Picture "Spring Day" (1897/98), framed
Picture "Spring Day" (1897/98), framed
Quick info
reproduction on paper | framed | passe-partout | glazed | size 35.5 x 52 cm (h/w)
Detailed description
Picture "Spring Day" (1897/98), framed
Original: 1897/98, oil on canvas, 70 x 120 cm, Kunsthalle Bremen.
High-quality edition on paper. Framed in silver-coloured solid wood frame with passe-partout, glazed. Size 35.5 x 52 cm (h/w).
Producer: ars mundi Edition Max Büchner GmbH, Bödekerstraße 13, 30161 Hanover, Germany, [email protected]
About Hans am Ende
In 1889 Hans am Ende co-founded the artists’ colony in Worpswede together with Fritz Mackensen, Otto Modersohn, Fritz Overbeck, Heinrich Vogeler and Carl Vinnen. Their participation in the Munich Artists' Cooperative Exhibition of 1895 resulted in honours and purchases for the small group and thus their artistic breakthrough.
Hans am Ende, born in Trier on 31 December 1864, became a student at the Munich Academy from 1884-89, with an interruption of two years. His personal acquaintance with Fritz Mackensen, who had discovered the unknown farming village in the Teufelsmoor north of Bremen by chance, prompted Ende to settle in Worpswede for good in 1889.
Hans am Ende's strongly coloured paintings mainly focus on the moorland. Here he was far away from the academic art establishment and found an immediately captivating experience of nature. He captured the rugged landscape in atmospheric, delicate nature paintings.
In his later work, the Swiss high mountains became the focus of his motifs. He spent the last years of his life there and died in 1918.
The style of Impressionism, which emerged in French painting around 1870, owes its name to Claude Monet's landscape 'Impression, Soleil Levant'. After initial rejection, it began a veritable triumphal procession.
Painters such as Claude Monet, Edgar Degas, Edouard Manet, Auguste Renoir and others created motifs from everyday life, urban and landscape scenes in bright, natural light.
Impressionism can be seen as a reaction to academic painting. Rather than emphasizing content with a structured composition, it focused on the subject as it appears in the moment, often in a seemingly random snapshot. The reality was seen in all its variety of colours in natural lighting. Outdoor painting replaced studio painting.
Through the brightening of the palette and the dissolution of firm contours, a new approach to colour emerged. In many cases, the colours were no longer mixed on the palette but placed side by side on the canvas, so that the final impression emerged in the eye of the viewer with a certain distance. In "Pointillism", (with painters such as Georges Seurat or Paul Signac), this principle was taken to the extreme.
Outside France, Impressionism was taken up by painters such as Max Slevogt, Max Liebermann and Lovis Corinth in Germany, and by James A. M. Whistler in the United States.
However, Impressionism was only expressed to a limited extent in the art of sculpture. In the works of Auguste Rodin, who is considered one of the main representatives, a dissolution of surfaces is evident, in which the play of light and shadow is included in the artistic expression. Degas and Renoir created sculptures as well.