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666	dbpedia	3	32	https://mydailyartdisplay.uk/tag/adolf-menzel/	en	Adolf Menzel – my daily art display	https://s0.wp.com/i/blank.jpg	https://s0.wp.com/i/blank.jpg	[ "https://defaultcustomheadersdata.files.wordpress.com/2016/07/beach1.jpg?resize=1200,280", "https://mydailyartdisplay.uk/wp-content/uploads/2012/03/afternoon-at-the-tuileries-garden-by-adolph-menzel1.jpg?w=840", "https://mydailyartdisplay.uk/wp-content/uploads/2012/03/kunstlerserdenwa00menz_0001.jpg?w=300&h=217", "https://mydailyartdisplay.uk/wp-content/uploads/2012/03/woman-and-child1.jpg?w=840", "https://2.gravatar.com/avatar/b648911dfada1a4c24f384d57eeaec1b66feb78b269303fad84847acbc3f194d?s=49&d=identicon&r=G", "https://s2.wp.com/i/logo/wpcom-gray-white.png", "https://s2.wp.com/i/logo/wpcom-gray-white.png", "https://pixel.wp.com/b.gif?v=noscript" ]	[]	[]	[ "" ]	null	[]	2012-03-17T08:18:49+00:00	Posts about Adolf Menzel written by jonathan5485	en	https://s1.wp.com/i/favicon.ico	my daily art display	https://mydailyartdisplay.uk/tag/adolf-menzel/	The featured artist in My Daily Art Display today is German and is looked upon, along with the artist I featured in my previous blog, Caspar David Friedrich, as one of the most famous and most successful German artists of the nineteenth century. His name is Adolph Friedrich Erdmann von Menzel. Menzel was born in 1815 in Breslau, which is now the Polish city known as Wroclau. His father Carl Erdmann Menzel was originally a school headmaster but when young Menzel was just three years of age he gave up his educational career and started up a lithographic printing works. Adolph Menzel first exhibited a drawing in 1827 when he was only twelve years of age and two years later he exhibited eight lithographs, which were printed in his father’s workshop and which featured the history of Breslau. To gain more business opportunities for his printing company, Menzel’s father moved his family and business to Berlin in 1830 where he knew he was likely to receive more commissions. Adolph Menzel became an apprentice in his father’s firm and at the age of seventeen took over the running of the company when his father suddenly died. His mother and siblings now looked upon Adolph as the family breadwinner. In 1833, aged 18 Menzel enrolled at the Berlin Königliche Akademie der Künste where he met the wallpaper manufacturer, Carl Heinrich Arnold, who would not only become Menzel’s close friend but would furnish him with a large number of commissions. His reputation as an artist and illustrator grew after he had completed a commission for the art dealer and publisher, Louis Sachse, to create a number of lithographs for the German writer, Goethe, for his book Künstlers Erdenwallen. It was not until 1837 that von Menzel started to paint in oils. His speciality subject for his paintings was the life and events surrounding Friedrich the Great and in 1839 he was commissioned to illustrate a book, Geschichte Friedrichs des Großen (History of Friedrich the Great) written by Franz Kugler, a Prussian cultural administrator and art historian. In a three year period 1839 to 1842 Menzel produced over 400 drawings. It was not until the 1850’s that von Menzel started to travel extensively, visiting Vienna, Prague and Dresden. It was also in 1855 that he made his first visit to Paris where he attended the inaugural Exposition Universelle, the first World Fair to be held in the capital. It was held in the specially built building, Palais de l’Industrie, which overlooked the Champs-Elysées. Whilst there, von Menzel, was able to study not only the industrial exhibits but also the art exhibits on display by French artists such as Gustave Courbet. Eleven years later von Menzel returned to Paris to attend the second Exposition Universelle in 1867 and it was during this stay in the French capital that he visited the Tuileries Gardens which is the subject for today’s painting. That same year he was decorated with the “Cross of the Légion d’honneur by Napoleon III for his service to the arts. By the 1880’s von Menzel had established his international reputation as an artist and lithographer. In 1884 the Nationalgalerie in Berlin held the first major retrospective of von Menzel’s work to commemorate the 50th anniversary of his career as an artist. In 1890, aged 70, he was given an honorary doctorate from Berlin University. He was bestowed with many other honours. He was made an honorary citizen of both Breslau and Berlin and made a member of both the Royal Academy of London and a member of the Akadémie des Beaux Arts, the Paris Academy. His greatest honour came in 1898 when he became the first artist to be admitted to the Order of the Black Eagle as a Knight, the highest order of chivalry in the Kingdom of Prussia. Adolph von Menzel died in Berlin in 1905, aged 89. My Daily Art Display featured painting today is entitled Afternoon at the Tuileries Garden by Adolph Menzel. He painted it in 1867 and now hangs in the National Gallery, London. It was following Menzel’s 1867 trip to Paris that he returned to his studio in Berlin with many sketches of the Tuileries Gardens, which lay across from the Louvre. He had become interested in painting scenes set in areas where society people pretentiously paraded and whilst in Paris was fascinated with the bustling social goings-on within the Gardens. The subject matter of his paintings were at this time often depicting bourgeois society and he, because of his fame as an artist, lived the lifestyle of this very grand bourgeois. Menzel’s painting is filled with detail and exudes a great deal of realism. What I like about the works is that with so much going on in the painting your eyes flick from one group to another and every time you look at it your eyes focus on something different. I like the number of separate vignettes taking place. Let your eye wander up the centre of the painting and observe the little chubby girl being dragged off by the woman in blue. How often have we seen that! Dogs abound, in some cases having territorial disputes whilst the adults try their best to ignore such distractions and have only one thing in mind – to look their best! When the painting was first exhibited Menzel was at pains to tell everybody that it was done from his memories of his recent visit to the French capital. Was it a work just from memory or was there something else which prompted Menzel to depict such a scene? In my next blog I will give you another possible motivation for Menzel’s depiction of the Tuileries Garden. Notwithstanding what inspired Menzel to paint this lively event, which is buzzing with activity, it is a fascinating work of art. I stood before it the other day and I was mesmerised by what I was looking at and as I said the other day, when talking about Caspar David Friedrich’s Winter Landscape, I was so pleased I had visited Room 41 of the gallery. The next time you visit the National Gallery; don’t forget to pay that particular room a visit. I guarantee you will not be disappointed.
666	dbpedia	0	67	https://my.meural.netgear.com/artists/109/adolph-menzel	en	Explore Meural's Permanent Art Collection	https://my.meural.netgea…icon-512x512.png	https://my.meural.netgea…icon-512x512.png	[ "https://my.meural.netgear.com/logos/logo-mark-bronze.svg", "https://d3k8cp7ga1ip8x.cloudfront.net/media/meural/8/800x800/rnpy38ux31ygqe1.optimized.thumb.jpg", "https://d3k8cp7ga1ip8x.cloudfront.net/media/meural/7/v56jlwsdlzex8a6.optimized.thumb.jpeg", "https://d3k8cp7ga1ip8x.cloudfront.net/media/meural/7/4l9wsjsz8xtvfe1.optimized.thumb.jpg", "https://d3k8cp7ga1ip8x.cloudfront.net/media/meural/7/wy1ujv39qbgau01.optimized.thumb.jpg", "https://d3k8cp7ga1ip8x.cloudfront.net/media/meural/8/u97gbeiw3amybsk.optimized.thumb.jpg", "https://d3k8cp7ga1ip8x.cloudfront.net/media/meural/8/rnpy38ux31ygqe1.optimized.thumb.jpg", "https://d3k8cp7ga1ip8x.cloudfront.net/media/meural/8/apml9ntlx3llzy4.optimized.thumb.jpg", "https://d3k8cp7ga1ip8x.cloudfront.net/media/meural/7/800x800/ktyziamlxylu8ky.optimized.thumb.jpg", "https://d3k8cp7ga1ip8x.cloudfront.net/media/meural/f3d9de86462c28781cbe5c47ef22c3e5/rOSGfK2VxDqVgAyKiOEC40NyqWZlcZbD.jpeg", "https://d3k8cp7ga1ip8x.cloudfront.net/media/meural/f3d9de86462c28781cbe5c47ef22c3e5/800x800/YIPhBLrFy5kmwJYdscUxj1jyfOHK1sfS.jpeg" ]	[]	[]	[ "" ]	null	[]	null	Adolph Menzel was a leading German artist of the late 19th century, and a pioneer of German Realist painting. His career began shortly after taking ov...	en	/images/favicon.ico	my.meural	https://my.meural.netgear.com/artists/109/adolph-menzel	Adolph Menzel was a leading German artist of the late 19th century, and a pioneer of German Realist painting. His career began shortly after taking over his late father’s lithography business as a young man; by 17, Menzel was supporting his mother and siblings. Menzel began as a highly gifted and successful draftsman, and eventually turned to oil painting later in his career. His works were acclaimed by viewers for depicting German everyday life and culture in a precise manner—sometimes as realistic as photographs. Beloved by his home country, most of Menzel’s works still remain in Germany, specifically in the museums of Berlin.
666	dbpedia	2	91	https://www.wikitree.com/wiki/Menzel-237	en	Adolph Friedrich Erdmann (Menzel) von Menzel (1815-1905)			[ "https://www.wikitree.com/images/wikitree-small.png.pagespeed.ce.5G9g5z_Ayb.png", "https://www.wikitree.com/photo.php/thumb/e/eb/Menzel-237.jpg/75px-Menzel-237.jpg", "https://www.wikitree.com/images/icons/privacy60.png.pagespeed.ce.40ChhYgHYM.png", "https://www.wikitree.com/images/icons/map.gif.pagespeed.ce.dRGS_qcAFb.gif", "https://www.wikitree.com/images/icons/pedigree.gif.pagespeed.ce.4kSwuvQoBH.gif", "https://www.wikitree.com/images/icons/map.gif.pagespeed.ce.dRGS_qcAFb.gif", "https://www.wikitree.com/images/icons/mail.gif.pagespeed.ce.Q4d4kzofWu.gif", "https://www.wikitree.com/images/icons/star.gif.pagespeed.ce.PFsRnIv2dh.gif", "https://www.wikitree.com/images/icons/star.gif.pagespeed.ce.PFsRnIv2dh.gif", "https://www.wikitree.com/images/icons/mail.gif.pagespeed.ce.Q4d4kzofWu.gif", "https://www.wikitree.com/images/icons/star.gif.pagespeed.ce.PFsRnIv2dh.gif", "https://www.wikitree.com/photo.php/thumb/e/eb/Menzel-237.jpg/300px-Menzel-237.jpg", "https://www.wikitree.com/photo.php/thumb/8/8b/Von_Studnitz-2.jpg/75px-Von_Studnitz-2.jpg" ]	[]	[]	[ "family tree of Adolph Menzel", "Adolph von Menzel genealogy" ]	null	[]	1815-12-08T00:00:00	Is this your ancestor? Explore genealogy for Adolph (Menzel) von Menzel born 1815 Breslau, Silesia, Prussia, Germany died 1905 Berlin, Brandenburg, Germany including ancestors + 1 photos + 1 genealogist comments + more in the free family tree community.	en	/favicon.ico		https://www.wikitree.com/wiki/Menzel-237	Ancestors [spouse(s) unknown] [children unknown] This page has been accessed 835 times. Biography Adolph Friedrich Erdmann von Menzel (December 8, 1815 – February 9, 1905) was a German Realist artist noted for drawings, etchings, and paintings. Along with Caspar David Friedrich, he is considered one of the two most prominent German painters of the 19th century, and was the most successful artist of his era in Germany. First known as Adolph Menzel, he was knighted in 1898 and changed his name to Adolph von Menzel. His popularity in his native country, owing especially to history painting, was such that few of his major paintings left Germany, as many were quickly acquired by museums in Berlin. Menzel's graphic works and drawings were more widely disseminated; these, along with informal paintings not initially intended for display, have largely accounted for his posthumous reputation. Although he traveled in order to find subjects for his art, to visit exhibitions, and to meet with other artists, Menzel spent most of his life in Berlin, and was, despite numerous friendships, by his own admission detached from others. It is likely that he felt socially estranged for physical reasons alone—Menzel had a large head, and stood about four foot six inches. 3) Adolph, geb. am 8. Dezember 1815, gest am 9. Februar 1905, wurde 90 Jahre, Emilie (Frau Krigar), geb. am 10. Juli 1823, gest. am 13. November 1907, wurde 84 Jahre, Richard, geb. am 18. Oktober 1826, gest. am 24. Juli 1865, wurde 39 Jahre alt. Von den Eltern erreichte der Vater, gestorben am 5. Januar 1832, ein Alter von 45, die Mutter, gestorben am 8. Oktober 1846, ein Alter von 51 Jahren. Unter dem 26. Dezember 1815 ist in dem genannten Taufbuch eingetragen : Vater: Carl Erdmann Menzel, Schul-Instituts-Direktor, Mutter: Charlotte Emilie geb. Okrusch, Kind: Adolph Friedrich Erdmann, geb. d. 8. Dezember Ab. 8 Uhr. Testes : 1. Friedrich Wilhelm Martini, Wirtschafts-Inspector, 2. Johann Gottlieb Okrusch, Lehrer am Elisab. Gymnasium, 3. Joh. Eleonore Emilie Okrusch, geb. Schmid." Der Täufling ist unser Adolph Menzel. Sources Wikipedia Page [1] Adolph Menzel und seine schlesische Verwandtschaft; mit der erstmaligen Abbildung einer Schulzeichnung und mit unveröffentlichten Briefen Menzels, by Becker, Robert, Publication date 1922 "Deutschland, Preußen, Ostpreußen, Katholische und Lutherisch Kirchenbücher, 1551-1992", database, FamilySearch (https://www.familysearch.org/ark:/61903/1:1:6FYZ-2466 : 17 June 2022), Adolph Friedrich Erdmann Menzel, 1815. "Berlin, Germany, Deaths, 1874-1955", Landesarchiv Berlin; Berlin, Deutschland; Personenstandsregister Sterberegister; Certificate Number: 149, Ancestry Sharing Link - Ancestry Record 2958 #46000480 (accessed 1 July 2023), Karl Adolph Friedrich Von Menzel death 9 Feb 1905 (age 89), child of Friedrich Erdmann Menzel & Amalie Charlotte Menzel, in Berlin, Berlin, Deutschland (Germany).
