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La Guerre, Oil by Arnold Bocklin (1827-1901, Switzerland)

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Framed Giclee Fine Art Arnold Bocklin , Oil Painting Fine Art Arnold Bocklin
La Guerre, Oil by Arnold Bocklin (1827-1901, Switzerland)
Framed Print Fine Art Arnold Bocklin , Framed Giclee Fine Art Arnold Bocklin

"La Guerre"

Arnold Bocklin - Oil - 222 x 170 cm - 1896 - (Kunsthaus Zürich (Zürich, Switzerland))

This painting shows the obsessions of the painter: war, plague and death. In this scene, the Black Death is represented by Death holding a scythe and devastates everything in its path. In the background, a huge cloud of smoke towards which indicates that Death mankind is driven to the Apocalypse. It is the representation of the plague, terrifying disease that decimated European populations until the eighteenth century, also hit the spirits. Therefore, the images of the plague, highly symbolic, are numerous in the art. Plague appears as a punishment, a divine scourge. It has exacerbated the collective imagination and embodies the absolute evil.
The iconography of the plague is therefore a function of witness and a symbolic function transfiguration of reality and horror and reflects the complex relations of men to the epidemic, to evil, to death.



 
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Arnold Böcklin (16 October 1827 – 16 January 1901) was a symbolist Swiss painter.
He studied at Düsseldorf where he became a friend of Ludwig Andreas Feuerbach. Originally a landscape painter, his travels through Brussels, Zurich, Geneva and Rome, exposed him to classical and Renaissance art, and the Mediterranean landscape. These new influences brought allegorical and mythological figures into his compositions. In 1866 he resided at Basel, in 1871 in Munich, in 1885 in Hottingen (Switzerland) and at the end of his life in Fiesole near Florence.
Influenced by Romanticism his painting is symbolist with mythological subjects often overlapping with the Pre-Raphaelites. His pictures portray mythological, fantastical figures along classical architecture constructions (revealing often an obsession with death) creating a strange, fantasy world.
Böcklin is best known for his five versions of "Isle of the Dead", which partly evokes the English Cemetery, Florence, close to his studio and where his baby daughter Maria had been buried. An early version of the painting was commissioned by a Madame Berna, a widow who wanted a painting with a dream-like atmosphere.[1]
Clement Greenberg wrote in 1947 that Böcklin's work "is one of the most consummate expressions of all that was now disliked about the latter half of the nineteenth century."[2]
Böcklin exercised an influence on Surrealist painters like Max Ernst and Salvador Dalí, and on Giorgio de Chirico.
Otto Weisert designed an Art Nouveau typeface in 1904 and named it "Arnold Böcklin" in his honor.
Böcklin's paintings, especially "Isle of the Dead", inspired several late-Romantic composers. Sergei Rachmaninoff (see Isle of the Dead (Rachmaninoff)) and Heinrich Schulz-Beuthen both composed symphonic poems after it, and in 1913 Max Reger composed a set of Four Tone Poems after Böcklin of which the third movement is The Isle of the Dead (The others are The Hermit playing the Violin, At play in the waves and Bacchanal). Hans Huber's second symphony is entitled "Böcklin-Sinfonie", after the artist and his paintings.
Rachmaninoff was also inspired by Böcklin's painting "Die Heimkehr" ("The Homecoming" or "The Return") when writing his Prelude in B minor, Op. 32, No. 10.[3][4]
Adolf Hitler was fond of Böcklin's work, at one time owning 11 of his paintings.[5]
When asked who was his favorite painter, Marcel Duchamp controversially named Arnold Böcklin as having a major influence on his art. Whether Duchamp was serious in this assertion is still debated.
H. R. Giger has a picture called "Hommage to Boecklin", based upon "Isle of the Dead."

Arnold Böcklin (16 October 1827 – 16 January 1901) was a symbolist Swiss painter.


He studied at Düsseldorf where he became a friend of Ludwig Andreas Feuerbach. Originally a landscape painter, his travels through Brussels, Zurich, Geneva and Rome, exposed him to classical and Renaissance art, and the Mediterranean landscape. These new influences brought allegorical and mythological figures into his compositions. In 1866 he resided at Basel, in 1871 in Munich, in 1885 in Hottingen (Switzerland) and at the end of his life in Fiesole near Florence.


Influenced by Romanticism his painting is symbolist with mythological subjects often overlapping with the Pre-Raphaelites. His pictures portray mythological, fantastical figures along classical architecture constructions (revealing often an obsession with death) creating a strange, fantasy world.


Böcklin is best known for his five versions of "Isle of the Dead", which partly evokes the English Cemetery, Florence, close to his studio and where his baby daughter Maria had been buried. An early version of the painting was commissioned by a Madame Berna, a widow who wanted a painting with a dream-like atmosphere.


Clement Greenberg wrote in 1947 that Böcklin's work "is one of the most consummate expressions of all that was now disliked about the latter half of the nineteenth century."



Böcklin exercised an influence on Surrealist painters like Max Ernst and Salvador Dalí, and on Giorgio de Chirico.


Otto Weisert designed an Art Nouveau typeface in 1904 and named it "Arnold Böcklin" in his honor.


Böcklin's paintings, especially "Isle of the Dead", inspired several late-Romantic composers. Sergei Rachmaninoff (see Isle of the Dead (Rachmaninoff)) and Heinrich Schulz-Beuthen both composed symphonic poems after it, and in 1913 Max Reger composed a set of Four Tone Poems after Böcklin of which the third movement is The Isle of the Dead (The others are The Hermit playing the Violin, At play in the waves and Bacchanal). Hans Huber's second symphony is entitled "Böcklin-Sinfonie", after the artist and his paintings.

