#germanart — Public Fediverse posts

By contrast with my last post: Carl Julius von Leypold, 'Clouds Over A Russian Graveyard', 1830.
#Gothic #graveyard #Russia #GermanArt #art

By contrast with my last post: Carl Julius von Leypold, 'Clouds Over A Russian Graveyard', 1830.
#Gothic #graveyard #Russia #GermanArt #art

By contrast with my last post: Carl Julius von Leypold, 'Clouds Over A Russian Graveyard', 1830.
#Gothic #graveyard #Russia #GermanArt #art

By contrast with my last post: Carl Julius von Leypold, 'Clouds Over A Russian Graveyard', 1830.
#Gothic #graveyard #Russia #GermanArt #art

By contrast with my last post: Carl Julius von Leypold, 'Clouds Over A Russian Graveyard', 1830.
#Gothic #graveyard #Russia #GermanArt #art

Hermione von Preuschen (1854–1918)

https://palianshow.wordpress.com/2026/08/07/hermione-von-preuschen/

https://harvardartmuseums.org/collections/object/304344?rendition=78701

Max Beckmann -- Self-Portrait in Tuxedo -- 1927

#Art MaxBeckmann #GermanArt #1920s #SelfPortrait #WeimarRepublic

https://harvardartmuseums.org/collections/object/304344?rendition=78701

Max Beckmann -- Self-Portrait in Tuxedo -- 1927

#Art MaxBeckmann #GermanArt #1920s #SelfPortrait #WeimarRepublic

https://harvardartmuseums.org/collections/object/304344?rendition=78701

Max Beckmann -- Self-Portrait in Tuxedo -- 1927

#Art MaxBeckmann #GermanArt #1920s #SelfPortrait #WeimarRepublic

https://harvardartmuseums.org/collections/object/304344?rendition=78701

Max Beckmann -- Self-Portrait in Tuxedo -- 1927

#Art MaxBeckmann #GermanArt #1920s #SelfPortrait #WeimarRepublic

https://harvardartmuseums.org/collections/object/304344?rendition=78701

Max Beckmann -- Self-Portrait in Tuxedo -- 1927

#Art MaxBeckmann #GermanArt #1920s #SelfPortrait #WeimarRepublic

The Visit - Couple and Newcomer -- Ernst Ludwig Kirchner -- Oil on canvas -- 1922 -- National Gallery of Art, Washington DC.

#Art #Painting #ErnstKirchner #Kirchner #GermanArt #20thCentury #TheVisit

The Visit - Couple and Newcomer -- Ernst Ludwig Kirchner -- Oil on canvas -- 1922 -- National Gallery of Art, Washington DC.

#Art #Painting #ErnstKirchner #Kirchner #GermanArt #20thCentury #TheVisit

The Visit - Couple and Newcomer -- Ernst Ludwig Kirchner -- Oil on canvas -- 1922 -- National Gallery of Art, Washington DC.

#Art #Painting #ErnstKirchner #Kirchner #GermanArt #20thCentury #TheVisit

The Visit - Couple and Newcomer -- Ernst Ludwig Kirchner -- Oil on canvas -- 1922 -- National Gallery of Art, Washington DC.

#Art #Painting #ErnstKirchner #Kirchner #GermanArt #20thCentury #TheVisit

The Visit - Couple and Newcomer -- Ernst Ludwig Kirchner -- Oil on canvas -- 1922 -- National Gallery of Art, Washington DC.

#Art #Painting #ErnstKirchner #Kirchner #GermanArt #20thCentury #TheVisit

Max Frey, 'Fight With A Dragon'. #Dragon #Legend #monster #Symbolism #GermanArt #artsky

Max Frey, 'Fight With A Dragon'. #Dragon #Legend #monster #Symbolism #GermanArt #artsky

Max Frey, 'Fight With A Dragon'. #Dragon #Legend #monster #Symbolism #GermanArt #artsky

Max Frey, 'Fight With A Dragon'. #Dragon #Legend #monster #Symbolism #GermanArt #artsky

"IMG_9909 Max Beckmann. 1884-1950. Reclining Woman with Pinks. Femme couchée avec des roses. vers 1941. Hannover. Sprengel Museum." by jean louis mazieres is licensed under CC BY-NC-SA 2.0.