666	dbpedia	0	88	https://harvardartmuseums.org/collections/person/27555	en	Harvard Art Museums	https://harvardartmuseum…mage-400x400.png	https://harvardartmuseum…mage-400x400.png	[ "https://harvardartmuseums.org/assets/images/logos/logo.svg", "https://harvardartmuseums.org/collections/person/item.primaryimageurl ? item.primaryimageurl +'?width=200&height=200' : '/assets/images/no_image_thumb.png'", "https://harvardartmuseums.org/assets/images/logos/logo.svg" ]	[]	[]	[ "" ]	null	[]	null	The Harvard Art Museums bring to light the intrinsic power of art and promote critical looking and thinking for students, faculty, and the public.	en	https://harvardartmuseums.org/favicon.ico		https://harvardartmuseums.org/collections/person/27555	Newsletter Sign up to get the latest news Harvard Art Museums 32 Quincy Street Cambridge, MA 02138 1 (617) 495-9400 Harvard Art Museums Instagram Harvard Art Museums Twitter Harvard Art Museums YouTube Channel Harvard Art Museums Vimeo Harvard Art Museums Pinterest Harvard Art Museums Facebook Harvard Art Museums TripAdvisor Harvard Art Museums Github
666	dbpedia	1	93	https://www.lulu.com/shop/maria-tsaneva/adolph-von-menzel/ebook/product-1e8vyqdv.html	en	Adolph Von Menzel	https://assets.lulu.com/…hortedge-384.jpg	https://assets.lulu.com/…hortedge-384.jpg	[ "https://images.ctfassets.net/9htf9uzhsn4z/3tSSOSmHDmAKXuhUbZD27g/a3af19924d8e4eb75ce6a09514a1f2ea/lulu-logo.svg", "https://assets.lulu.com/cover_thumbs/1/e/1e8vyqdv-ebook-shortedge-384.jpg" ]	[]	[]	[ "" ]	null	[]	null	Adolph Menzel was a German artist famous for drawings, etchings, and paintings. Beside with Caspar Friedrich, Menzel is regarded one of the two most important German artists of the 19th century, and was the most successful artist of his time in Germany. His popularity in his native country was such that few of his major paintings left Germany, as many were quickly acquired by museums in Berlin. : Edgar Degas admired and copied his work, calling him "the greatest living master". In Germany Menzel received many honors, and in 1898 became the first painter to be admitted to the Order of the Black Eagle; by virtue of receiving the Order, Menzel was raised to the nobility, becoming "Adolph von Menzel". He was also made a member of the Académie des Beaux-Arts in Paris and the Royal Academy in London. Menzel's graphic works and drawings were more widely distributed; these, along with informal paintings not initially intended for display, have largely accounted for his posthumous reputation.	en		Lulu	https://www.lulu.com/shop/maria-tsaneva/adolph-von-menzel/ebook/product-1e8vyqdv.html	Adolph Menzel was a German artist famous for drawings, etchings, and paintings. Beside with Caspar Friedrich, Menzel is regarded one of the two most important German artists of the 19th century, and was the most successful artist of his time in Germany. His popularity in his native country was such that few of his major paintings left Germany, as many were quickly acquired by museums in Berlin. : Edgar Degas admired and copied his work, calling him "the greatest living master". In Germany Menzel received many honors, and in 1898 became the first painter to be admitted to the Order of the Black Eagle; by virtue of receiving the Order, Menzel was raised to the nobility, becoming "Adolph von Menzel". He was also made a member of the Académie des Beaux-Arts in Paris and the Royal Academy in London. Menzel's graphic works and drawings were more widely distributed; these, along with informal paintings not initially intended for display, have largely accounted for his posthumous reputation. Details Publication Date Aug 27, 2014 Language English ISBN 9781312466159 Category Art & Photography Copyright All Rights Reserved - Standard Copyright License Contributors By (author): Maria Tsaneva
666	dbpedia	0	30	https://www.printed-editions.com/artist/adolph-menzel/	en	Adolph Menzel Prints For Sale	https://www.printed-edit…avicon-32x32.png	https://www.printed-edit…avicon-32x32.png	[ "https://media.printed-editions.com/wp-content/uploads/2022/01/09154336/output-onlinepngtools-1.png", "https://www.printed-editions.com/wp-content/themes/printed-editions-subtwo-sage/resources/img/mag-glass.svg", "https://media.printed-editions.com/wp-content/uploads/2021/03/08132501/IMG_6876-209x260.jpg", "https://www.printed-editions.com/wp-content/themes/printed-editions-subtwo-sage/resources/img/mag-glass.svg", "https://media.printed-editions.com/wp-content/uploads/2018/11/08155631/Harriet__Lanfair_On_the_Beach_610.jpg", "https://www.printed-editions.com/wp-content/themes/printed-editions-subtwo-sage/resources/img/mag-glass.svg", "https://media.printed-editions.com/wp-content/uploads/2019/02/08153404/13.jpg", 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"https://media.printed-editions.com/wp-content/uploads/2019/06/08153006/Inte%CC%81rieurRustique.jpg", "https://www.printed-editions.com/wp-content/themes/printed-editions-subtwo-sage/resources/img/mag-glass.svg", "https://media.printed-editions.com/wp-content/uploads/2021/05/08131956/Rohlfs-1931-2A-Vogt-31-26-Blaue-Landschaft.jpg", "https://www.printed-editions.com/wp-content/themes/printed-editions-subtwo-sage/resources/img/mag-glass.svg", "https://media.printed-editions.com/wp-content/uploads/2020/10/08133505/The-Jumper.jpg", "https://www.printed-editions.com/wp-content/themes/printed-editions-subtwo-sage/resources/img/mag-glass.svg", "https://media.printed-editions.com/wp-content/uploads/2022/06/02201026/CB139-554x500.jpg", "https://www.printed-editions.com/wp-content/themes/printed-editions-subtwo-sage/resources/img/mag-glass.svg", "https://media.printed-editions.com/wp-content/uploads/2018/11/08160220/Henri_Patrice_Dillon_Pluvise__Rainy_1269.jpg", "https://www.printed-editions.com/wp-content/themes/printed-editions-subtwo-sage/resources/img/mag-glass.svg", "https://media.printed-editions.com/wp-content/uploads/2018/11/08155155/arnold_blanch_Flowers_1448_1.jpg", "https://media.printed-editions.com/wp-content/uploads/2022/01/09154336/output-onlinepngtools-1.png" ]	[]	[]	[ "" ]	null	[]	null	Adolph Menzel prints for sale from leading galleries \| Printed Editions		/wp-content/themes/printed-editions-subtwo-sage/favicon/pe/apple-touch-icon.png	Printed Editions	https://www.printed-editions.com/artist/adolph-menzel/	The Berlin-based artist Adolph Menzel enjoyed lifetime recognition for his paintings, drawings and prints. He earned the respect of prominent colleagues and influential contemporary critics. Numerous one-man exhibitions of his work staged in major museums, galleries and art associations added to his renown. He was accorded the highest national honours and elevated to the nobility. A comprehensive memorial exhibition staged shortly after his death at the Nationalgalerie in Berlin crowned his stellar career. The Nationalgalerie had regularly secured many of his major works for its collection and went on to acquire his artistic estate, thus guaranteeing him a permanent place in the annals of German nineteenth-century art. Although Menzel’s rank as the leading German Realist painter is beyond dispute, this is too narrow a classification of his art-historical significance. In an artistic career spanning seven decades he produced an extraordinarily multifaceted range of pictorial imagery. His work encompasses early Impressionistic tendencies (The Balcony Room, Nationalgalerie Berlin), historical genre scenes (The Flute Concert, Nationalgalerie Berlin) and powerful depictions of the modern industrial age (The Iron-Rolling Mill [The Modern Cyclops], Nationalgalerie Berlin). Unlike many of his contemporaries, Menzel regarded drawing as much more than a tool for compiling a repertoire of motifs for later use in paintings. For him, drawing was an autonomous artistic act. Paul Meyerheim, a friend and colleague, noted in his recollections of Menzel: ‘In his paletot he had eight pockets part-filled with sketchbooks; he could not believe that there were artists who regularly set forth, even for the briefest of trips, without a sketchbook in their pocket.’ Meyerheim also observed that ‘no object was ever too insignificant for Menzel, and he would sketch with almost compulsive zeal while walking, or on the spot.’ The working method Meyerheim describes accounts for the overwhelming number of drawings Menzel produced and their extraordinary technical virtuosity. The vast range of motifs he recorded testifies to his ceaseless efforts to capture the tiniest details of the world around him and interiorise them artistically. His achievement lies in arriving at a universal formula for his subjective vision, the reason why the fascination of his draughtsmanship remains undiminished today.
666	dbpedia	1	85	https://www.germanexpressionismleicester.org/leicesters-collection/artists-and-artworks/adolph-friedrich-erdmann-von-menzel/	en	Adolph Friedrich Erdmann von Menzel – Leicester's German Expressionist Collection			[ "https://www.germanexpressionismleicester.org/ImageGen.ashx?image=/media/1726/0119_Adolph_von_Menzel.jpg&class=detailsView", "https://www.germanexpressionismleicester.org/ImageGen.ashx?image=/media/1304/1001_studies_of_a_standing_man.jpg&class=thumbnail", "https://www.germanexpressionismleicester.org/ImageGen.ashx?image=/media/1304/1001_studies_of_a_standing_man.jpg&class=thumbnail" ]	[]	[]	[ "" ]	null	[]	2014-09-30T00:00:00		en	/favicon.ico		null	Adolph Friedrich Erdmann von Menzel was born in 1815 in Breslau, Germany, and died in 1905 in Berlin. He was a German artist famous for his drawings, etchings and painting. He is considered one of the most prominent German artists of the 19th Century.
666	dbpedia	3	6	https://artuk.org/discover/artists/menzel-adolph-18151905	en	Menzel, Adolph, 1815â1905	https://artuk.org/skins/…share-red-bg.jpg	https://artuk.org/skins/…share-red-bg.jpg	[ "https://artuk.org/skins/artuk/assets/img/logos/ArtUK_Logo_RGB_White.png", "https://d3d00swyhr67nd.cloudfront.net/w800h800/collection/NG/NG/NG_NG_NG6604-001.jpg", "https://d3d00swyhr67nd.cloudfront.net/w800h800/collection/BRM/BIFA/BRM_BIFA_2003_3.jpg", "https://d3d00swyhr67nd.cloudfront.net/w800h800/collection/NG/NG/NG_NG_NG6604-001.jpg", "https://d3d00swyhr67nd.cloudfront.net/_source/location_logos/BIFA_location_logo_1.gif", "https://d3d00swyhr67nd.cloudfront.net/_source/location_logos/NG_location_logo_1.gif", "https://artuk.org/skins/artuk/img/bloomberg-logo.png", "https://artuk.org/skins/artuk/img/dlbfoundation.png", "https://artuk.org/skins/artuk/img/freelands_white_small.png", "https://artuk.org/skins/artuk/img/heritage-fund-logo.png", "https://artuk.org/skins/artuk/img/artuk-logo-white.png", "https://artuk.org/skins/artuk/img/artuk-logo-white.png" ]	[]	[]	[ "art", "uk", "art uk", "nsw-rlrbwj98djuzr8je9lkikzom-numnw-a0xd1tjxmjqpgxb-2-8x1-ujelx-g77bi-fw64rhobgu0-7v3t-glh32vmekcliuy70l4olzmeqmwsbzhe9mc2msn8yphihiy" ]	null	[]	null	Adolph Menzel (1815â1905)	en	https://artuk.org/skins/artuk/img/artuk_32_32.ico		https://artuk.org/discover/artists/menzel-adolph-18151905	(b Breslau, Silesia [now WrocÅaw, Poland], 8 Dec. 1815; d Berlin, 9 Feb. 1905). German painter and printmaker, active mainly in Berlin, where in 1832 he took over his dead father's lithographic business. He was extremely industrious and achieved fame with 400 illustrations (wood engravings from his lively drawings) for Franz Kugler's History of Frederick the Great (1840â2). In painting he worked on similar themes and with comparable success, creating the popular image of the founder of the Prussian state. From the 1860s he turned to subjects from modern life and was one of the first German painters to depict the picturesque qualities of industry (The Steel Mill, 1872â5, Alte NG, Berlin). Today, however, Menzel is most highly regarded not for the works that brought him contemporary acclaim, but for a series of informal landscapes and interiors dating from the 1840s that remained virtually unknown in his lifetime.
666	dbpedia	3	73	https://www.cutlermiles.com/hand-holding-a-book-adolph-von-menzel/	en	Hand Holding A Book By Adolph Von Menzel	https://cdn11.bigcommerc….386.513.jpg?c=2	https://cdn11.bigcommerc….386.513.jpg?c=2	[ "https://cdn11.bigcommerce.com/s-r3utmtjwwz/images/stencil/120x90/cm-logo-250x100_1556768354__70475.original.png", "https://cdn11.bigcommerce.com/s-r3utmtjwwz/lib/flags/regions/eu.gif", "https://cdn11.bigcommerce.com/s-r3utmtjwwz/lib/flags/us.gif", "https://cdn11.bigcommerce.com/s-r3utmtjwwz/lib/flags/au.gif", "https://cdn11.bigcommerce.com/s-r3utmtjwwz/lib/flags/regions/eu.gif", "https://cdn11.bigcommerce.com/s-r3utmtjwwz/lib/flags/ca.gif", "https://cdn11.bigcommerce.com/s-r3utmtjwwz/lib/flags/mx.gif", "https://cdn11.bigcommerce.com/s-r3utmtjwwz/lib/flags/gb.gif", "https://cdn11.bigcommerce.com/s-r3utmtjwwz/lib/flags/us.gif", "https://cdn11.bigcommerce.com/s-r3utmtjwwz/lib/flags/au.gif", "https://cdn11.bigcommerce.com/s-r3utmtjwwz/lib/flags/regions/eu.gif", "https://cdn11.bigcommerce.com/s-r3utmtjwwz/lib/flags/ca.gif", "https://cdn11.bigcommerce.com/s-r3utmtjwwz/lib/flags/mx.gif", "https://cdn11.bigcommerce.com/s-r3utmtjwwz/lib/flags/gb.gif", "https://cdn11.bigcommerce.com/s-r3utmtjwwz/images/stencil/500x659/products/8391/28609/hand-holding-a-book_adolph-von-menzel_adolph-von-menzel__98866__26478.1625195628.jpg?c=2", "https://cdn11.bigcommerce.com/s-r3utmtjwwz/images/stencil/500x659/products/8391/28609/hand-holding-a-book_adolph-von-menzel_adolph-von-menzel__98866__26478.1625195628.jpg?c=2", "https://cdn11.bigcommerce.com/s-r3utmtjwwz/images/stencil/50x50/products/8391/28609/hand-holding-a-book_adolph-von-menzel_adolph-von-menzel__98866__26478.1625195628.jpg?c=2", "https://cdn11.bigcommerce.com/s-r3utmtjwwz/images/stencil/50x50/products/8391/28611/hand-holding-a-book_adolph-von-menzel_adolph-von-menzel__80416__11180.1557462998.jpg?c=2", "https://cdn11.bigcommerce.com/s-r3utmtjwwz/images/stencil/50x50/products/8391/28613/hand-holding-a-book_adolph-von-menzel_adolph-von-menzel__80256__41250.1625110796.jpg?c=2", "https://cdn11.bigcommerce.com/s-r3utmtjwwz/images/stencil/50x50/products/8391/28610/hand-holding-a-book_adolph-von-menzel_adolph-von-menzel__35761.1624857797.jpg?c=2", "https://cdn11.bigcommerce.com/s-r3utmtjwwz/images/stencil/50x50/products/8391/28612/hand-holding-a-book_adolph-von-menzel_adolph-von-menzel__91384.1624993628.jpg?c=2", "https://cdn11.bigcommerce.com/s-r3utmtjwwz/product_images/uploaded_images/banner-row-small.png", "https://cdn11.bigcommerce.com/s-r3utmtjwwz/product_images/uploaded_images/5-stars-verified.png", "https://cdn11.bigcommerce.com/s-r3utmtjwwz/product_images/uploaded_images/5-stars-verified.png", "https://cdn11.bigcommerce.com/s-r3utmtjwwz/product_images/uploaded_images/5-stars-verified.png", "https://cdn11.bigcommerce.com/s-r3utmtjwwz/product_images/uploaded_images/5-stars-verified.png", "https://cdn11.bigcommerce.com/s-r3utmtjwwz/images/stencil/500x659/products/51152/223120/hand-holding-a-paint-dish_adolph-von-menzel_adolph-von-menzel__29967__50260.1625110359.jpg?c=2", "https://cdn11.bigcommerce.com/s-r3utmtjwwz/images/stencil/500x659/products/57067/252103/the-petition_adolph-von-menzel_adolph-von-menzel__35991__18721.1625093039.jpg?c=2", "https://cdn11.bigcommerce.com/s-r3utmtjwwz/images/stencil/500x659/products/37357/154988/disturbance_adolph-von-menzel_adolph-von-menzel__81814.1625147973.jpg?c=2", "https://cdn11.bigcommerce.com/s-r3utmtjwwz/images/stencil/500x659/products/32912/134459/the-interruption_adolph-von-menzel_adolph-von-menzel__98152.1624993084.jpg?c=2", "https://cdn11.bigcommerce.com/s-r3utmtjwwz/images/stencil/500x659/products/63644/284551/zulus_adolph-von-menzel_adolph-von-menzel__20658.1625532364.jpg?c=2" ]	[]	[]	[ "" ]	null	[]	null	Hand Holding A Book By Adolph Von Menzel By Adolph Von Menzel Art Reproduction from Cutler Miles. Choose from Canvas Art, Framed, or Unframed Wall Art. We Ship Worldwide with Free UPS Shipping.	en	https://cdn11.bigcommerc…png?t=1556768544	Cutler Miles Art Gallery	https://www.cutlermiles.com/hand-holding-a-book-adolph-von-menzel/	Description Our Giclee Museum Quality Prints Use Archival Pigment Inks Resistant to Fading and Allow the Image Retains to Retain the Tonalities And Hues of the Original Painting. There is No Watermark Or Branding on the Print. For Unframed Matte Paper, We Provide the Exact Dimensions of the Artwork. For Unframed Canvas Art, We Leave a 2" Border to Allow for Framing or Stretching of the Artwork. Free Shipping in USA & UK with Fast Delivery and no customs fees for UK customers! 30 Money Back Guarantee. We Are Committed to Excellence, with 15 Years Experience In Curating and Providing Quality Craftsmanship in our Reproductions. We Think You'll Love Your Prints and Paintings Ordered From Us. We’re currently collecting product reviews for this item. In the meantime, here are feedback posts from our past customers sharing their shopping experience. Love it! Arrived Quickly.. Lovely painting and details are clear. Great work on our Renoir. Exceptional quality print. " Videos Extra Information Brand: Adolph Von Menzel