Rachmaninoff was also inspired by Böcklin's painting "Die Heimkehr" ("The Homecoming" or "The Return") when writing his Prelude in B minor, Op. 32, No. 10.


Adolf Hitler was fond of Böcklin's work, at one time owning 11 of his paintings.


When asked who was his favorite painter, Marcel Duchamp controversially named Arnold Böcklin as having a major influence on his art. Whether Duchamp was serious in this assertion is still debated

.
H. R. Giger has a picture called "Hommage to Boecklin", based upon "Isle of the Dead."

[Biography - Arnold Bocklin - 9Ko]
Arnold Böcklin, né le 16 octobre 1827 à Bâle et mort le 16 janvier 1901 à San Domenico di Fiesole en Italie, est un peintre, dessinateur, graphiste et sculpteur suisse. Avec Ferdinand Hodler, Max Klinger et Lovis Corinth, il est l'un des principaux représentants du symbolisme allemand, un courant artistique ayant marqué une rupture avec la peinture...
[Biography - Arnold Bocklin - 10Ko]
阿诺德BöCKLIN(16 N. LA- DE oktobro1827 EN Bazelo - 米LA16 DE januaro1901 EN圣Domenico)estis svisa germana pentristo,desegnisto,grafikisto KAJ skulptisto。 1845 KAJ1847年间,李studadis EN LA Belarta Akademio杜塞尔多夫,KAJ sekve entreprenis artvojaĝon人Svislando,Nederlando KAJ Francio。李laboris EN罗莫除1850 KAJ1857年,KAJ fariĝis profesoro EN LA Belarta Akademio魏玛除1860 KA...
[Biography - Arnold Bocklin - 2Ko]
Arnold Böcklin (n. 16-la de uma oktobro 1827 en Bazelo - m. la 16-an de januaro 1901 en San Domenico) estis svisa-Germana pentristo, desegnisto, grafikisto kaj skulptisto. Inter 1845 kaj 1847, li studadis en la Belarta Akademio de Düsseldorf, kaj sekve entreprenis artvojaĝon al Svislando, Nederlando kaj Frâncio. Li laboris en Romo inter 1850 kaj 18...
[Biography - Arnold Bocklin - 2Ko]
Arnold BöCKLIN (n. la 16-an de oktobro 1827 en Bazelo - m. la 16-an de januaro 1901 en San Domenico) estis svisa-germana pentristo, desegnisto, grafikisto kaj skulptisto. Inter 1845 kaj 1847, li studadis en la Belarta Akademio de Düsseldorf, kaj sekve entreprenis artvojaĝon al Svislando, Nederlando kaj Francio. Li laboris en Romo inter 1850 kaj 185...
[Biography - Arnold Bocklin - 3Ko]
Arnold Böcklin (* 16. Oktober 1827 in Basel &dagger 16. Januar 1901 in San Domenico bei Fiesole, Provinz Florenz) war ein Schweizer Maler, Zeichner, Graphiker und Bildhauer des Symbolismus. Er gilt als einer der bedeutendsten bildenden Künstler des 19. Jahrhunderts in Europa. Leben Böcklin war der Sohn eines Kaufmanns. Er erhielt in Basel Zeichen...
[Biography - Arnold Bocklin - 11Ko]
Arnold Böcklin (Basilea, 19 ottobre 1827 - San Domenico di Fiesole, 16 gennaio 1901) è stato un pittore svizzero[1]. Böcklin è stata una figura rappresentativa della storia dell'arte in Germania. Inizialmente fu un paesaggista, ma, grazie ai frequenti viaggi in Italia, fu influenzato dal romanticismo: all'interno dello stile dell'Art Nouveau, fu un...
[Biography - Arnold Bocklin - 1Ko]
Арнольда Беклина (№ 16-ла-де-oktobro 1827 ан Bazelo - м. ля 16-де januaro 1901 ан San Domenico) estis svisa-Германа pentristo, desegnisto, grafikisto Кай skulptisto. Интер 1845 Кай 1847, Li studadis En La Belarta Akademio де Дюссельдорф, Кай sekve entreprenis artvojaĝon др. Svislando, Nederlando Кай Francio. Li Laboris ан Ромо среди 1850 Кай 1857, ...
[Biography - Arnold Bocklin - 2Ko]
アーノルドベックリン(名詞ラ16ドoktobro1827エンBazelo - M.ラ16ドjanuaro1901エンサンドメニコ)ESTIS svisa- germana pentristo、desegnisto、grafikistoカイskulptisto。 間1845カイ1847年李studadisエンラBelarta Akademioドデュッセルドルフ、カイsekve entreprenis artvojaĝonらSvislando、NederlandoカイFrancio。リチウムlaborisエンロモ間1850カイ1857、カイfariĝis profesoroエンラBelarta Akademioドワイマール間1860カイ1862。 LIA plejファマpentraĵo esta...
[Biography - Arnold Bocklin - 2Ko]

 

 

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La Guerre, Oil by Arnold Bocklin (1827-1901, Switzerland)
/Art.nsf/O/8BWMYM/$File/Arnold-Bocklin-La-Guerre.JPG
This painting shows the obsessions of the painter: war, plague and death. In this scene, the Black Death is represented by Death holding a scythe and devastates everything in its path. In the background, a huge cloud of smoke towards which indicates that Death mankind is driven to the Apocalypse. It is the representation of the plague, terrifying disease that decimated European populations until the eighteenth century, also hit the spirits. Therefore, the images of the plague, highly symbolic, are numerous in the art. Plague appears as a punishment, a divine scourge. It has exacerbated the collective imagination and embodies the absolute evil. The iconography of the plague is therefore a function of witness and a symbolic function transfiguration of reality and horror and reflects the complex relations of men to the epidemic, to evil, to death.
Arnold Bocklin
Oil
Oil
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