#Art #Painting #MaxBeckmann #GermanArt #20thCenturyArt #1940s

"IMG_9909 Max Beckmann. 1884-1950. Reclining Woman with Pinks. Femme couchée avec des roses. vers 1941. Hannover. Sprengel Museum." by jean louis mazieres is licensed under CC BY-NC-SA 2.0.

#Art #Painting #MaxBeckmann #GermanArt #20thCenturyArt #1940s

"IMG_9909 Max Beckmann. 1884-1950. Reclining Woman with Pinks. Femme couchée avec des roses. vers 1941. Hannover. Sprengel Museum." by jean louis mazieres is licensed under CC BY-NC-SA 2.0.

#Art #Painting #MaxBeckmann #GermanArt #20thCenturyArt #1940s

"IMG_9909 Max Beckmann. 1884-1950. Reclining Woman with Pinks. Femme couchée avec des roses. vers 1941. Hannover. Sprengel Museum." by jean louis mazieres is licensed under CC BY-NC-SA 2.0.

#Art #Painting #MaxBeckmann #GermanArt #20thCenturyArt #1940s

"IMG_9909 Max Beckmann. 1884-1950. Reclining Woman with Pinks. Femme couchée avec des roses. vers 1941. Hannover. Sprengel Museum." by jean louis mazieres is licensed under CC BY-NC-SA 2.0.

#Art #Painting #MaxBeckmann #GermanArt #20thCenturyArt #1940s

Max Beckmann -- Pensive woman on the seafront -- 1937-- Bremen Kunsthalle -- Photo; Jean Louis Mazieres -- CC BY-NC-SA 2.0

#Art #Painting #GermanArt #20thCentury #MaxBeckmann #1930s

Max Beckmann -- Pensive woman on the seafront -- 1937-- Bremen Kunsthalle -- Photo; Jean Louis Mazieres -- CC BY-NC-SA 2.0

#Art #Painting #GermanArt #20thCentury #MaxBeckmann #1930s

Max Beckmann -- Pensive woman on the seafront -- 1937-- Bremen Kunsthalle -- Photo; Jean Louis Mazieres -- CC BY-NC-SA 2.0

#Art #Painting #GermanArt #20thCentury #MaxBeckmann #1930s

Max Beckmann -- Pensive woman on the seafront -- 1937-- Bremen Kunsthalle -- Photo; Jean Louis Mazieres -- CC BY-NC-SA 2.0

#Art #Painting #GermanArt #20thCentury #MaxBeckmann #1930s

Max Beckmann -- Pensive woman on the seafront -- 1937-- Bremen Kunsthalle -- Photo; Jean Louis Mazieres -- CC BY-NC-SA 2.0

#Art #Painting #GermanArt #20thCentury #MaxBeckmann #1930s

Max Beckmann -- Quappi in Armchair -- Crayon and chalk on paper -- 1927 -- Staatliche Museen zu Berlin

I've only learnt of this picture recently.
I've fallen so madly in love with it that I can't put into words why I love it so much.

#Art #GermanArt #MaxBeckmann #Quappi #Drawing #1920s #20thCenturyArt

Max Beckmann -- Quappi in Armchair -- Crayon and chalk on paper -- 1927 -- Staatliche Museen zu Berlin

I've only learnt of this picture recently.
I've fallen so madly in love with it that I can't put into words why I love it so much.

#Art #GermanArt #MaxBeckmann #Quappi #Drawing #1920s #20thCenturyArt

Max Beckmann -- Quappi in Armchair -- Crayon and chalk on paper -- 1927 -- Staatliche Museen zu Berlin

I've only learnt of this picture recently.
I've fallen so madly in love with it that I can't put into words why I love it so much.

#Art #GermanArt #MaxBeckmann #Quappi #Drawing #1920s #20thCenturyArt

Max Beckmann -- Quappi in Armchair -- Crayon and chalk on paper -- 1927 -- Staatliche Museen zu Berlin

I've only learnt of this picture recently.
I've fallen so madly in love with it that I can't put into words why I love it so much.