666	dbpedia	0	26	https://www.mutualart.com/Artist/Adolph-von-Menzel/0971EFF82D21B7CA	en	Adolph von Menzel	https://media.mutualart.…c9b9_-1_570.Jpeg	https://media.mutualart.…c9b9_-1_570.Jpeg	[ "https://static.mutualart.com/img/logo-white-24.svg", "https://static.mutualart.com/img/logo-white-24.svg", "https://media.mutualart.com/ExternalImages/Rewards/ICON-%20REWARDS-24.png", "https://media.mutualart.com/Images/2024_07/22/14/145434722/40f9af13-df2a-4cc4-9bfa-4f1c68157911_160.Jpeg", "https://media.mutualart.com/Images/2024_08/13/15/153111667/7e89d0de-7d09-4f22-8597-d6ca60726469_160.Jpeg", "https://media.mutualart.com/Images/2024_08/21/16/162128716/cdec2dc4-c595-4e32-afaf-fbb70fd769b0_160.Jpeg", "https://media.mutualart.com/Images/System_Init/1/Default_160.gif", "https://media.mutualart.com/Images/2024_07/24/14/145333752/bf419db9-b9e1-411e-9c02-e373d97a1635_160.Jpeg", "https://media.mutualart.com/Images/2024_08/01/15/153510424/e112e757-a5fa-4725-a857-b347451ded2d_160.Jpeg", "https://media.mutualart.com/Images/2013_10/31/07/072524225/26f64a0c-b91d-4842-a918-253f9735e1bb_338.Jpeg", "https://media.mutualart.com/Images/2014_10/31/14/145637352/be611bea-b904-4382-b8a7-9722e76d0525_338.Jpeg", "https://media.mutualart.com/Images/2024_03/27/22/222456436/adolph-von-menzel-adolph-von-menzel-port-KYPBW-338.Jpeg", "https://media.mutualart.com/Images/2024_08/24/12/71087436/adolph-von-menzel-adolph-menzel-1887-woo-3A301-338.Jpeg", "https://media.mutualart.com/Images/2024_08/11/08/69418619/adolph-von-menzel-work-on-paper--adolph--EXACF-338.Jpeg", "https://media.mutualart.com/Images/2024_08/04/12/69111444/adolph-von-menzel-adolph-menzel-1887-woo-T9J5U-338.Jpeg", "https://media.mutualart.com/Images/2024_07/17/23/235340525/adolph-von-menzel-work-on-paper--adolph--4E6O0-338.Jpeg", "https://media.mutualart.com/Images/2024_04/06/18/185419137/12680b12-520f-4458-85fe-93ad34f90afd-338.Jpeg", "https://media.mutualart.com/Images/2023_03/12/11/114533204/205ce77f-0262-407f-9cef-ba1846bae2b7-338.Jpeg", "https://media.mutualart.com/Images/2022_07/17/08/082114702/2fff7f45-8f6b-4b14-af84-4529baffce47-338.Jpeg", "https://media.mutualart.com/Images/2024_05/03/04/043649671/e7a304c0-fb17-49f5-acc6-ef418bdc4858-338.Jpeg", "https://media.mutualart.com/Images/2024_03/18/08/082136580/4a8b8bbf-e5ff-40bb-b1a6-3acdba7b6d16-338.Jpeg", "https://media.mutualart.com/Images/2023_11/20/08/085346035/5465729b-dbdc-46e4-81c0-5bacb509d29e_338.Jpeg", "https://media.mutualart.com/Images/2009_03/11/0022/91234/91234_6a0f5b57-d686-4654-9a0f-87acb6640c7f_-1_273.Jpeg", "https://media.mutualart.com/Images/2009_04/12/0019/163623/163623_d2f0211e-686f-4d4c-a120-54a96d86a22b_-1_273.Jpeg", "https://media.mutualart.com/Images/2018_03/06/02/023124265/e6e18e4c-94ed-41bb-a3fb-d8dd0d9098e2_273.Jpeg", "https://media.mutualart.com/Images/2009_04/08/0004/148196/148196_f4fdac1c-a270-41d9-a33a-55bc96647b23_-1_273.Jpeg", "https://media.mutualart.com/Images/2009_07/06/0025/239206/28338375-0f70-4362-96af-02301977f0b9_g_273.Jpeg", "https://media.mutualart.com/Images/2009_03/12/0019/87362/87362_e129d46b-34a5-4fea-a5e7-ba50dbccb1e0_-1_273.Jpeg", "https://media.mutualart.com/Images/2009_07/06/0009/219612/a2a98681-595f-4882-8691-ecd9a0a7f3fa_g_273.Jpeg", "https://media.mutualart.com/Images/2009_03/11/0037/105467/105467_8a8408ca-d7c9-47da-8ad5-4ab34f40ba88_-1_273.Jpeg", "https://media.mutualart.com/Images/2009_07/07/0028/242210/c8d14763-d72c-4dfc-bb7e-7772eea3db4b_g_273.Jpeg", "https://media.mutualart.com/Images/2018_06/12/21/214412178/fa82e519-a44c-47fd-a8a1-4e998bdf641d_273.Jpeg" ]	[]	[]	[ "" ]	null	[ "Adolph von Menzel" ]	null	Stay up to date with Adolph von Menzel (German, 1815 - 1905) . Discover works for sale, auction results, market data, news and exhibitions on MutualArt.	en	https://static.mutualart…e-touch-icon.png		https://www.mutualart.com/Artist/Adolph-von-Menzel/0971EFF82D21B7CA	Adolph von Menzel was a German 19th Century artist who was born in 1815. Their work is currently being shown at Gallery Ludorff in Düsseldorf. Numerous key galleries and museums such as Hamburger Kunsthalle have featured Adolph von Menzel's work in the past.Adolph von Menzel's work has been offered at auction multiple times, with realized prices ranging from 10 USD to 4,120,482 USD, depending on the size and medium of the artwork. Since 1998 the record price for this artist at auction is 4,120,482 USD for STANDING ARMOUR (FROM THE SERIES ARMOURY FANTASIES), sold at Grisebach in 2014. Adolph von Menzel has been featured in articles for ArtDependence Magazine, ArtDaily and Deutsche Welle. The most recent article is Do You Fancy a Party? Elegant Gatherings in Art written for Daily Art Magazine in May 2024. The artist died in 1905. Artist's alternative names: Adolf Friedrich Erdmann Von Menzel, Adolph Menzel
666	dbpedia	3	24	https://edsimoneit.blog/2019/01/02/most-of-menzels-paintings-were-quickly-gathered-up-by-museums-and-patrons-in-germany-this-one-is-dinner-at-the-ball/	en	Most of Menzel’s paintings were quickly gathered up by museums and patrons in Germany	https://edsimoneit.blog/…fbook.jpg?w=1018	https://edsimoneit.blog/…fbook.jpg?w=1018	[ "https://edsimoneit.blog/wp-content/uploads/2019/10/cropped-10550043_657036441048290_3616100173913314072_o.jpg", "https://edsimoneit.blog/wp-content/uploads/2018/10/cropped-blk.png", "https://edsimoneit.blog/wp-content/uploads/2019/07/wernerwagnermenzelfbook.jpg?w=880&h=312&crop=1", "https://edsimoneit.blog/wp-content/uploads/2019/01/menzeldinnerattheball2afinala.jpg", "https://edsimoneit.blog/wp-content/uploads/2018/12/crowning20x16afb-1.png?strip=info&w=600 600w,https://edsimoneit.blog/wp-content/uploads/2018/12/crowning20x16afb-1.png?strip=info&w=900 900w,https://edsimoneit.blog/wp-content/uploads/2018/12/crowning20x16afb-1.png?strip=info&w=1200 1200w,https://edsimoneit.blog/wp-content/uploads/2018/12/crowning20x16afb-1.png?strip=info&w=1440 1440w", "https://edsimoneit.blog/wp-content/uploads/2018/10/12029843_1000069513377080_6923358118894595021_o.jpg?strip=info&w=600 600w,https://edsimoneit.blog/wp-content/uploads/2018/10/12029843_1000069513377080_6923358118894595021_o.jpg?strip=info&w=900 900w,https://edsimoneit.blog/wp-content/uploads/2018/10/12029843_1000069513377080_6923358118894595021_o.jpg?strip=info&w=1200 1200w,https://edsimoneit.blog/wp-content/uploads/2018/10/12029843_1000069513377080_6923358118894595021_o.jpg?strip=info&w=1500 1500w,https://edsimoneit.blog/wp-content/uploads/2018/10/12029843_1000069513377080_6923358118894595021_o.jpg?strip=info&w=1561 1561w", "https://edsimoneit.blog/wp-content/uploads/2018/10/facebkcover2.jpg?strip=info&w=600 600w,https://edsimoneit.blog/wp-content/uploads/2018/10/facebkcover2.jpg?strip=info&w=900 900w,https://edsimoneit.blog/wp-content/uploads/2018/10/facebkcover2.jpg?strip=info&w=1200 1200w,https://edsimoneit.blog/wp-content/uploads/2018/10/facebkcover2.jpg?strip=info&w=1500 1500w,https://edsimoneit.blog/wp-content/uploads/2018/10/facebkcover2.jpg?strip=info&w=1800 1800w,https://edsimoneit.blog/wp-content/uploads/2018/10/facebkcover2.jpg?strip=info&w=2000 2000w", "https://edsimoneit.blog/wp-content/uploads/2020/02/wernerwagnermenzelfbook.jpg?w=825", "https://edsimoneit.blog/wp-content/uploads/2021/01/1aaaa.jpg?w=288", "https://2.gravatar.com/avatar/817530d9cd8d9f366b7a26f236ac4ba949dbdb96e6375b5dd363d5a15539748e?s=90&d=identicon&r=G", "https://edsimoneit.blog/wp-content/uploads/2019/01/cropped-elchschaufel.jpg?w=50", "https://edsimoneit.blog/wp-content/uploads/2019/01/cropped-elchschaufel.jpg?w=50", "https://pixel.wp.com/b.gif?v=noscript" ]	[]	[]	[ "" ]	null	[]	2019-01-02T00:00:00	"Dinner at the Ball" captures a moment in time during the high point of peace and prosperity in the German Empire. It was 7 years after the German unification of 1871 and was the era of Kaiser Wilhelm I and his Chancellor Bismarck, who created a booming economy and a foreign policy that produced 43…	en	https://edsimoneit.blog/…chaufel.jpg?w=32	For People Proud of their German Heritage	https://edsimoneit.blog/2019/01/02/most-of-menzels-paintings-were-quickly-gathered-up-by-museums-and-patrons-in-germany-this-one-is-dinner-at-the-ball/	“Dinner at the Ball” captures a moment in time during the high point of peace and prosperity in the German Empire. It was 7 years after the German unification of 1871 and was the era of Kaiser Wilhelm I and his Chancellor Bismarck, who created a booming economy and a foreign policy that produced 43 years of peace in Europe. The warm glow of this era was captured by Adolph von Menzel, who created this luxurious candlelit image, “Das Ball Souper”, in 1878. As an artist noted for drawings, etchings, and paintings, Adolph Menzel along with Caspar David Friedrich, is considered one of the two most prominent German artists of the 19th century. Born in the Prussian city of Breslau in Silesia, he moved early on, at age 17, to Prussia’s capital city of Berlin and lived there for the rest of life. He first worked for his father as a Lithographer, then studied art briefly in 1833, and almost immediately produced commercially successful drawings and wood engravings. Eventually, Menzel taught himself … unaided by anyone else… the art of painting that we still admire today. On a social level, Menzel traveled in order to find subjects for his art, to visit exhibitions, and to meet with other artists. But despite his many friendships, Menzel spent most of his life in Berlin unattached to anyone in an emotional way. He probably felt socially estranged for physical reasons…Menzel had a large head and a short body…he was only four foot six inches. He wrote in his last will and testament: “Not only have I remained unmarried, throughout my life I have also renounced all relations with the other sex…In short, there is a lack of any kind of self-made bond between me and the outside world.” Although his paintings rarely left Germany…they were quickly gathered up by museums and patrons in Germany…he garnered recognition from the French avant-garde. Edgar Degas admired and copied his work, calling him “the greatest living master” and Louis Edmond Duranty wrote that “The man who has measured with a compass the buttons on a uniform from the time of Frederick, when it is a matter of depicting a modern shoe, waistcoat, or coiffure, does not make them by approximations but totally, in their absolute form and without smallness of means. He puts there everything that is called for by the character (of the object). Free, large, and rapid in his drawing, no draftsman is as definitive as he”. In Germany he received many honors, but the highest honor came in 1898, when he became the first painter to receive the Order of the Black Eagle. For the last seven years of his life he proudly wore the same large Breast Star that he so often portrayed in his renderings of Frederick the Great. In addition, by receiving the Order of the Black Eagle, Menzel was also raised to the nobility, becoming “Adolph von Menzel”. He was also made a member of the Académie des Beaux-Arts in Paris and the Royal Academy in London. After his death in 1905 in Berlin, his funeral arrangements were directed by the Kaiser, who walked behind his coffin. Explore images on brand new products at my stores https://www.etsy.com/shop/vintagegermanygifts
666	dbpedia	2	87	https://books.google.com/books/about/Menzel_s_Realism.html%3Fid%3DQN6qFyYZ7wIC	en	Google Books			[]	[]	[]	[ "" ]	null	[]	null					https://books.google.com/	Search the world's most comprehensive index of full-text books. My library
666	dbpedia	0	71	https://arthive.com/artists/302~Adolf_Friedrich_Erdmann_von_Menzel	en	Adolf Friedrich Erdmann von Menzel (08.12.1815 - 09.02.1905) - Biography, Interesting Facts, Famous Artworks	https://arthive.com/res/…t/410/121784.jpg	https://arthive.com/res/…t/410/121784.jpg	[ "https://arthive.com/res/media/img/sx200/artist/ad8/121784.jpg", "https://arthive.com/res/img/svg/qr-code-4.svg", "https://arthive.com/res/img/svg/spinner-black.svg", "https://arthive.com/res/img/svg/spinner-black.svg", "https://arthive.com/res/img/svg/spinner-black.svg", "https://arthive.com/res/img/svg/spinner-black.svg", "https://arthive.com/res/img/svg/spinner-black.svg", "https://arthive.com/res/img/svg/spinner-black.svg", "https://arthive.com/res/img/svg/spinner-black.svg", "https://arthive.com/res/img/svg/spinner-black.svg", "https://arthive.com/res/img/svg/spinner-black.svg", "https://arthive.com/res/img/svg/spinner-black.svg", "https://arthive.com/res/img/svg/spinner-black.svg", "https://arthive.com/res/img/svg/spinner-black.svg", "https://arthive.com/res/img/svg/spinner-white.svg", "https://mc.yandex.ru/watch/40832419", "https://www.facebook.com/tr?id=209775657147908&ev=PageView&noscript=1" ]	[]	[]	[ "" ]	null	[]	null	Find out more about the history of Adolf Friedrich Erdmann von Menzel, including interesting facts, large resolution images, historical features and more.	en	/apple-touch-icon-57x57.png	Arthive	https://arthive.com/artists/302~Adolf_Friedrich_Erdmann_von_Menzel	German painter and graphic artist. Learned lithography from his father and at the Berlin Academy of arts (1830). Already in the early works of Menzel full expressive and accurate domestic details differ liveliness characteristics. Tireless draftsman (over 5 thousand drawings in the National gallery, Berlin), he was also a master of watercolor, gouache, etching, lithography. Adolf von Menzel was born in the Eastern German town of Breslau (now Wroclaw, Poland). In 1830 he moved with his family to Berlin. The first art school was for Adolf lithographic workshop of his father. Becoming in 1833, the breadwinner of the family after his father's death, he took any job: did a lunch menu, invitations, etc. Adolf short (only 6 months) attended classes at the Academy of arts in Berlin and was almost self-taught. First became known in 1833 by the notebook of drawings executed with pen and depicting "the Life of an artist". This youthful work of Menzel followed a number of them lithographed "Attractions Brandenburg history" (1834-39, 12 sheets) and some of his first experiments in oil painting what, for example, "the Game of chess" (1836), "Legal advice" (1837), "the Trial" (1837) and other works.But soon he had to put aside the palette and brush, in order to deal with the composition of the illustrations to "History of Frederick the Great," Kugler (1839 -42) and after that illustrating luxury editions of the works of Kugler (1843-49). Both of these works made Menzel to delve into the study of the epoch of Frederick the Great. Rendering it with complete historical accuracy, excellent characteristics of the provisions and actors, the realistic truth and technical prowess, he made himself a big name from their compatriots mainly with paintings on the themes drawn from that era, what are, for example: * "Round table of Frederick the Great" (1850, is in the Berlin National gallery), * "Concert in Sanssouci" (1852), * "Frederick the Great on the road" (1854), * "The oath of Frederick the Great in Breslau in 1741" (Breslau Museum) * "The meeting of Frederick the Great and Joseph II at Neisse", * "Friedrich before a leithian battle", * "Friedrich Gorkitskoe in battle" (1856; in the Berlin Royal Palace) and others. In 1840-ies he begins to write from life. There are a number of landscapes, portraits, which were first shown in 1906 at the exhibition Menzel at the National gallery in Berlin and have dramatically changed the prevailing opinion about his work. In 1850-ies he wrote, besides, several paintings of biblical content, the advantage of which in most cases harm their excessive realism, and then again showed his talent with the full splendour in the magnificent "Coronation of Frederick William I in königsberg" (1861-65; in the Berlin Royal Palace), the "Departure of the king to the war, July 30, 1870" (1871; in the Berlin National gallery), "dinner Ball" (1878), "the Conversation of the king with the lady at the court ball" (1880), in "Religious procession in Gastein"(1880), "Square d'erbe in Verona" and "Zhelezobaktery plant" (1875), the most remarkable of all the artist's paintings depicting the inside zhelezorudnogo plant while working on it. Beyond the mentioned works, Menzel performed many other, less significant genre paintings, pen drawings, compositions for policypage, watercolors and gouaches. Since 1856 he was a Professor and member of the Berlin Academy of arts. During the long years of his life he visited Austria, traveled on the Rhine, the Danube, was on the Baltic sea, Holland, Italy, toured the whole of Germany. Travel was his source of subjects for paintings, genre paintings, pastels. In these works was not the poetry and emotions that were inherent in his early works. Menzel has worked for over twenty years (1863-1885) on a series of gouaches and watercolours, combined to form a "Children's album". It contains scenes from everyday life, images of animals, birds, etc. the Last years of his life he devoted to the schedule, although throughout the creative journey never parted with a pencil: in the National gallery in Berlin, there are over five thousand of his drawings. In 1880-1890 G. G. Menzel drawn to the image of old age, he depicts the portraits of old men and women, seek psychological expression of this condition. 9 Feb 1905 in the ninetieth year of his life he died. The Imperial court he had arranged a very lavish funeral, which was awarded to only General-field Marshal.
