene Delacroix, and the painters of the Barbizon school while on a trip to Paris. But after the February and June revolutions Bocklin returned to Basel with a lasting hatred and disgust for contemporary France, and he resumed painting gloomy mountain scenes. In 1850 Bocklin found his mecca in Rome, and immediately his paintings were flooded by the warm Italian sunlight. He populated the lush southern vegetation, the bright light of the Roman Campagna, and the ancient ruins with lonely shepherds, cavorting nymphs, and lusty centaurs. These mythological figures rather than the landscapes became Bocklins primary concern, and he used such themes as Pan Pursuing Syrinx (1857) to express the polarities of life: warm sunshine contrasts with cool, moist shade, and the brightness of womans spirituality contrasts with mans dark sensuality. When Bocklin returned to Basel with his Italian wife, he completed the painting which brought him fame when the king of Bavaria purchased it in 1858: Pan among the Reeds, a depiction of the Greek phallic god with whom the artist identified. He taught at the Academy of Art in Weimar from 1860 to 1862, when he returned to Rome. Called to Basel in 1866, he painted the frescoes and modeled the grotesque masks for the facade of the Basel Museum. Bocklin resided in Florence from 1874 until 1885, and this was his most active period. He continued to explore the male-female antithesis and painted religious scenes, allegories of Natures powers, and moody studies of mans fate. He ceased working with oils and began experimenting with tempera and other media to obtain a pictorial surface free of brushstrokes. Bocklin spent the next 7 years mostly in Switzerland, with occasional trips to Italy; he devoted much of his energy to designing an airplane. Following a stroke in 1892, he returned to Italy, bought a villa in Fiesole, and died there on Jan. 16, 1901. Many of his late works depict nightmares of war, plague, and death.
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Arnold Bocklin self portrait with death playing the fiddle oil painting


self portrait with death playing the fiddle
mk247 1872,oil on canvas,30x24 in,75x61 cm,staatliche museen,alte nationalgalerie,berlin,germany
Painting ID::  56275 		Arnold Bocklin
self portrait with death playing the fiddle
mk247 1872,oil on canvas,30x24 in,75x61 cm,staatliche museen,alte nationalgalerie,berlin,germany
   
   
     
Arnold Bocklin the lsland of the dead oil painting


the lsland of the dead
mk247 1886,oil on wood,31.5x59 in,80x150 cm,museum der bildenden kunste,leipzig,germany
Painting ID::  56319 		Arnold Bocklin
the lsland of the dead
mk247 1886,oil on wood,31.5x59 in,80x150 cm,museum der bildenden kunste,leipzig,germany
   
   
     
Arnold Bocklin Angelika, von einem Drachen bewacht oder Angelica und Ruggiero oil painting


Angelika, von einem Drachen bewacht oder Angelica und Ruggiero
1873 Oil on wood 46 x 67 cm
Painting ID::  66171 		Arnold Bocklin
Angelika, von einem Drachen bewacht oder Angelica und Ruggiero
1873 Oil on wood 46 x 67 cm
   
   
     
Arnold Bocklin Astolf reitet mit dem Haupte Orills davon oil painting


Astolf reitet mit dem Haupte Orills davon
1873 Oil on canvas
Painting ID::  66172 		Arnold Bocklin
Astolf reitet mit dem Haupte Orills davon
1873 Oil on canvas
   
   
     
Arnold Bocklin Sirenen oil painting


Sirenen
1875
Painting ID::  66173 		Arnold Bocklin
Sirenen
1875
   
   
     
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     Arnold Bocklin
     Swiss 1827-1901 Arnold Bocklin Locations Arnold Bocklin was born on Oct. 16, 1827, in Basel. He attended the Dusseldorf Academy (1845-1847). At this time he painted scenes of the Swiss Alps, using light effects and dramatic views subjectively to project emotional moods into the landscape. In 1848 this romantic introspection gave way to plein air (open-air) objectivity after he was influenced by Camille Corot, Eugene Delacroix, and the painters of the Barbizon school while on a trip to Paris. But after the February and June revolutions Bocklin returned to Basel with a lasting hatred and disgust for contemporary France, and he resumed painting gloomy mountain scenes. In 1850 Bocklin found his mecca in Rome, and immediately his paintings were flooded by the warm Italian sunlight. He populated the lush southern vegetation, the bright light of the Roman Campagna, and the ancient ruins with lonely shepherds, cavorting nymphs, and lusty centaurs. These mythological figures rather than the landscapes became Bocklins primary concern, and he used such themes as Pan Pursuing Syrinx (1857) to express the polarities of life: warm sunshine contrasts with cool, moist shade, and the brightness of womans spirituality contrasts with mans dark sensuality. When Bocklin returned to Basel with his Italian wife, he completed the painting which brought him fame when the king of Bavaria purchased it in 1858: Pan among the Reeds, a depiction of the Greek phallic god with whom the artist identified. He taught at the Academy of Art in Weimar from 1860 to 1862, when he returned to Rome. Called to Basel in 1866, he painted the frescoes and modeled the grotesque masks for the facade of the Basel Museum. Bocklin resided in Florence from 1874 until 1885, and this was his most active period. He continued to explore the male-female antithesis and painted religious scenes, allegories of Natures powers, and moody studies of mans fate. He ceased working with oils and began experimenting with tempera and other media to obtain a pictorial surface free of brushstrokes. Bocklin spent the next 7 years mostly in Switzerland, with occasional trips to Italy; he devoted much of his energy to designing an airplane. Following a stroke in 1892, he returned to Italy, bought a villa in Fiesole, and died there on Jan. 16, 1901. Many of his late works depict nightmares of war, plague, and death.

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