#Art #GermanArt #MaxBeckmann #Quappi #Drawing #1920s #20thCenturyArt

Max Beckmann -- Quappi in Armchair -- Crayon and chalk on paper -- 1927 -- Staatliche Museen zu Berlin

I've only learnt of this picture recently.
I've fallen so madly in love with it that I can't put into words why I love it so much.

#Art #GermanArt #MaxBeckmann #Quappi #Drawing #1920s #20thCenturyArt

George Grosz -- Pillars Of Society -- Oil on canvas -- 1926 -- Staatliche Museen zu Berlin, Nationalgalerie

I'm probably in the company of many here in being familiar with this pictorial indictment of the capitalist Germany of the mid twenties.

I can't make up my mind whether the unforgettable imagery is or was politically effective as a powerful agent and sustainer of radicalization, or whether, on the other hand, it is or was so overwhelmingly and indiscriminately polemical as to leave viewers in a state of general disgust about their society and ultimately in a state of demobilising despair about the possibility of change for the better.

#Art #Painting #PoliticalArt
#GeorgeGrosz #GermanArt #20thCenturyArt #NeueSachlichkeit
#WeimarRepublic

George Grosz -- Pillars Of Society -- Oil on canvas -- 1926 -- Staatliche Museen zu Berlin, Nationalgalerie

I'm probably in the company of many here in being familiar with this pictorial indictment of the capitalist Germany of the mid twenties.

I can't make up my mind whether the unforgettable imagery is or was politically effective as a powerful agent and sustainer of radicalization, or whether, on the other hand, it is or was so overwhelmingly and indiscriminately polemical as to leave viewers in a state of general disgust about their society and ultimately in a state of demobilising despair about the possibility of change for the better.

#Art #Painting #PoliticalArt
#GeorgeGrosz #GermanArt #20thCenturyArt #NeueSachlichkeit
#WeimarRepublic

George Grosz -- Pillars Of Society -- Oil on canvas -- 1926 -- Staatliche Museen zu Berlin, Nationalgalerie

I'm probably in the company of many here in being familiar with this pictorial indictment of the capitalist Germany of the mid twenties.

I can't make up my mind whether the unforgettable imagery is or was politically effective as a powerful agent and sustainer of radicalization, or whether, on the other hand, it is or was so overwhelmingly and indiscriminately polemical as to leave viewers in a state of general disgust about their society and ultimately in a state of demobilising despair about the possibility of change for the better.

#Art #Painting #PoliticalArt
#GeorgeGrosz #GermanArt #20thCenturyArt #NeueSachlichkeit
#WeimarRepublic

George Grosz -- Pillars Of Society -- Oil on canvas -- 1926 -- Staatliche Museen zu Berlin, Nationalgalerie

I'm probably in the company of many here in being familiar with this pictorial indictment of the capitalist Germany of the mid twenties.

I can't make up my mind whether the unforgettable imagery is or was politically effective as a powerful agent and sustainer of radicalization, or whether, on the other hand, it is or was so overwhelmingly and indiscriminately polemical as to leave viewers in a state of general disgust about their society and ultimately in a state of demobilising despair about the possibility of change for the better.

#Art #Painting #PoliticalArt
#GeorgeGrosz #GermanArt #20thCenturyArt #NeueSachlichkeit
#WeimarRepublic

George Grosz -- Pillars Of Society -- Oil on canvas -- 1926 -- Staatliche Museen zu Berlin, Nationalgalerie

I'm probably in the company of many here in being familiar with this pictorial indictment of the capitalist Germany of the mid twenties.

I can't make up my mind whether the unforgettable imagery is or was politically effective as a powerful agent and sustainer of radicalization, or whether, on the other hand, it is or was so overwhelmingly and indiscriminately polemical as to leave viewers in a state of general disgust about their society and ultimately in a state of demobilising despair about the possibility of change for the better.