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666	dbpedia	2	13	https://www.wga.hu/bio_m/m/menzel/biograph.html	en	Biography of MENZEL, Adolph von in the Web Gallery of Art			[ "https://www.wga.hu/support/header/header_m.gif", "https://www.wga.hu/support/gif/pictures_m.gif", "https://www.wga.hu/biojpg/m/menzel/biograph.jpg", "https://www.wga.hu/support/gif/kockak.gif" ]	[]	[]	[ "" ]	null	[]	null	Biography of MENZEL, Adolph von (b. 1815, Breslau, d. 1905, Berlin) in the Web Gallery of Art, a searchable image collection and database of European art and architecture (200-1900)				null	Biography German painter, son of a headmaster who founded a lithographic press, in which Adolph worked from the age of fourteen. The family moved to Berlin in 1830, and, left orphan in 1832, Menzel had to maintain his family. In 1833-34 Adolph Menzel attended the Royal Academy of Art, where he met the wallpaper manufacturer Carl Heinrich Arnold, who would become a friend and patron. In 1833 Sachse of Berlin published his first work, an album of pen-and-ink drawings reproduced on stone, to illustrate Goethe's little poem, "KÃ¼nstlers Erdenwallen." In 1834 he joined the Younger Artists' Association. By then he was working more in oils. In 1838 he was admitted to the 'Elder Artists' Association. One year later he was commissioned to illustrate Franz Kugler's History of Frederick the Great, for which from 1839 to 1842 he produced 400 drawings, reviving at the same time the technique of engraving on wood. In 1839 he saw some pictures by Constable in Berlin, and in the 1840s and 1850s he made a series of paintings which are very free in handling and seem to anticipate Impressionism although later he rejected the theory.
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Along with Caspar David Friedrich, he is considered one of the two most prominent German painters of the 19th century, and was the most successful artist of his era in Germany. First known as Adolph Menzel, he was knighted in 1898 and changed his name to Adolph von Menzel.		https://www.catherinelarosepoesiaearte.com/favicon.ico		https://www.catherinelarosepoesiaearte.com/2017/07/adolph-von-menzel-1815-1905.html	"Il Piede dell'Artista", 1876 - Olio su pannello - Adolf von Menzel (German Realist painter, 1815-1905) Menzel was the leading German artist of the last half of the 19th century. He exhibited his first drawing at the age of 12. His father ran a lithographic printing works; and by the time he was 14, Menzel was contributing illustrations to publications. Active as a printmaker & a dazzling draftsman throughout his prolific career, he turned to oil painting only after he was 30. When visiting Paris, Menzel associated with other artists there including Edgar Degas. He chronicled life in Berlin. He was knighted in 1898, and received a state funeral upon his death in 1905. Adolph Friedrich Erdmann von Menzel (1815-1905) was a German Realist artist noted for drawings, etchings, and paintings. Along with Caspar David Friedrich, he is considered one of the two most prominent German painters of the 19th century, and was the most successful artist of his era in Germany. First known as Adolph Menzel, he was knighted in 1898 and changed his name to Adolph von Menzel. His popularity in his native country, owing especially to his history paintings, was such that few of his major paintings left Germany, as many were quickly acquired by museums in Berlin. Menzel's graphic work and especially his drawings were more widely disseminated; these, along with informal paintings not initially intended for display, have largely accounted for his posthumous reputation. Although he traveled in order to find subjects for his art, to visit exhibitions, and to meet with other artists, Menzel spent most of his life in Berlin, and was, despite numerous friendships, by his own admission detached from others. It is likely that he felt socially estranged for physical reasons alone Menzel had a large head, and stood about four foot six inches.
666	dbpedia	1	70	https://www.wikitree.com/wiki/Menzel-237	en	Adolph Friedrich Erdmann (Menzel) von Menzel (1815-1905)			[ "https://www.wikitree.com/images/wikitree-small.png.pagespeed.ce.5G9g5z_Ayb.png", "https://www.wikitree.com/photo.php/thumb/e/eb/Menzel-237.jpg/75px-Menzel-237.jpg", "https://www.wikitree.com/images/icons/privacy60.png.pagespeed.ce.40ChhYgHYM.png", "https://www.wikitree.com/images/icons/map.gif.pagespeed.ce.dRGS_qcAFb.gif", "https://www.wikitree.com/images/icons/pedigree.gif.pagespeed.ce.4kSwuvQoBH.gif", "https://www.wikitree.com/images/icons/map.gif.pagespeed.ce.dRGS_qcAFb.gif", "https://www.wikitree.com/images/icons/mail.gif.pagespeed.ce.Q4d4kzofWu.gif", "https://www.wikitree.com/images/icons/star.gif.pagespeed.ce.PFsRnIv2dh.gif", "https://www.wikitree.com/images/icons/star.gif.pagespeed.ce.PFsRnIv2dh.gif", "https://www.wikitree.com/images/icons/mail.gif.pagespeed.ce.Q4d4kzofWu.gif", "https://www.wikitree.com/images/icons/star.gif.pagespeed.ce.PFsRnIv2dh.gif", "https://www.wikitree.com/photo.php/thumb/e/eb/Menzel-237.jpg/300px-Menzel-237.jpg", "https://www.wikitree.com/photo.php/thumb/8/8b/Von_Studnitz-2.jpg/75px-Von_Studnitz-2.jpg" ]	[]	[]	[ "family tree of Adolph Menzel", "Adolph von Menzel genealogy" ]	null	[]	1815-12-08T00:00:00	Is this your ancestor? Explore genealogy for Adolph (Menzel) von Menzel born 1815 Breslau, Silesia, Prussia, Germany died 1905 Berlin, Brandenburg, Germany including ancestors + 1 photos + 1 genealogist comments + more in the free family tree community.	en	/favicon.ico		https://www.wikitree.com/wiki/Menzel-237	Ancestors [spouse(s) unknown] [children unknown] This page has been accessed 845 times. Biography Adolph Friedrich Erdmann von Menzel (December 8, 1815 – February 9, 1905) was a German Realist artist noted for drawings, etchings, and paintings. Along with Caspar David Friedrich, he is considered one of the two most prominent German painters of the 19th century, and was the most successful artist of his era in Germany. First known as Adolph Menzel, he was knighted in 1898 and changed his name to Adolph von Menzel. His popularity in his native country, owing especially to history painting, was such that few of his major paintings left Germany, as many were quickly acquired by museums in Berlin. Menzel's graphic works and drawings were more widely disseminated; these, along with informal paintings not initially intended for display, have largely accounted for his posthumous reputation. Although he traveled in order to find subjects for his art, to visit exhibitions, and to meet with other artists, Menzel spent most of his life in Berlin, and was, despite numerous friendships, by his own admission detached from others. It is likely that he felt socially estranged for physical reasons alone—Menzel had a large head, and stood about four foot six inches. 3) Adolph, geb. am 8. Dezember 1815, gest am 9. Februar 1905, wurde 90 Jahre, Emilie (Frau Krigar), geb. am 10. Juli 1823, gest. am 13. November 1907, wurde 84 Jahre, Richard, geb. am 18. Oktober 1826, gest. am 24. Juli 1865, wurde 39 Jahre alt. Von den Eltern erreichte der Vater, gestorben am 5. Januar 1832, ein Alter von 45, die Mutter, gestorben am 8. Oktober 1846, ein Alter von 51 Jahren. Unter dem 26. Dezember 1815 ist in dem genannten Taufbuch eingetragen : Vater: Carl Erdmann Menzel, Schul-Instituts-Direktor, Mutter: Charlotte Emilie geb. Okrusch, Kind: Adolph Friedrich Erdmann, geb. d. 8. Dezember Ab. 8 Uhr. Testes : 1. Friedrich Wilhelm Martini, Wirtschafts-Inspector, 2. Johann Gottlieb Okrusch, Lehrer am Elisab. Gymnasium, 3. Joh. Eleonore Emilie Okrusch, geb. Schmid." Der Täufling ist unser Adolph Menzel. Sources Wikipedia Page [1] Adolph Menzel und seine schlesische Verwandtschaft; mit der erstmaligen Abbildung einer Schulzeichnung und mit unveröffentlichten Briefen Menzels, by Becker, Robert, Publication date 1922 "Deutschland, Preußen, Ostpreußen, Katholische und Lutherisch Kirchenbücher, 1551-1992", database, FamilySearch (https://www.familysearch.org/ark:/61903/1:1:6FYZ-2466 : 17 June 2022), Adolph Friedrich Erdmann Menzel, 1815. "Berlin, Germany, Deaths, 1874-1955", Landesarchiv Berlin; Berlin, Deutschland; Personenstandsregister Sterberegister; Certificate Number: 149, Ancestry Sharing Link - Ancestry Record 2958 #46000480 (accessed 1 July 2023), Karl Adolph Friedrich Von Menzel death 9 Feb 1905 (age 89), child of Friedrich Erdmann Menzel & Amalie Charlotte Menzel, in Berlin, Berlin, Deutschland (Germany).
666	dbpedia	3	86	https://www.alamy.com/stock-photo/drawing-by-adolph-menzel.html	en	res stock photography and images	https://s.alamy.com/logo…avicon-16x16.png	https://s.alamy.com/logo…avicon-16x16.png	[ "https://s.alamy.com/logos/1.68.0/alamy.svg", "https://s.alamy.com/logos/1.68.0/alamy-black.svg", "https://s.alamy.com/logos/1.68.0/alamy-black.svg", "https://s.alamy.com/logos/1.68.0/alamy.svg", "https://s.alamy.com/assets/latest/footer/mastercard.svg", "https://s.alamy.com/assets/latest/footer/visa.svg", "https://s.alamy.com/assets/latest/footer/amex.svg", "https://s.alamy.com/assets/latest/footer/paypal.svg", "https://s.alamy.com/assets/latest/footer/apple-pay.svg", "https://s.alamy.com/assets/latest/footer/google-pay.svg" ]	[]	[]	[ "" ]	null	[ "Alamy Limited" ]	null	Find the perfect drawing by adolph menzel stock photo, image, vector, illustration or 360 image. Available for both RF and RM licensing.	en	https://s.alamy.com/logo…avicon-16x16.png	Alamy	https://www.alamy.com/stock-photo/drawing-by-adolph-menzel.html	Alamy and its logo are trademarks of Alamy Ltd. and are registered in certain countries. Copyright © 25/08/2024 Alamy Ltd. All rights reserved.
666	dbpedia	3	90	https://www.bechstein.com/en/die-welt-von-bechstein/tradition/1850-1855/	en	Bechstein Tradition • 1850	https://www.bechstein.co…ges/og-image.jpg	https://www.bechstein.co…ges/og-image.jpg	[ "https://www.bechstein.com/fileadmin/_processed_/9/c/csm_d282_fluegel_4315790e51.jpg", "https://www.bechstein.com/fileadmin/_processed_/3/7/csm_CB_Concert_8_Black_pol_0b2219aa8c.jpg", "https://www.bechstein.com/fileadmin/_processed_/0/d/csm_CB_B212_Sphinx_Grand_Piano__4360318c98.jpg", "https://www.bechstein.com/fileadmin/_processed_/b/0/csm_Vario_02_2015_12fefb7404.jpg", "https://www.bechstein.com/fileadmin/_processed_/4/8/csm_c-bechstein-concert_1e459f108b.png", "https://www.bechstein.com/fileadmin/_processed_/4/4/csm_c-bechstein-academy_6aeeb5c71e.png", "https://www.bechstein.com/fileadmin/user_upload/Bechstein/01_Home_Module/Menue/WH_Logo.jpg", "https://www.bechstein.com/fileadmin/_processed_/a/6/csm_Zimmermann_Mouseover_Neu_15c7aabf7e.jpg", "https://www.bechstein.com/fileadmin/_processed_/6/a/csm_klavierratgeber1_6b1314ba40.jpg", "https://www.bechstein.com/fileadmin/_processed_/e/a/csm_pflegeundwartung_43245591c0.jpg", "https://www.bechstein.com/fileadmin/_processed_/6/c/csm_garantie1_a9fc2ea25d.jpg", "https://www.bechstein.com/fileadmin/_processed_/b/4/csm_wiealt_4b598e9c42.jpg", "https://www.bechstein.com/fileadmin/_processed_/b/e/csm_technikerakademie_dbce966e7e.jpg", "https://www.bechstein.com/fileadmin/_processed_/e/a/csm_pflegeundwartung_43245591c0.jpg", "https://www.bechstein.com/fileadmin/_processed_/7/2/csm_bechstein_krone_241f6195ed.jpg", "https://www.bechstein.com/fileadmin/_processed_/e/9/csm_pianisten_b1a21ce26a.jpg", "https://www.bechstein.com/fileadmin/_processed_/f/8/csm_konzerte_354b16de2a.jpg", "https://www.bechstein.com/fileadmin/_processed_/f/6/csm_news_39daebad43.jpg", "https://www.bechstein.com/fileadmin/user_upload/Bechstein/01_Home_Module/Menue/film.jpg", "https://www.bechstein.com/fileadmin/_processed_/1/e/csm_Bechstein_London01_0770a9e5e9.jpg", "https://www.bechstein.com/fileadmin/_processed_/3/0/csm_bechstein-manufaktur_523d88e48f.jpg", "https://www.bechstein.com/fileadmin/_processed_/7/3/csm_hradec_cc5dc13391.jpg", "https://www.bechstein.com/en/die-welt-von-bechstein/tradition/1850-1855/fileadmin/media/Content/Tradition/C.Bechstein-jung.jpg", "https://www.bechstein.com//fileadmin/resources/favicons/apple-touch-icon.png" ]	[]	[]	[ "klavier", "piano", "flügel", "bechstein" ]	null	[]	null	Highest quality since 1853. Browse through the history of our company.	en	/fileadmin/resources/favicons/apple-touch-icon.png		https://www.bechstein.com/en/die-welt-von-bechstein/tradition/1850-1855/	Bechstein Tradition Highest quality since 1853. Browse through the history of our company. Previous Next „I was simply very fortunate that God stood next to my workbench.“ Carl Bechstein, 1868 The patriarch Berlin 1853. Friedrich Wilhelm Carl Bechstein, a twenty-seven-year-old instrument maker from Gotha, Thuringia, who is related to the writer Ludwig Bechstein famous for his compilation of traditional tales and legends, decides to live out his dream and make his vision reality: he founds his own business. Berlin has not yet forgotten the troubles of the 1848 revolution. Frederic William IV, the king of Prussia nicknamed “the romanticist on the throne,” has not kept his promise: instead of granting a liberal constitution to his States, he has just introduced a tax-based three-class suffrage. His brother (who is to succeed him as Emperor William I) is nicknamed the “Cannon Prince” ever since he had hundreds of people shot to restore law and order during the 1849 Baden uprising. The Frankfurt parliament, which used to gather in the Saint Paul’s Church, has been dissolved and the hope of a unified Germany is vanishing: all German States, whether Hesse, Saxony or such Lilliputian principalities as Lippe-Detmold, are stagnating and their trading is slow due to the high customs duties they charge each other. Such conditions lead many Germans to emigrate to America, either to escape political repression or simply to avoid starvation, and in the hope of finding better living conditions on the other side of the Atlantic Ocean. Among the celebrities who leave Germany but remain in Europe are Richard Wagner, who lives in exile in Zurich for political reasons, and the poet Heinrich Heine who, from his Parisian “mattress grave,” considers Germany as sinking into “A Winter’s Tale” as it becomes an archipelago of retrograde States. Photo: Wikipedia 1850 The Gotha town hall, around 1850. Historical context Although the period is quite bleak, new ideas still arise and feed on the German spirit of enterprise. Friedrich Krupp runs modern steelworks in Essen, while August Borsig founds smelting works in Berlin. A new age begins, one of heavy industry, blast furnaces and steam railway engines. Nonetheless, the industrial development suffers under a mighty bureaucracy and the privileges of aristocracy that have not yet been abolished. In 1854, Hanover finally joins the German Customs Union that Prussia initiated three decades earlier. This is real economical progress, but social progress does not keep pace: child labour remains legal as a Prussian law passed the same year merely raises the minimum age to twelve years. The paintings by Adolph Menzel provide a good overview of the changes that occur in the mid-19th century. A broad-minded artist with a talent for rendering the world around him, Menzel mainly paints landscapes, portraits and genre paintings until the early 1850s. He also gives historic pictures and his favourite subject at that time is Frederic II, as we know from several portraits of that king: riding, playing the flute, together with his Court painter Antoine Pesne. In 1847, Menzel paints his two first works that feature social and contemporary subjects: a view of the Berlin-Potsdam railway and the portrait of two men entitled to suffrage. And in 1854, he gives a famous study that depicts Clara Schumann and the violinist Joseph Joachim. Not until the 1870s, however, will he devote himself to representing the industrial revolution, then painting one of his masterpieces: The Rolling Mill. To a certain extent, the non-representation of particular topics also reveals the spirit of a given time: for example, even though Menzel does not represent the barricades and fires that shook Berlin in 1849, his studies figuring a students’ torchlight procession can be understood as a discreet allusion to the riots. All in all, 1853 is not the ideal year for founding a musical instrument business. We do not know exactly how many brave young craftsmen do the same as Carl Bechstein this year — but must bury their dreams under a mountain of debts shortly thereafter. View in 1850 (Photo: Wikipedia) 1850 Carl Bechstein opens a factory near the Forum Fridericianum, in the heart of Berlin. The rise of Berlin Nonetheless, Berlin already enjoys a certain aura in the mid-1850s, even though it still is not the prestigious cultural metropolis that it would later become. Several decades ago, Romantic poets and philosophers formulated the visionary concept of “Athens on the Spree” as the cultural aspect of a political project: while Napoleon was remodelling Paris taking the Roman Empire as an example, Berlin was to become a new Athens; a capital city of arts, sciences, poetry and philosophy. As a reaction to the political and military hegemony of the French empire, the famous Prussian scientist Humboldt stated: “Science is power.” The idea remains valid in the mid-19th century, and still lives on today. Moreover, Berlin is an obligatory station for numerous musicians as they travel from one European city to another. The Prussian well-to-do love music for a simple reason: in a period of political troubles, they seek refuge in music as it conveys a reassuring image, that of the Ancient Cythera. Thus it is not surprising that the Berlin bourgeoisie favours a musical instrument that is continuously being improved and offers unequalled learning possibilities: the piano. Carl Bechstein arrives in Berlin in 1846 (or 1848, according to some sources) and starts working with Gottfried Perau, whose workshop is located on Hausvogteiplatz in the very centre of Berlin. Just like Kisting, Perau is famous in Berlin for his traditional pianos, but he is by no way a tinkerer in search of innovative solutions, like Theodor Stöcker, for example, whose pianos with downstriking action and articulated keyboard are still exceptional today. Although Bechstein is entrusted with the management of the Perau workshop in the Autumn of 1848, he resigns shortly thereafter and travels to London the following summer, then to Paris where he improves his knowledge working with two great piano-makers: the ingenious Jean-Henri Pape, born in Sarstedt, Germany, and Jean-Georges Kriegelstein, an Alsatian whose pianos are exceptionally successful. Pape, who patented 120 inventions, impresses Bechstein with his creative potential, while Kriegelstein puts the young German in contact with contemporary business management and practices. Moreover, Kriegelstein’s success is based on a sensational innovation that he has marketed boldly since 1842: a compact but powerful upright piano of only 130 centimetres that offers well-balanced registers and constitutes a good investment. Of course, the Érard brand is also famous when Carl Bechstein is in Paris. Among the innovations of the legendary company founder, Sébastien Érard, is the double escapement piano action still used — with certain improvements — in today’s grands. In the mid-19th century, every music aficionado knows that Franz Liszt favours the Érard pianos. We cannot ascertain whether Bechstein meets Pierre Érard, Sébastien’s nephew, but we know that the young German is perfectly aware of the brand’s worldwide significance. Until his death in 1855, Pierre Érard, who has been running the family business since 1831, is to strengthen his market position steadily: the Paris and London factories are producing nearly 2500 pianos a year; Paris’s Érard Hall is one of the city’s most famous concert venues; and the feasts given at the Château de la Muette, acquired by Sébastien in 1820, are attracting the capital’s high society. Does Érard’s success impress Carl Bechstein so deeply that he decides to become just as successful? We do not know exactly, of course, but the fact is that Bechstein is to supersede Érard as Europe’s main piano-maker in the decades to come. What kind of man is Carl Bechstein, actually? By no means full of himself, he keeps no diary in his youth and will write no memoirs in his old age. Photos of him picture a self-confident man with an imposing stature. One of them (see page 9) shows him standing with his left elbow leaning on one of his uprights, with a large coat in the Romantic fashion draped over his broad shoulders. Such a fellow could not possibly remain unnoticed in a select Paris salon… Upon his return to Berlin in 1852, Bechstein becomes manager of the Perau factory but as early as the next year, he departs for Paris again and works there just a few months as manager of the Kriegelstein factory. Why does he leave again? Maybe for the love of a certain Louise Döring, a young woman from Straussberg, Brandenburg, whom he would marry in 1856. Photo: Wikipedia The Brandenburg Gate, symbol of an up-and-coming cultural metropolis, around 1850 Carl Bechstein starts his own business Back in Berlin for good now, he again works as the right hand of Perau, who allows him to build his own pianos starting 1 October 1853 in the upper storey of the company’s warehouse at Behrenstrasse 56. It is unlikely that Bechstein decides to settle down in Berlin because he knows that Perau would allow him to work on his own while managing the workshop. A better explanation for Bechstein starting his own production could be that his boss refused to implement in his pianos the innovations Bechstein learned of in Paris. Anyway, both men reach a gentlemen’s agreement and although Bechstein begins signing his name on pianos as soon as 1853, the official foundation of the company, as stated on official documents, is not until 1856. A glance at a map of Berlin shows that Bechstein’s workshop is located at a strategic location in the Prussian capital. Behrenstrasse, also home to the Metropoltheater (renamed “Komische Oper” in 1846), runs parallel to Unter den Linden Boulevard and crosses both Charlottenstrasse and Friedrichstrasse — three streets where the city’s powerful and well-to-do are living. Moreover, Bechstein’s workshop is in the vicinity of the Opera, the Brandenburg Gate, Gendarmenmarkt (the square where the Lutter & Wegener pub is located that E.T.A. Hoffmann, the Romantic writer, used to frequently visit) and Leipziger Strasse (where are living the musician Felix Mendelssohn and rich culture-friendly people). We can therefore be fairly certain that Carl Bechstein did not decide by chance to locate his workshop in Behrenstrasse. Courage, creativity and perseverance: three virtues of the Bechstein family Various publications underscore the fact that some of his ancestors were also wilful and had a practical character. According to an article published in Gothaisches Tageblatt in 1926 on the occasion of the hundredth anniversary of Carl Bechstein’s birth, the company founder stems from peasants and craftsmen who had lived for centuries in various villages in Thuringia, in particular Laucha, Langenhain, Waltershausen and Ohrdruf. The article also states that several members of this family were talented musicians, which is not surprising as Thuringia has a long musical tradition. A certain Johann Matthäus Bechstein, who studied first theology, then natural sciences, established a forestry school in Waltershausen and later became director of the Dreissigacker/Meiningen Forest Academy. His nephew, Ludwig Bechstein, published a compilation of Thuringian tales that decisively contributed to popularisation of the German Middle Ages and was one of Richard Wagner’s sources of inspiration as he composed Tannhäuser. Appointed a librarian by the duke of Saxony-Meiningen and titled “Court Advisor,” which was a common form of sponsoring the fine arts in the 19th century, Ludwig Bechstein died in Meiningen in 1860. Carl Bechstein's birth house in Gotha, Thuringia Among his cousins were Carl Bechstein’s father, a hairdresser living in Laucha who worked hard, ran his own business… and played the spinet during his leisure time. He died in 1831 at the age of forty-two, leaving three children behind including Carl, the youngest at only five years old. Shortly after, his widow married Johann Michael Agthe, the cantor of Dietendorf’s church, who was strict with his own daughter and his new wife’s three children. Nonetheless, Carl’s father-in-law enabled the young boy to study the violin, the cello and the piano, prior to placing him in apprenticeship in Erfurt under the piano-maker Johann Gleitz in 1840. Emilie, Carl’s eldest sister, was already engaged to Gleitz and married him in 1844. Although an alcoholic, Gleitz was not a bad craftsman, but Carl had to cope with his master’s bad temper during his four-year apprenticeship. Therefore, the company founder’s childhood and adolescence cannot be described as particularly happy. This probably explains why his contemporaries described him as someone particularly serious, but also amiable and debonair. Moreover, Carl Bechstein was thrifty, according to his own account that, leaving Dresden where he was working with Pleyl for Berlin, he walked all the way barefoot to save his shoes. Moreover, he took advantage of any opportunity to fulfil his education. For example, when he was directing the Perau factory he used his rare leisure time to learn French. Provided with strong self-confidence and faith in his physical strength, the young Bechstein continues unwaveringly on the path he has chosen. As mentioned above, this way leads him from Berlin to London to Paris, then back to Berlin again where, in his small workshop on Behrenstrasse, he builds his first two pianos in 1853 within just nine months.
666	dbpedia	1	66	https://mydailyartdisplay.uk/category/adolph-menzel/	en	Adolph Menzel – my daily art display	https://s0.wp.com/i/blank.jpg	https://s0.wp.com/i/blank.jpg	[ "https://defaultcustomheadersdata.files.wordpress.com/2016/07/beach1.jpg?resize=1200,280", "https://mydailyartdisplay.uk/wp-content/uploads/2012/11/ramsau-by-thomas-fearnley.jpg?w=840", "https://mydailyartdisplay.uk/wp-content/uploads/2012/11/a-church-at-ramsau-austria-by-wilhelm-bendz.jpg?w=840", "https://2.gravatar.com/avatar/b648911dfada1a4c24f384d57eeaec1b66feb78b269303fad84847acbc3f194d?s=49&d=identicon&r=G", "https://mydailyartdisplay.uk/wp-content/uploads/2012/03/music-at-the-tuileries-by-edouard-manet.jpg?w=840", "https://mydailyartdisplay.uk/wp-content/uploads/2012/03/manets-man.jpg?w=50&h=150", "https://mydailyartdisplay.uk/wp-content/uploads/2012/03/menzels-man2.jpg?w=57&h=150", "https://mydailyartdisplay.uk/wp-content/uploads/2012/03/manets-children.jpg?w=150&h=117", "https://mydailyartdisplay.uk/wp-content/uploads/2012/03/menzels-children.jpg?w=150&h=91", "https://2.gravatar.com/avatar/b648911dfada1a4c24f384d57eeaec1b66feb78b269303fad84847acbc3f194d?s=49&d=identicon&r=G", "https://mydailyartdisplay.uk/wp-content/uploads/2012/03/afternoon-at-the-tuileries-garden-by-adolph-menzel1.jpg?w=840", "https://mydailyartdisplay.uk/wp-content/uploads/2012/03/kunstlerserdenwa00menz_0001.jpg?w=300&h=217", "https://mydailyartdisplay.uk/wp-content/uploads/2012/03/woman-and-child1.jpg?w=840", "https://2.gravatar.com/avatar/b648911dfada1a4c24f384d57eeaec1b66feb78b269303fad84847acbc3f194d?s=49&d=identicon&r=G", "https://s2.wp.com/i/logo/wpcom-gray-white.png", "https://s2.wp.com/i/logo/wpcom-gray-white.png", "https://pixel.wp.com/b.gif?v=noscript" ]	[]	[]	[ "" ]	null	[]	2012-11-24T11:34:50+00:00	Posts about Adolph Menzel written by jonathan5485	en	https://s1.wp.com/i/favicon.ico	my daily art display	https://mydailyartdisplay.uk/category/adolph-menzel/	I have said on a number of occasions that one of the joys of visiting art galleries is when you suddenly come across one you did not know existed. It is always a pleasure to go to the large and famous galleries such as the Louvre, Prado, and London’s National Gallery to name just a few but I find it exhilarating when I come across, often by accident, the smaller, more hidden-away ones such as London’s Wallace Collection or the Musée Marmottan Monet Gallery in the 16th arrondissement of Paris. I had visited Birmingham before and visited the Birmingham Museum and Art Gallery but a fortnight ago I decided to visit the city again and have a look at the Barber Institute of Fine Arts which is on the University of Birmingham campus. If I had not decided on that visit I would never have come across a divine portraiture work of Élisabeth Vigée Le Brun which I enthused about in my last blog and which was part of their permanent collection. However the reason for me going to the gallery was to see an exhibition of the Norwegian painter Thomas Fearnley and today I want to talk a little about the life of this artist and look at one of the paintings which was in the exhibition. Thomas Fearnley, although an English-sounding name, was Norwegian. He was a romantic painter who was born in 1802 in Frederikshald, Norway, a small town in the south east of the country, a few miles from the Norwegian-Swedish border. The town has since been renamed Halden. The Fearnley family maintained its custom of naming its eldest sons Thomas and so both his father and grandfather were named Thomas. His grandfather was an English timber merchant from Heckmondwike, a small mill town near Leeds, and who with his family moved to Norway in 1753 as a representative for a trading company based in the English seaport of Hull. Fearnley’s father Thomas was also a merchant and married Maren Sophie Paus, a woman from the important Norwegian Paus dynasty. Thomas was the eldest of their eight children. Thomas Fearnley’s father owned a shop in Frederikshald and earned his money as an importer/exporter, importing woollen and cloth goods from England and exporting Norwegian lumber. At the age of five, young Thomas went to live with his maternal aunt, Karen and her husband, Georg Frederik Hagemann in Christiania, (now known as Oslo). The couple had no children of their own and were delighted to have Thomas live with them. When Thomas was twelve years old he was enrolled as a pupil in the cadet corps of the Military Academy. At the Academy, one of the subjects Thomas was taught was drawing. It was soon clear that he had a talent for drawing and excelled in these lessons. However he achieved less in his other subjects especially in the military training and he left the Academy in the spring of 1819. As his father and his father’s father before him had all been merchants, it was expected that Thomas would follow suit and at the age of sixteen, for a while, he took on the role of a young merchant in his uncle’s business. However Thomas had not given up his love of drawing and every evening he would attend an elementary art class in Christiania, where he spent time copying still lifes and portraits painted by various artists. To become an artist in Norway was quite difficult as there were no major art academies where aspiring artists could learn their trade. It could well be this factor, which forced Fearnley to travel extensively through Europe visiting major art institutions. In late 1821 he travelled to Copenhagen and enrolled at the Royal Danish Academy of Fine Arts. It was here that he came across Dutch landscape paintings of Nordic scenes by the likes of Jacob van Ruisdael. It was these seventeenth century works, which influenced Fearnley and it was these depictions of Nordic landscapes, which would play an important role in Norwegian art and Norwegian artists such as Thomas Fearnley. In 1823, aged twenty-one, Fearnley left Copenhagen and went to live in Stockholm where he attended the Drawing Class at the Royal Swedish Academy of Fine Arts enrolling on a four-year course. During this period Thomas received a number of commissions for his landscape work including a three-painting commission from the country’s royal family. During his time at the Academy, he would take the opportunity, during summer breaks in the art course, to travel back to Norway to sketch the wild and rugged landscape of his homeland. It was at this juncture in his artistic career that he completed his first en plein air oil sketch. It was also during one of these visits to western Norway, in 1826, that he first encountered another artist on an art tour. He was Johan Christian Dahl, who would become the first great romantic painter in Norway, and one of the great European artists of all time. Dahl is now looked upon as the founder of the “golden age” of Norwegian painting. Fearnley’s four-year art course at the Copenhagen Academy ended in 1829 and Fearnley continued with his European travels, this time going to Dresden. It was in this city that Fearnley again meets Dahl and they soon become friends and Thomas received some artistic tuition from him. One of Dahl’s other artistic friends and near neighbour was the German artist Casper David Friedrich. Fearnley spent time studying Friedrich’s work and one can see in a number of Fearnley’s landscape works a characteristic employed by Friedrich – figures in the paintings are seen from behind. Fearnley studied the different ways in which Dahl and Friedrich worked. J C Dahl used rapid brushstrokes in his paintings whilst Casper Friedrich was much slower and more methodical and his landscapes often had religious connotations. The study of these two great artists was to influence Fearnley’s art in the future. From Dresden Fearnley travelled to Prague, Nuremberg and the lake district of Salzburg before finally settling in Munich in 1830. He was to remain in the Bavarian city for two years often travelling south to the foothills of the Bavarian Alps on painting trips. Following his two-year sojourn in Munich he and two other fellow artist Wihelm Bendz and Joseph Petzl set off on foot at the end of August 1832 on their 700 kilometre trek to Italy, passing through the Bavarian alpine village of Ramsau, which is the setting for my Daily Art Display’s featured painting today. The en plein air oil on paper, laid on canvas, sketch was completed by Thomas Fearnley within a week in 1832 and is simply entitled Ramsau. This was the first painting I came across when I entered the gallery of the Barber Institute of Fine Arts, which was staging Thomas Fearnley’s exhibition In front of Nature. It was, by far, my favourite of all his works on show and was of great interest to me as I have visited the picturesque Alpine village of Ramsau on a number of occasions when I toured around Berchtesgadener Land in southern Bavaria. The sketch is dated September 20th 1832 and diaries kept by Wilhelm Bendz record that it was the last day the intrepid trio stayed in the village before heading across the Alps to Italy. In the picture we can see the road winding and disappearing around a corner of the village before we catch a glimpse of it again as it heads off towards their destination, the snow-covered Alps. There is a beautiful stillness about this picture. In the left middle ground we see a solitary farmer collecting hay, which will be needed for the harsh and bitterly cold winter, which is fast approaching. In the background we see the majestic snow-capped mountain, Hoher Göll, which straddles the border between the German state of Bavaria and the Austrian city of Salzburg. This en plein air work would have taken Fearnley several sittings during the week-long stay, on each occasion adding another layer of colour. It is interesting to note that whilst the intrepid trio were in Ramsau William Bendz also completed an en plein air oil sketch of the village from almost the same vantage point used by Fearnley. Bendz was principally a figure painter and this landscape work of his is a comparative rarity. You will see from Bendz’s picture that unlike the deliberate and carefully detailed picture painted by Fearnley over a seven-day period, the foreground and some other areas of Bendz’s work were hastily sketched in and the work would probably have been completed within a day or two. William Bendz’s work, which was dated September 1830, two years earlier than Fearnley’s sketch, and entitled The Church