#Art #Painting #PoliticalArt
#GeorgeGrosz #GermanArt #20thCenturyArt #NeueSachlichkeit
#WeimarRepublic

The Jeweller Karl Krall -- Otto Dix -- 1923 -- Oil on canvas -- Kunst und Museumsverien im Von der Heydt-Museum, Wuppertal.

According to the 2006 exhibition catalogue "Glitter and Doom: German Portraits from the 1920s", Krall was not only, as a chamber music amateur, musical, but was also "musical", to use the term used in 1920s British English to describe gay men.

The catalogue entry suggests that beneath Krall's jacket, "there must be a corset that is much too tight. Severe discomfort makes the blood rush to Krall's face, turning it purple-red with bluish accents. Veins on his forehead seem ready to pop."

As with so many of the other portraits, I find myself fascinated by this picture. Is Dix's depiction of the hour glass figured jeweller a frank depiction of Krall's style in foundation garments, or does it function as the painter's possibly contemptuous verdict on male homosexuality?

#Art #Painting #Portrait #OttoDix #GermanArt #20thCenturyArt #NeueSachlichkeit #KarlKrall #Gay #Homosexual #Homophobia #Corset #TightWaisting #WeimarRepublic

The Jeweller Karl Krall -- Otto Dix -- 1923 -- Oil on canvas -- Kunst und Museumsverien im Von der Heydt-Museum, Wuppertal.

According to the 2006 exhibition catalogue "Glitter and Doom: German Portraits from the 1920s", Krall was not only, as a chamber music amateur, musical, but was also "musical", to use the term used in 1920s British English to describe gay men.

The catalogue entry suggests that beneath Krall's jacket, "there must be a corset that is much too tight. Severe discomfort makes the blood rush to Krall's face, turning it purple-red with bluish accents. Veins on his forehead seem ready to pop."

As with so many of the other portraits, I find myself fascinated by this picture. Is Dix's depiction of the hour glass figured jeweller a frank depiction of Krall's style in foundation garments, or does it function as the painter's possibly contemptuous verdict on male homosexuality?

#Art #Painting #Portrait #OttoDix #GermanArt #20thCenturyArt #NeueSachlichkeit #KarlKrall #Gay #Homosexual #Homophobia #Corset #TightWaisting #WeimarRepublic

The Jeweller Karl Krall -- Otto Dix -- 1923 -- Oil on canvas -- Kunst und Museumsverien im Von der Heydt-Museum, Wuppertal.

According to the 2006 exhibition catalogue "Glitter and Doom: German Portraits from the 1920s", Krall was not only, as a chamber music amateur, musical, but was also "musical", to use the term used in 1920s British English to describe gay men.

The catalogue entry suggests that beneath Krall's jacket, "there must be a corset that is much too tight. Severe discomfort makes the blood rush to Krall's face, turning it purple-red with bluish accents. Veins on his forehead seem ready to pop."

As with so many of the other portraits, I find myself fascinated by this picture. Is Dix's depiction of the hour glass figured jeweller a frank depiction of Krall's style in foundation garments, or does it function as the painter's possibly contemptuous verdict on male homosexuality?

#Art #Painting #Portrait #OttoDix #GermanArt #20thCenturyArt #NeueSachlichkeit #KarlKrall #Gay #Homosexual #Homophobia #Corset #TightWaisting #WeimarRepublic

The Jeweller Karl Krall -- Otto Dix -- 1923 -- Oil on canvas -- Kunst und Museumsverien im Von der Heydt-Museum, Wuppertal.

According to the 2006 exhibition catalogue "Glitter and Doom: German Portraits from the 1920s", Krall was not only, as a chamber music amateur, musical, but was also "musical", to use the term used in 1920s British English to describe gay men.

The catalogue entry suggests that beneath Krall's jacket, "there must be a corset that is much too tight. Severe discomfort makes the blood rush to Krall's face, turning it purple-red with bluish accents. Veins on his forehead seem ready to pop."

As with so many of the other portraits, I find myself fascinated by this picture. Is Dix's depiction of the hour glass figured jeweller a frank depiction of Krall's style in foundation garments, or does it function as the painter's possibly contemptuous verdict on male homosexuality?