of Ramsau, Austria, can be found in Oxford’s Ashmolean Museum. In my next blog I will conclude my look at the life of Thomas Fearnley and follow his journey through Europe visiting the Neapolitan and Amalfi Coasts as well as visiting England and travelling around the Lake District. To end on a slightly sad note, Fearnley’s companion on his trek to Italy, which started in September 1832, Wilhelm Bendz, made it to Venice but soon after, in the November of that same year, on reaching Vincenza, he took ill and died from a lung infection. Bendz had noted in his diary that the road to Rome was hard, the weather conditions unfavourable and at times extremely harsh and the walking very strenuous and the exertion obviously took the ultimate toll of him. In my last blog I looked at the painting Afternoon at the Tuileries Garden by Adolph Menzel which he completed in 1867. He had visited Paris that year and attended the second Exposition Universelle and it was during this stay that he completed a number of sketches of the Tuileries Gardens. On returning to his home in Berlin he completed this work. When it was exhibited, he pointed out that the painting was all done from his memory of the times when he walked around the Gardens watching the weekend promenading of the bourgeois. However, there is a train of thought that believes his work was not just based on his memories but was very much influenced by a painting he saw, when in Paris, by Édouard Manet, which was completed in 1862 entitled Music in the Tuileries Gardens. This is My Daily Art Display featured work today and I will let you decide whether Manet’s painting had any bearing on Menzel’s work. Music in the Tuileries Garden,s like the Menzel work, hangs, in the National Gallery, London. The work depicts a fashionable Parisian crowd promenading and socialising in the Gardens as they listen to music played by a band, albeit Manet has not included the musicians in the painting. The Jardin des Tuileries lies between the Louvre and the Place de la Concorde, and it was the favourite place for people to idle away their leisure time. The way in which people spent their free time in the capital became one of Manet’s favourite subjects for his paintings. Manet’s close friend going back to his childhood, Antonin Proust, the politician and journalist, often recalled the many times he witnessed Manet walking along the Parisian boulevards in search of interesting aspects of city life, which he could depict in his paintings. Manet and his companion, the poet, Charles Beaudelaire, could often be seen in the afternoons, strolling through the Tuileries Gardens, a favoured gathering place for the beau monde, who wanted “to see and be seen”. Manet completed numerous sketches of these “beautiful people” as well as the working nannies, who were spending a pleasant afternoon with their little charges. This was Manet’s first major work on this theme. The Tuileries Gardens were created for Catherine de Medici who, on the death of her husband King Henry II of France, decided to move her home to the Louvre Palace. She then had built a separate new palace with gardens modelled after the gardens of her native Florence. These were the Tuileries Gardens and were opened to the public in 1667 and became a public park following the French Revolution. As we look at the people in the scene we can imagine the enjoyment they were having whilst they socialised and listened to the music. Leisure time and recreational activities such as listening to music in a park on a Sunday afternoon was all part of this newly quoted term, modernity. Menzel’s work is far more detailed than Manet’s painting. If we compare the two works there are some similarities but Menzel also maintained some differences. Both depict families enjoying their leisure time. Look at foreground and slightly right of centre of today’s painting by Manet. There is a man with the top hat bending down in conversation with a lady. He is almost the same character, in the same pose leaning against a tree, we saw yesterday in Menzel’s work. The theme of both paintings is similar – bourgeois Parisians at leisure but as I have just said there are also some differences in the two works. Menzel’s depiction of what is happening is somewhat more realistic. In his work we saw children in the foreground playing with a bucket and spades but they are not dressed in their “Sunday best” clothes and look somewhat dirtied by their playing on the ground. Now compare that with the children in Manet’s painting. They too have buckets and spades but these children, like their adult counterparts , are dressed in their best clothes and are behaving much more demurely. Also in Menzel’s work we witnessed a small child being dragged off screeching by a woman, probably her mother. We also saw dogs skirmishing but in Manet’s work there is no such unsavoury incidents happening, which would otherwise shatter the beautiful tranquillity of the scene. Manet has included the portraits of many of his friends into the lively social gathering, some of whom are fellow artists. Manet has painted himself at the far left of the painting partly hidden by the figure of Comte Albert de Balleroy, the wildlife artist, seen here holding a walking stick, who shared a studio with Manet. Another artist also included is Henri Fantin-Latour, best known for his flower paintings. Manet has added portraits of his brother Eugène, who was the husband of the Impressionist painter, Berthe Morissot. Several cultural figures of the time are featured in the painting such as the French poets Baudelaire and Théopile Gautier and the travel writer Baron Taylor. Other intellectuals who have found their way into the painting are the art critic Champfleury and the bearded sculptor Zacharie Astruc who sits at the table and behind him stands the journalist Aurélien Scholl. Two women sit facing us in the foreground. The younger of the two, on the left, is Madame Lejosne, the wife of the Commandant in whose house Manet met Baudelaire and the fledgling painter Frederic Bazille. The other lady is Heminie d’Alcain, the wife of Jacques Offenbach. Offenbach is the bespectacled man with a moustache who sits in front of a tree to the right of centre of the middle ground, between Eugène Manet and the painter, Charles Monginot who we see doffing his hat to a lady . Menzel’s work was far more detailed and with his painting your eyes darted from place to place surveying different incidents. In some ways this painting, by Manet, as did Cezanne’s Large Bathers ( My Daily Art Display March 13th))have an “unfinished” look about them but this is all to do with their style of painting. So what did the critics think of this work by Manet when it was first exhibited in 1863? It received very mixed reviews. On one hand, many of the artists who were soon to be known as the Impressionists, like Claude Monet and Frederic Bazille, were delighted with Manet’s depiction of the Parisian scene. However the conservatives among the art critics were less than complimentary. Paul Mantz, the art historian and art critic, who would later become Director General of Fine Arts and a member of Supreme Council of Fine Arts was particularly ruthless in his condemnation stating that Manet’s composition struck him as being disorganised and formless, while the broken play of light that animates its surface with such an eloquently restless quality roused him to declare that “this is not colour, but the caricature of colour”. I have had a number of comments added to the Large Bathers blog strongly disagreeing with my assertion that Cezanne’s work had an unfinished look to it and therefore I will not dare comment about the finish of this work. Emile Zola explained the “unfinished” look of Manet’s painting, countering such criticism, saying: “…You are to imagine a crowd of people, a hundred characters perhaps, moving about in the sunlight under the trees in the Tuileries; every character is simply a blot of colour, hardly given form at all, and the details are only lines and black dots. If I had been there I should have asked the amateur [observer of the painting] to move away to a respectful distance; he would then have seen that the patches of colour were alive, that the crowd was speaking, and that the picture was one of the characteristic productions of the artist, the one picture in fact in which he had most loyally obeyed his eyes and his temperament…” As with most of the Impressionist works of art, the best view you get is if you stand back from the work to see its exquisiteness. Close up one just sees brushstrokes but at a distance one discovers the true beauty of the work. So which painting do you like best, the one by Adolph Menzel or the one by Édouard Manet? The featured artist in My Daily Art Display today is German and is looked upon, along with the artist I featured in my previous blog, Caspar David Friedrich, as one of the most famous and most successful German artists of the nineteenth century. His name is Adolph Friedrich Erdmann von Menzel. Menzel was born in 1815 in Breslau, which is now the Polish city known as Wroclau. His father Carl Erdmann Menzel was originally a school headmaster but when young Menzel was just three years of age he gave up his educational career and started up a lithographic printing works. Adolph Menzel first exhibited a drawing in 1827 when he was only twelve years of age and two years later he exhibited eight lithographs, which were printed in his father’s workshop and which featured the history of Breslau. To gain more business opportunities for his printing company, Menzel’s father moved his family and business to Berlin in 1830 where he knew he was likely to receive more commissions. Adolph Menzel became an apprentice in his father’s firm and at the age of seventeen took over the running of the company when his father suddenly died. His mother and siblings now looked upon Adolph as the family breadwinner. In 1833, aged 18 Menzel enrolled at the Berlin Königliche Akademie der Künste where he met the wallpaper manufacturer, Carl Heinrich Arnold, who would not only become Menzel’s close friend but would furnish him with a large number of commissions. His reputation as an artist and illustrator grew after he had completed a commission for the art dealer and publisher, Louis Sachse, to create a number of lithographs for the German writer, Goethe, for his book Künstlers Erdenwallen. It was not until 1837 that von Menzel started to paint in oils. His speciality subject for his paintings was the life and events surrounding Friedrich the Great and in 1839 he was commissioned to illustrate a book, Geschichte Friedrichs des Großen (History of Friedrich the Great) written by Franz Kugler, a Prussian cultural administrator and art historian. In a three year period 1839 to 1842 Menzel produced over 400 drawings. It was not until the 1850’s that von Menzel started to travel extensively, visiting Vienna, Prague and Dresden. It was also in 1855 that he made his first visit to Paris where he attended the inaugural Exposition Universelle, the first World Fair to be held in the capital. It was held in the specially built building, Palais de l’Industrie, which overlooked the Champs-Elysées. Whilst there, von Menzel, was able to study not only the industrial exhibits but also the art exhibits on display by French artists such as Gustave Courbet. Eleven years later von Menzel returned to Paris to attend the second Exposition Universelle in 1867 and it was during this stay in the French capital that he visited the Tuileries Gardens which is the subject for today’s painting. That same year he was decorated with the “Cross of the Légion d’honneur by Napoleon III for his service to the arts. By the 1880’s von Menzel had established his international reputation as an artist and lithographer. In 1884 the Nationalgalerie in Berlin held the first major retrospective of von Menzel’s work to commemorate the 50th anniversary of his career as an artist. In 1890, aged 70, he was given an honorary doctorate from Berlin University. He was bestowed with many other honours. He was made an honorary citizen of both Breslau and Berlin and made a member of both the Royal Academy of London and a member of the Akadémie des Beaux Arts, the Paris Academy. His greatest honour came in 1898 when he became the first artist to be admitted to the Order of the Black Eagle as a Knight, the highest order of chivalry in the Kingdom of Prussia. Adolph von Menzel died in Berlin in 1905, aged 89. My Daily Art Display featured painting today is entitled Afternoon at the Tuileries Garden by Adolph Menzel. He painted it in 1867 and now hangs in the National Gallery, London. It was following Menzel’s 1867 trip to Paris that he returned to his studio in Berlin with many sketches of the Tuileries Gardens, which lay across from the Louvre. He had become interested in painting scenes set in areas where society people pretentiously paraded and whilst in Paris was fascinated with the bustling social goings-on within the Gardens. The subject matter of his paintings were at this time often depicting bourgeois society and he, because of his fame as an artist, lived the lifestyle of this very grand bourgeois. Menzel’s painting is filled with detail and exudes a great deal of realism. What I like about the works is that with so much going on in the painting your eyes flick from one group to another and every time you look at it your eyes focus on something different. I like the number of separate vignettes taking place. Let your eye wander up the centre of the painting and observe the little chubby girl being dragged off by the woman in blue. How often have we seen that! Dogs abound, in some cases having territorial disputes whilst the adults try their best to ignore such distractions and have only one thing in mind – to look their best! When the painting was first exhibited Menzel was at pains to tell everybody that it was done from his memories of his recent visit to the French capital. Was it a work just from memory or was there something else which prompted Menzel to depict such a scene? In my next blog I will give you another possible motivation for Menzel’s depiction of the Tuileries Garden. Notwithstanding what inspired Menzel to paint this lively event, which is buzzing with activity, it is a fascinating work of art. I stood before it the other day and I was mesmerised by what I was looking at and as I said the other day, when talking about Caspar David Friedrich’s Winter Landscape, I was so pleased I had visited Room 41 of the gallery. The next time you visit the National Gallery; don’t forget to pay that particular room a visit. I guarantee you will not be disappointed.
666	dbpedia	0	1	https://www.nationalgallery.org.uk/artists/adolph-menzel	en	Adolph Menzel (1815 - 1905)	https://www.nationalgallery.org.uk/favicon.ico	https://www.nationalgallery.org.uk/favicon.ico	[ "https://www.nationalgallery.org.uk/v3/img/icons/white/hamburger-menu.svg", "https://www.nationalgallery.org.uk/v3/img/icons/white/close.svg", "https://www.nationalgallery.org.uk/v3/img/logos/ng-plus-ng200-logo.svg", "https://www.nationalgallery.org.uk/v3/img/icons/white/search.svg", "https://www.nationalgallery.org.uk/v3/img/icons/white/account.svg", "https://www.nationalgallery.org.uk/v3/img/icons/white/account.svg", "https://www.nationalgallery.org.uk/v2/img/icons/close-thin.svg", "https://www.nationalgallery.org.uk/v2/img/icons/search-grey.svg", "https://www.nationalgallery.org.uk/media/34790/n-6604-00-000013-hd.jpg?cc=0.18462299262152782,0.0000000000000001263187085796,0.11381450737847203,0&width=576&height=576&v=1d6544b24e9f0c0&bgcolor=fff", "https://www.nationalgallery.org.uk/media/26597/l-1218-00-000002-hd.jpg?rxy=0.52967032967032968,0.40540540540540543&width=576&height=576&v=1d542fb9a08f340&bgcolor=fff", "https://www.nationalgallery.org.uk/v2/img/logos/ng-logo-white-320.png", "https://www.nationalgallery.org.uk/v2/img/logos/facebook-circle.svg", "https://www.nationalgallery.org.uk/v2/img/logos/youtube-circle.svg", "https://www.nationalgallery.org.uk/v2/img/logos/instagram-circle.svg", "https://www.nationalgallery.org.uk/v2/img/logos/threads-circle.svg", "https://www.nationalgallery.org.uk/v2/img/logos/x-circle.svg", "https://www.nationalgallery.org.uk/v2/img/logos/tiktok-circle.svg" ]	[]	[]	[ "" ]	null	[ "The National Gallery" ]	null	Adolph Menzel was the leading German artist of the second half of the 19th century. Born in 1815, he exhibited his first drawing at the age of 12. His father ran a lithographic printing works, and by the time he was 14, Menzel was contributing illustrations to publications. Active first as a printmaker, and a dazzling draftsman throughout his prolific career, he turned to oil painting only after he was 30.	en	/favicon.ico		https://www.nationalgallery.org.uk/artists/adolph-menzel	Adolph Menzel was the leading German artist of the second half of the 19th century. Born in 1815, he exhibited his first drawing at the age of 12. His father ran a lithographic printing works, and by the time he was 14, Menzel was contributing illustrations to publications. Active first as a printmaker, and a dazzling draftsman throughout his prolific career, he turned to oil painting only after he was 30. His technical virtuosity and skill at capturing visual phenomena (such as the way in which we perceive background objects as unfocussed and blurred compared to foreground ones) attracted wide attention, and anticipated some of the effects of French Impressionism by 30 years. During his lifetime, he was most famous for his illustrations of the life of the 18th-century Prussian monarch, Frederick the Great, and his court. Menzel was deeply concerned with historical accuracy and every detai,l down to the buttons on a uniform or the handle on a sword, was meticulously researched. When visiting Paris, Menzel was in contact with artists there including Edgar Degas and Ernest Meissonier. He is remembered as the unparalleled chronicler of life in Berlin. He was knighted in 1898, and received a state funeral upon his death in 1905.
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666	dbpedia	3	28	https://www.goodreads.com/book/show/787778.Adolph_Menzel_1815_1905	en	Adolph Menzel, 1815-1905: Between Romanticism and Impressionism	https://images-na.ssl-im…6245i/787778.jpg	https://images-na.ssl-im…6245i/787778.jpg	[ "https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/siteheaderbannerimages/1722529892i/425.jpg", "https://images-na.ssl-images-amazon.com/images/S/compressed.photo.goodreads.com/books/1349036245i/787778.jpg", "https://images-na.ssl-images-amazon.com/images/S/compressed.photo.goodreads.com/books/1349036245i/787778.jpg", "https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/nophoto/user/u_700x933.png", "https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/users/1199887531i/196599.jpg", "https://dryofg8nmyqjw.cloudfront.net/images/badge-apple_app_store@2x.png", "https://dryofg8nmyqjw.cloudfront.net/images/badge-google_play_store@2x.png" ]	[]	[]	[ "" ]	null	[ "Claude Keisch" ]	null	Read reviews from the world’s largest community for readers. Famous across Europe and America, recipient of the highest possible honours in Germany includi…	en	/favicon.ico	Goodreads	https://www.goodreads.com/book/show/787778.Adolph_Menzel_1815_1905	Famous across Europe and America, recipient of the highest possible honours in Germany including the order of the Black Eagle and elevation to nobility, admired by Degas as 'the greatest living master', Adolph Menzel was perhaps the greatest German painter of the late nineteenth century. In this splendidly illustrated book - the only comprehensive volume on Menzel in English - photographs of the artist and contemporary Berlin accompany reproductions of hundreds of his paintings and drawings. Menzel specialists and art historians contribute chapters on his life and art, his visits to France, his critical reception, relevant social and historical background, and different approaches to his work. Until recently, Menzel's many paintings and drawings were separated from one another in collections on either side of the Berlin Wall. Now, in the wake of reunification, the Berlin Museums have put together the most extensive Menzel exhibit since the retrospective that followed his death in 1905. This book is the catalogue for the exhibit that had its debut at the Musee D'Orsay in Paris (April 15 to July 28), travels to the National Gallery of Art in Washington, D.C. (September 15, 1996 to January 5, 1997) and returns to Nationalgalerie in Berlin (February 7 to May 11, 1997).
666	dbpedia	3	53	https://store.doverpublications.com/products/9780486497327	en	Drawings and Paintings	https://store.doverpubli…jpg?v=1710203646	https://store.doverpubli…jpg?v=1710203646	[ "https://store.doverpublications.com/cdn/shop/files/Dover_White_Logo_120x.png?v=1701431499", "https://store.doverpublications.com/cdn/shop/files/Dover_White_Logo_80x.png?v=1701431499", "https://store.doverpublications.com/cdn/shop/t/3/assets/image-modal-left-arrow_24x.png?v=146350526112743812611692270861", "https://store.doverpublications.com/cdn/shop/t/3/assets/image-modal-right-arrow_24x.png?v=87869921250453006871692270783", "https://store.doverpublications.com/cdn/shop/files/sun27-footer_400x.png?v=1724480164", "https://store.doverpublications.com/cdn/shop/files/contest-footer_32daaf56-cf63-41fa-be0d-0089b2e967e6_400x.png?v=1719816421", "https://store.doverpublications.com/cdn/shop/files/freesamples2_400x.jpg?v=1710516709" ]	[]	[]	[ "" ]	null	[]	null	"To draw everything is good, to draw everything is better still," declared Adolph Menzel, one of nineteenth-century Berlin's premier artists. In keeping with his motto, Menzel exhibited tremendous powers of observation, technical perfection, and an interest in a wide range of subjects. This volume contains 98 black-and	en	//store.doverpublications.com/cdn/shop/files/Favicon_Logo_2024_e40123b4-1f1f-4ce0-88b6-324f26d48e9e_32x32.png?v=1723227370	Dover Publications	https://store.doverpublications.com/products/9780486497327
666	dbpedia	1	8	https://mikenewtonartist.com/blog/2018/8/20/adolph-menzel	en	Mike Newton Artist—Adolph Menzel	http://static1.squarespace.com/static/5a60ce9fe45a7c78c8de473d/t/5b7b04034fa51a76f36eabf4/1534788633417/Menzel+balcony+room+1845.jpg?format=1500w	http://static1.squarespace.com/static/5a60ce9fe45a7c78c8de473d/t/5b7b04034fa51a76f36eabf4/1534788633417/Menzel+balcony+room+1845.jpg?format=1500w	[ "https://images.squarespace-cdn.com/content/v1/5a60ce9fe45a7c78c8de473d/1534788614146-VXQZOKJLEKO7FDLRF0I5/Menzel+balcony+room+1845.jpg", "https://images.squarespace-cdn.com/content/v1/5a60ce9fe45a7c78c8de473d/8f48e863-4076-4d4f-9b11-5073b98e5aaf/IMG_4310.jpeg", "https://images.squarespace-cdn.com/content/v1/5a60ce9fe45a7c78c8de473d/f9b8de2c-b51e-4af2-be9d-600b4b965f26/IMG_4307.jpeg", "https://images.squarespace-cdn.com/content/v1/5a60ce9fe45a7c78c8de473d/d425f719-8f05-4cf3-8d13-cf34c935fee4/IMG_4245.jpeg", "https://images.squarespace-cdn.com/content/v1/5a60ce9fe45a7c78c8de473d/cac657ce-7dda-4eb5-adbf-432b77490245/IMG_4243.jpeg", "https://images.squarespace-cdn.com/content/v1/5a60ce9fe45a7c78c8de473d/ca6cb618-5f0b-4ac3-87f9-0b73898cd4fd/IMG_4241.jpeg", "https://images.squarespace-cdn.com/content/v1/5a60ce9fe45a7c78c8de473d/1714391971289-B02U6DQM7HOM26CPHYW2/IMG_3554.jpeg", "https://images.squarespace-cdn.com/content/v1/5a60ce9fe45a7c78c8de473d/1714243651931-CDR651MBUM6AQDWJ1VG7/IMG_3259.jpeg", "https://images.squarespace-cdn.com/content/v1/5a60ce9fe45a7c78c8de473d/1714391919843-FNQ3IX5X223FBVM6YD5E/IMG_3385.jpeg", "https://images.squarespace-cdn.com/content/v1/5a60ce9fe45a7c78c8de473d/1714243791766-3VVRT4YSK7R2F2IMNOQJ/IMG_2337.jpeg", "https://images.squarespace-cdn.com/content/v1/5a60ce9fe45a7c78c8de473d/1697372378696-W2R741E8G0J03B5FGYRQ/IMG_3065.jpeg", "https://images.squarespace-cdn.com/content/v1/5a60ce9fe45a7c78c8de473d/94ce137f-c09c-4588-9e30-37740cc4f6f0/2022-Browning-24x29.jpg", "https://images.squarespace-cdn.com/content/v1/5a60ce9fe45a7c78c8de473d/1657127395391-0LY7ZB71U9P6GSYOCRY0/2022-John-Keats-61x51.jpg", "https://images.squarespace-cdn.com/content/v1/5a60ce9fe45a7c78c8de473d/77e727de-9311-4a62-9923-955622026fe1/2020-Shelley-55x55.jpg", "https://images.squarespace-cdn.com/content/v1/5a60ce9fe45a7c78c8de473d/1634559086148-389TBZKRHWX92YSXJ8B8/2021-Lord-Byron-35x30.jpg", "https://images.squarespace-cdn.com/content/v1/5a60ce9fe45a7c78c8de473d/1630341649143-8TPAYSELNHCTDATJR36M/2021-Sylvia-Plath-71x61.jpg" ]	[]	[]	[ "" ]	null	[ "Mike Newton" ]	2018-08-20T00:00:00	Room with a Balcony, 1845 Oil on Cardboard. 58 x 47 cm Nationalgalerie, Staatliche Museen zu Berlin I regret missing the chance to see this painting in 2001 when it was shown in the London National Gallery in the exhibition of 19thC paintings Spirit of an Age: Paintings from the Berlin Nationalg	en	https://images.squarespace-cdn.com/content/v1/5a60ce9fe45a7c78c8de473d/1516296998421-4EZ6SO63NQKACMO7ANJ4/favicon.ico?format=100w	Mike Newton Artist	https://mikenewtonartist.com/blog/2018/8/20/adolph-menzel	This painting of an interior shows a different side of his artistic talent. One of a number of oil sketches from the 1840’s that explored his Berlin apartment and the views from its windows. Painted purely for his own pleasure, these uncannily modern works are argued to presage the French Impressionists through its use of light and the loose brushwork. Menzel didn’t go to Paris until in 1855 he visited the Exposition Universelle and saw Courbet's 'Pavillon du Réalisme' and is painted 30 years before the exhibition of impressionism in 1874. Not having seen the painting yet I cannot comment on the paint handling, but it does look as though he has applied it freely using a variety of brushstrokes that suggests objects rather than closely defining them. Despite being a classed as a sketch (it wasn’t shown until a commemorative exhibition was held at the Nationalgalerie in Berlin after Menzel’s death in 1905) it is signed and dated on the front indicating that he felt that his surroundings were a valid subject to paint rather than just an exercise. It is unusual for a painting of an interior of this period, to be neither occupied nor a formal study for a still life. This invites us to focus on the atmosphere of the room rather than on a subject within it. The balcony doors are open and the curtains billow inwards on the breeze through the window. Today that could be read as a sexual metaphor, but I suspect he was just observing reality rather than trying to imply any moral narrative. The edge of a rug intrudes into the image from the left and a streak of sunlight brightens the floor and shimmers on the empty wall. It is a strange patch of light and suggests that a picture that was hung on the wall has been removed. There are two formal chairs turned away from each other either side of a long mirror in which we see the reflections of a sofa with a gold-framed picture hanging above it. For me it is the positioning of these chairs that give the painting a melancholic aura; whether intended or not I read them as a metaphor for an uncommunicative couple, facing away, and arguing despite the languid quality of the light suggesting a beautiful summer’s day. ©blackdog 2009
666	dbpedia	3	12	https://www.kidpaw.net/famous-people/adolph-menzel-pid93383	en	Adolph Menzel Biography, Birthday. Awards & Facts About Adolph Menzel	https://www.kidpaw.net/d…-menzel-9747.jpg	https://www.kidpaw.net/d…-menzel-9747.jpg	[ "https://www.kidpaw.net/data/people/german/kidpaw-adolph-menzel-9747.jpg", "https://www.kidpaw.net/images/default-avatar.svg", "https://www.kidpaw.net/images/default-avatar.svg", "https://www.kidpaw.net/images/default-avatar.svg", "https://www.kidpaw.net/images/default-avatar.svg", "https://www.kidpaw.net/images/default-avatar.svg", "https://www.kidpaw.net/images/default-avatar.svg", "https://www.kidpaw.net/images/default-avatar.svg", "https://www.kidpaw.net/images/default-avatar.svg", "https://www.kidpaw.net/images/default-avatar.svg", "https://www.kidpaw.net/images/default-avatar.svg", "https://www.kidpaw.net/images/default-avatar.svg", "https://www.kidpaw.net/images/default-avatar.svg", "https://www.kidpaw.net/images/default-avatar.svg", "https://www.kidpaw.net/images/default-avatar.svg", "https://www.kidpaw.net/images/default-avatar.svg", "https://www.kidpaw.net/images/default-avatar.svg", "https://www.kidpaw.net/images/default-avatar.svg", "https://www.kidpaw.net/images/default-avatar.svg", "https://www.kidpaw.net/images/default-avatar.svg", "https://www.kidpaw.net/images/default-avatar.svg" ]	[]	[]	[ "" ]	null	[]	null	Adolph Menzel detail biography, family, facts and date of birth. Awards of Adolph Menzel, birthday, children and many other facts. See Adolph Menzel's spouse, children, sibling and parent names.	en	/favicon.ico		https://www.kidpaw.net/famous-people/adolph-menzel-pid93383	Sandro Kopp Sandro Kopp is a famous contemporary visual artist who predominantly has Skype as the central subject of his artwork. Check out this biography to know about his birthday, childhood, family life, achievements and fun facts about him. Born: 14 February 1978/ German Schoolboy Q Schoolboy Q is an American hip-hop recording artist. Explore more about his childhood, family, personal life, career, etc. Born: 26 October 1986/ German Hans Holbein The Younger Hans Holbein the Younger was an artist, draftsman, and designer from the Holy Roman Empire. Check out this biography to know about his birthday, childhood, family life, achievements and fun facts about him. Born: 1497 AD/ German Ernst Haeckel Ernst Haeckel was a renowned German biologist, naturalist, physician, philosopher and artist. Check out this biography to know about his childhood, family life, achievements and other facts related to his life. Born: 16 February 1834/ German Albrecht Altdorfer Albrecht Altdorfer was an iconic German painter, printmaker, engraver, drafter and architect of the Renaissance era. Check out this biography to know about his childhood, family life, achievements and other facts related to his life. Born: 1480 AD/ German Sibylle Szaggars Sibylle Szaggars Redford is a German-born multimedia environmental artist. Check out this biography to know about his childhood, family, personal life, achievements, etc. Born: 14 April 1957/ German Darren Le Gallo Darren Le Gallo is an American artist and actor who is more famous for being married to actress Amy Adams. Check out this biography to know about his birthday, childhood, family life, achievements and fun facts about him. Born: 21 July 1974/ German
666	dbpedia	0	10	https://www.metmuseum.org/art/collection/search/440726	en	The Artist's Sitting Room in Ritterstrasse	https://collectionapi.metmuseum.org/api/collection/v1/iiif/440726/802349/main-image	https://collectionapi.metmuseum.org/api/collection/v1/iiif/440726/802349/main-image	[ "https://collectionapi.metmuseum.org/api/collection/v1/iiif/440726/802349/main-image", "https://www.metmuseum.org/Rodan/dist/svg/rolling-0.9s-30px.svg", "https://cdn.sanity.io/images/cctd4ker/production/3d29734a86c3962ba34103218c28902eceaacf90-250x309.jpg?w=250&fit=crop", "https://cdn.sanity.io/images/cctd4ker/production/2ba40e57df6330f4e80b3a1383a2477462a44dc8-250x323.jpg?w=250&fit=crop", "https://www.metmuseum.org/Rodan/dist/svg/no-image-image-related.svg", "https://www.metmuseum.org/Rodan/dist/svg/no-image-image-related.svg", "https://www.metmuseum.org/Rodan/dist/svg/no-image-image-related.svg", "https://www.metmuseum.org/Rodan/dist/svg/no-image-image-related.svg", "https://collectionapi.metmuseum.org/api/collection/v1/iiif/354664/preview", "https://www.metmuseum.org/-/media/images/about-the-met/collection-areas/european-paintings/zodiac-department-page/european_paintings_teaser.jpg" ]	[]	[]	[ "Menzel", "Adolph", "Oil paint", "Paper", "Cardboard", "Paintings", "Europe", "Germany" ]	null	[]	null		en	https://www.metmuseum.org/content/img/presentation/icons/favicons/favicon.ico?v=3	The Metropolitan Museum of Art	https://www.metmuseum.org/art/collection/search/440726	As part of the Met's Open Access policy, you can freely copy, modify and distribute this image, even for commercial purposes. API
666	dbpedia	3	45	https://jamesgurney.com/products/adolph-menzel-drawings-and-paintings	en	Adolph Menzel: Drawings and Paintings, Selected by James Gurney (Signe	http://jamesgurney.com/cdn/shop/products/9a9107f1f646f7a4d02792aff4429288.jpg?v=1620079521	http://jamesgurney.com/cdn/shop/products/9a9107f1f646f7a4d02792aff4429288.jpg?v=1620079521	[ "https://jamesgurney.com/cdn/shop/files/JamesGurneySignature2_300x300.png?v=1619085411", "https://jamesgurney.com/cdn/shop/files/JamesGurneySignature2_115x.png?v=1619085411", "https://jamesgurney.com/cdn/shop/products/9a9107f1f646f7a4d02792aff4429288_{width}x.jpg?v=1620079521", "https://jamesgurney.com/cdn/shop/products/Menzel.the_head_of_a_woman-huge_{width}x.jpg?v=1620079522", "https://jamesgurney.com/cdn/shop/products/menzel-von-erdmann-friedrich-adolf--kronprinz-friedrich-besucht-den-ma-791198_{width}x.jpg?v=1620079522", "https://jamesgurney.com/cdn/shop/products/menzel-in-muenchen-schon-bevor-man-sich-versieht-11702992_{width}x.jpg?v=1620079522", "https://jamesgurney.com/cdn/shop/products/menzel-in-muenchen-schon-bevor-man-sich-versieht-11702992-5_{width}x.jpg?v=1620079522", "https://jamesgurney.com/cdn/shop/products/9a9107f1f646f7a4d02792aff4429288_530x@2x.jpg?v=1620079521", "https://jamesgurney.com/cdn/shop/products/9a9107f1f646f7a4d02792aff4429288_110x110@2x.jpg?v=1620079521", "https://jamesgurney.com/cdn/shop/products/Menzel.the_head_of_a_woman-huge_110x110@2x.jpg?v=1620079522", "https://jamesgurney.com/cdn/shop/products/menzel-von-erdmann-friedrich-adolf--kronprinz-friedrich-besucht-den-ma-791198_110x110@2x.jpg?v=1620079522", "https://jamesgurney.com/cdn/shop/products/menzel-in-muenchen-schon-bevor-man-sich-versieht-11702992_110x110@2x.jpg?v=1620079522", "https://jamesgurney.com/cdn/shop/products/menzel-in-muenchen-schon-bevor-man-sich-versieht-11702992-5_110x110@2x.jpg?v=1620079522" ]	[]	[]	[ "" ]	null	[]	null	Adolph Menzel (German, 1815-1905) exhibited tremendous powers of observation and an interest in a wide range of subjects. This art book collects the best of his drawings, watercolors, pastels, and gouaches, many of which have never been published before. Menzel’s plein air studies——portraits, animals, architecture, and	en		James Gurney	https://jamesgurney.com/products/adolph-menzel-drawings-and-paintings	Adolph Menzel (German, 1815-1905) exhibited tremendous powers of observation and an interest in a wide range of subjects. This art book collects the best of his drawings, watercolors, pastels, and gouaches, many of which have never been published before. Menzel’s plein air studies——portraits, animals, architecture, and landscapes——were revered by contemporary realists for their truth to nature and technical accomplishment. Menzel was also a master of historical illustration, and this collection includes some of his best examples of imaginative realism. The drawings and paintings in this volume were selected by Dinotopia author James Gurney, who also provides an informative introduction. This is the finest collection in print of the drawings and watercolors of an unjustly overlooked artist. 130 images, includes 32 pages of color, 8.5 x 11 inches. Signed by the author/editor James Gurney. Follow me on Mastodon