#Art #Painting #Portrait #OttoDix #GermanArt #20thCenturyArt #NeueSachlichkeit #KarlKrall #Gay #Homosexual #Homophobia #Corset #TightWaisting #WeimarRepublic

The Jeweller Karl Krall -- Otto Dix -- 1923 -- Oil on canvas -- Kunst und Museumsverien im Von der Heydt-Museum, Wuppertal.

According to the 2006 exhibition catalogue "Glitter and Doom: German Portraits from the 1920s", Krall was not only, as a chamber music amateur, musical, but was also "musical", to use the term used in 1920s British English to describe gay men.

The catalogue entry suggests that beneath Krall's jacket, "there must be a corset that is much too tight. Severe discomfort makes the blood rush to Krall's face, turning it purple-red with bluish accents. Veins on his forehead seem ready to pop."

As with so many of the other portraits, I find myself fascinated by this picture. Is Dix's depiction of the hour glass figured jeweller a frank depiction of Krall's style in foundation garments, or does it function as the painter's possibly contemptuous verdict on male homosexuality?

#Art #Painting #Portrait #OttoDix #GermanArt #20thCenturyArt #NeueSachlichkeit #KarlKrall #Gay #Homosexual #Homophobia #Corset #TightWaisting #WeimarRepublic

'The Shaman' by Sascha Schneider, 1901. Born in Russia, Schneider lived most of his life in Germany but fled to Italy to escape blackmail over his #homosexuality. He later explored the Caucasus with fellow painter Robert Dies. This may have been painted there. #shamanism #magick #GermanArt #gayart

'The Shaman' by Sascha Schneider, 1901. Born in Russia, Schneider lived most of his life in Germany but fled to Italy to escape blackmail over his #homosexuality. He later explored the Caucasus with fellow painter Robert Dies. This may have been painted there. #shamanism #magick #GermanArt #gayart

"Gate in the Rocks," Karl Freidrich Schinkel, 1818.

Schinkle (1781-1841) was a painter, of course, but also an architect, urban planner, and a designer of furniture and theatrical sets. One of his set designs was the oft-reproduced starry set for Mozart's "The Magic Flute" which you've probably seen somewhere. He also helped chape Berlin from being a small provincial city to a major capitol.

As an architect, he mostly worked in a Neoclassical style until turning to Neo-Gothic in his later life; artistically, he was solidly a Romantic. This dramatic canvas seems to have been influenced by a trip to Friulia, a region of Italy by the German border. If it looks anything like this, I want to go.

From the Alte Nationalgalerie, Berlin.

#Art #GermanArt #Romanticism #KarlFriedrichSchindel

"Gate in the Rocks," Karl Freidrich Schinkel, 1818.

Schinkle (1781-1841) was a painter, of course, but also an architect, urban planner, and a designer of furniture and theatrical sets. One of his set designs was the oft-reproduced starry set for Mozart's "The Magic Flute" which you've probably seen somewhere. He also helped chape Berlin from being a small provincial city to a major capitol.

As an architect, he mostly worked in a Neoclassical style until turning to Neo-Gothic in his later life; artistically, he was solidly a Romantic. This dramatic canvas seems to have been influenced by a trip to Friulia, a region of Italy by the German border. If it looks anything like this, I want to go.

From the Alte Nationalgalerie, Berlin.

#Art #GermanArt #Romanticism #KarlFriedrichSchindel

"Gate in the Rocks," Karl Freidrich Schinkel, 1818.

Schinkle (1781-1841) was a painter, of course, but also an architect, urban planner, and a designer of furniture and theatrical sets. One of his set designs was the oft-reproduced starry set for Mozart's "The Magic Flute" which you've probably seen somewhere. He also helped chape Berlin from being a small provincial city to a major capitol.

As an architect, he mostly worked in a Neoclassical style until turning to Neo-Gothic in his later life; artistically, he was solidly a Romantic. This dramatic canvas seems to have been influenced by a trip to Friulia, a region of Italy by the German border. If it looks anything like this, I want to go.

From the Alte Nationalgalerie, Berlin.

#Art #GermanArt #Romanticism #KarlFriedrichSchindel