666	dbpedia	2	3	https://www.britannica.com/biography/Adolf-von-Menzel	en	Adolf von Menzel \| Realist, Prussian, 19th Century	https://cdn.britannica.c…e.jpg?v=3.124.12	https://cdn.britannica.c…e.jpg?v=3.124.12	[ "https://cdn.britannica.com/mendel/eb-logo/MendelNewThistleLogo.png", "https://cdn.britannica.com/mendel/eb-logo/MendelNewThistleLogo.png", "https://cdn.britannica.com/45/2545-004-46D9EA5E/Sister-Artist-Sitting-Room-paper-oil-Adolf-1847.jpg", "https://cdn.britannica.com/74/129374-131-833AE3CF/Chalk.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/85/151885-131-F94726A4/Close-up-man-palette-color-mixing-paint-painting.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/13/229013-131-CF011E83/Tate-Modern-Switch-House-London-England.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/32/91732-131-E8BF5F79/The-Birth-of-Venus-canvas-Sandro-Botticelli.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/67/215467-131-5A200489/Aerial-view-dome-Cathedral-Santa-Maria-del-Fiore-Florence-Italy.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/68/182368-131-18162C94/vandalized-art-Rokeby-Venus-Diego-Velazquez-meat-cleaver-Mary-Richardson.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/35/179035-131-9646BA4D/Oil-paints-consistency-paste-variety-colors-brushes.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/57/181457-131-E3E73B89/Members-artwork-view-art-gallery-Damien-Hirst-April-2-2012.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/74/234574-131-61BF2B71/sculpture-woman-before-and-after-restoration-office-building-Palencia-Spain.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/39/193239-131-181E3553/Statue-Nostradamus.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/73/124073-131-EA3EACC6/Tug-of-war-US-Naval-Academy-Maryland-Annapolis-2005.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/43/193443-131-17ABE1C9/Union-Jack-flag-Great-Britain-united-kingdom.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/58/156058-131-22083D0A/Adolf-Hitler.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/08/173908-131-C65789E4/Anguis-fragilis-slowworm-Anguidae-Lizard-head-Close-up.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/56/198256-131-63923156/Chapter-header-The-Adventures-of-Tom-Sawyer-1884.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/29/193629-131-8F58C4E4/piano-keys.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/45/2545-004-46D9EA5E/Sister-Artist-Sitting-Room-paper-oil-Adolf-1847.jpg?w=300", "https://cdn.britannica.com/85/151885-131-F94726A4/Close-up-man-palette-color-mixing-paint-painting.jpg" ]	[]	[]	[ "Adolf von Menzel", "encyclopedia", "encyclopeadia", "britannica", "article" ]	null	[ "The Editors of Encyclopaedia Britannica" ]	1999-05-27T00:00:00+00:00	Adolf von Menzel was a German painter and printmaker, best known in his own day as a brilliant historical painter, whose patriotic works satisfied the public’s taste, engendered by Prussia’s continual expansion throughout the 19th century, for propagandistic art. In the 20th century he was chiefly	en	/favicon.png	Encyclopedia Britannica	https://www.britannica.com/biography/Adolf-von-Menzel	Adolf von Menzel (born December 8, 1815, Breslau, Prussia [now Wrocław, Poland]—died February 9, 1905, Berlin) was a German painter and printmaker, best known in his own day as a brilliant historical painter, whose patriotic works satisfied the public’s taste, engendered by Prussia’s continual expansion throughout the 19th century, for propagandistic art. In the 20th century he was chiefly esteemed for his sensitive treatment of light and the original compositions of his small genre pictures. In 1832 Menzel took charge of his dead father’s lithographic workshop and, self-taught, rapidly became famous in this medium by illustrating various histories of Prussia, especially those dealing with the reign of Frederick II the Great. These were followed by illustrations for similar publications, such as a lavish edition of Works of Frederick the Great (1843–49) containing 200 plates. In painting Menzel soon became famous for his glittering re-creations of such scenes as Frederick the Great’s concerts at his palace, Sanssouci, and The Ball Supper (1878), showing the court of King Wilhelm I vigorously enjoying a meal. Britannica Quiz Artists, Painters, & Architects
666	dbpedia	0	11	https://www.artrenewal.org/artists/adolph-von-menzel/596	en	Adolph von Menzel - 55 artworks			[ "https://www.artrenewal.org/secureimages/ContentSection/3/Images/859f2268-1cef-43d6-bec9-35d3c3a68038.jpg?w=951&h=303&mode=crop", "https://www.artrenewal.org/secureimages/Content/209/7ec19892-9968-4fb0-983f-a8870398b300.jpg?format=jpg&width=952&height=303&mode=crop", "https://www.artrenewal.org/secureimages/Artist/596/596/Images/72de809a-4820-440c-9a5a-31b7f4dea751.png?h=250", "https://www.artrenewal.org/secureimages/Artist/596/596/Images/73f1abf2-09dd-45d4-a841-09aec7d2b156.jpg?format=jpg&mode=crop&w=1600", "https://www.artrenewal.org/secureimages/Content/211/60e0bf88-14c5-4f18-b1fb-1e1281ea6794.jpg?w=250&h=250&mode=crop", "https://www.artrenewal.org/Images/icons/facebook.svg", "https://www.artrenewal.org/Images/icons/twitter.svg", "https://www.artrenewal.org/Images/icons/instagram.svg", "https://www.artrenewal.org/Images/icons/google-plus.svg", "https://www.artrenewal.org/secureimages//positivessl_trust_seal_md_167x42.png" ]	[]	[]	[ "" ]	null	[]	null	Adolph von Menzel 1815-1905	en	/favicon.ico	Art Renewal Center	null	Latest News Show all posts for August, 2024 View our Events Calendar Blog: RSS Atom
666	dbpedia	3	13	https://www.theartnewspaper.com/2016/01/01/short-sharpand-funny-bernhard-schulz-on-adolph-menzel	en	Short, sharp—and funny: Bernhard Schulz on Adolph Menzel	https://cdn.sanity.io/im…crop&auto=format	https://cdn.sanity.io/im…crop&auto=format	[ "https://cdn.sanity.io/images/cxgd3urn/production/2b3466774dc5776b98c0047e115924687dff5e5e-366x80.svg", "https://cdn.sanity.io/images/cxgd3urn/production/2a17a0294d29177faba03484c634a6e33e8fed98-1x1.svg", "https://cdn.sanity.io/images/cxgd3urn/production/c1655cf70e7368db7368daed9558a94a3e3bf0e4-1181x925.jpg?rect=0,0,1181,924&w=750&h=587&fit=crop&auto=format 1x, https://cdn.sanity.io/images/cxgd3urn/production/c1655cf70e7368db7368daed9558a94a3e3bf0e4-1181x925.jpg?w=1920&h=1504&fit=crop&auto=format 2x" ]	[]	[]	[ "" ]	null	[ "Bernhard Schulz", "www.theartnewspaper.com", "bernhard-schulz" ]	2016-01-01T00:00:00	To mark the 200th anniversary of his birth, a book celebrates Adolph Menzel as the “painter of modern life”		/favicon-48.ico	The Art Newspaper - International art news and events	https://www.theartnewspaper.com/2016/01/01/short-sharpand-funny-bernhard-schulz-on-adolph-menzel	The Franco-Prussian War started in the summer of 1870. The painting The Departure of King Wilhelm I to the Army on 31 July 1870, produced by Adolph Menzel (1815–1905) in the following year, shows the aged Prussian king processing in his coach along the grand Unter den Linden boulevard in Berlin, surrounded by a crowd of people who are watching rather than cheering. The artist is clearly more interested in the newspaper boy in the foreground, playing with a dog, and the city-dweller reading his newspaper with his back to the street and a student reading over his shoulder. This view of reality – as a kaleidoscope of disconnected events and isolated incidents – is characteristic of Menzel’s vision. Characteristic, at any rate, of the late Menzel, after his sobering visit to the battlefield at Königgrätz in Bohemia in 1866, where Prussia had brought Austria’s supremacy in the German-speaking world to an end. In the two years following this, Menzel made two trips to Paris. Werner Busch, for 22 years – until 2010 – professor of art history at Freie Universität Berlin, emphasises in his new, comprehensive and superlatively illustrated monograph Adolph Menzel: Auf der Suche nach der Wirklichkeit [Adolph Menzel: in search of reality] the importance of these trips to the French capital – of which there were three in all, the first much earlier, dating back to 1855 – for the artist who was born on 8 December, just more than 200 years ago. What remained as a subject for Menzel, says Busch, “was the present in its chaos and meaninglessness. Just a year after Bohemia Menzel was in Paris, discovering the utterly un-heroic metropolis. For him there could no longer be any positive statements – just a despairing record of the existing state of things.” How far this change of subject matter was a conscious decision on Menzel’s part is something Busch has to leave unresolved. Busch, the ultimate classical art historian, is a masterful interpreter of the pictures. And Menzel’s paintings with Parisian subjects – few in number but immensely rich in content – suggest a direct connection with the new metropolitan art in the city Menzel always referred to as “Babylon”. Menzel’s model was Édouard Manet, whose self-organised exhibition during the World Exhibition of 1867 he probably saw, even if we lack a record of this visit by the artist himself. Busch persuasively sets out the similarities – or, better, the points of comparison – between Menzel’s painting Afternoon in the Tuileries Gardens and Manet’s Music in the Tuileries Gardens, starting with the title and strikingly obvious in the composition of the densely populated scenery; following the acquisition of Menzel’s painting a few years ago, both pictures are now held in the collection of the National Gallery in London. Yet Busch considers it worth only a few sentences that Menzel visited his friend Ernest Meissonier, who was the same age as he, in Paris – a successful salon painter who was highly esteemed for his hyper-realistic style of painting. Meissonier exhibited at the 1867 World Exhibition – as indeed did Menzel, who was awarded a medal for his historical painting Frederick the Great and his Men at the Battle of Hochkirch (1856, destroyed in the Second World War). Given his rejection of the Paris avant-garde, therefore, Menzel’s unavowed engagement with their modern subjects is surprising. None of this is new, of course, yet Busch’s picture analyses plausibly chart Menzel’s development into the “painter of modern life” Charles Baudelaire had called for, revealing this as his outstanding legacy. It is strange that Busch writes of the earlier paintings of Frederick the Great – which underpinned Menzel’s standing as an artist for his own contemporaries and above all for Emperor Wilhelm II – that they “represent the essence of Menzel’s art down to the present day”. This has no longer been the case for some decades now – if we think of the works of Werner Hofmann, for example. Busch is not solely concerned with Menzel’s modernity, though, venturing a quite different explanation for his uniqueness – uniqueness, at least, in German 19th-century art. Busch declares this area of interest right at the start: “What impacts did Menzel’s physical disadvantage, his small stature, have on his art? How did he compensate for this deficiency? Here we attempt, cautiously, to touch upon Menzel’s psyche, too – even if this is frowned upon in art history”. Busch himself calls this question a “risk”. Menzel actually bore his destiny – insofar as it affected his physique – without complaint, except in the year 1866, when he despaired at being barred from greater physical proximity to the fighting. Yet focusing on the artist’s extremely small stature – he was only 1m 40cm tall – has become a standard topos of the Menzel literature. Thus, for example, Peter-Klaus Schuster, the brilliant former general director of Staatliche Museen zu Berlin (the National Museums in Berlin) and a student of Hofmann, wrote in the catalogue of the major Menzel exhibition of 1996–97: “It is clear that Menzel’s role as an observer is that of an outsider. Because of his small physical stature he seems excluded from the adult world. He looks with the penetrating, attentive gaze of the foreigner”. Busch takes up this theme of foreignness almost word for word, writing: “His entire way of life was a defensive battle, a struggle to depict reality as a compensation for being largely excluded from life himself.” Excluded from life? Merely because Menzel probably lacked – a fact that is trundled out repeatedly – any sexual experience? Michael Fried in particular, in his idiosyncratic study Menzel’s Realism: Art and Embodiment in Nineteenth-Century Berlin (2002), has pointed to the physiological preconditions of Menzel’s art. Busch emphasises his affinity with Fried’s “view of things”, though he surpasses Fried with his precise pictorial analysis. All in all, Busch shows how carefully Menzel constructed his pictures, using the golden section in particular – offering a stark contrast to the widely held view that the intimate 1840s pictures especially are “spontaneous”. Taking a key 19th-century image, The Berlin-Potsdam Railway of 1847 – one of the earliest depictions of the industrial age – Busch establishes that Menzel carefully constructed this painting in the studio, using numerous sketches from nature in order to achieve the picture’s suggestive impact: the train looks rather toy-like, the natural scene almost untouched – yet the railway is clearly a domineering presence, even so. After his painting of Wilhelm I’s coronation as King of Prussia, completed in 1865, Menzel was regularly invited to the Berlin court and it is well known that he used to climb on chairs and tables in order to survey the bustle of court society and draw the heads of individuals in the throng. A masterpiece such as Supper at the Ball of 1878 is painted from this same, unnaturally high perspective. For Menzel, no detail was too insignificant to be depicted. Every one of his late pictures – Menzel’s last oil painting, Piazza d’Erbe in Verona, was produced in 1884 – might be criticised for being “a piece made of pieces”: the judgement Busch cites from around 1900, in the wake of Impressionism. Menzel needed to assure himself, physically, of the objects he depicted – this is the main idea Busch takes up from Fried and continues. “It is said of Menzel that he reproduced reality with as little filtering as possible,” writes Busch in his introduction, “yet it will be shown in his case that the appropriation of reality becomes, to an extreme degree, a physical act, in the service of personal experience and self-assertion, an act that never occurs without a substantial dose of subjective involvement, however much he seeks to suppress it.” Opinions may vary on that matter: such an existentially loaded viewpoint overlooks in particular Menzel’s distinctive humour, which is less apparent in the paintings than in the masterful gouaches Menzel used to record his experiences on journeys and during his spa visits. The awkwardness of travellers as yet unaccustomed to the railway prompted some of his most humorous images, such as On a Journey to Beautiful Countryside of 1892. Menzel’s compulsion to appropriate, literally, every object, every aspect of reality, by creating a second reality with his pencil on the paper of his sketchbook, in no way contradicts the playful effortlessness of works like this. Menzel did not penetrate beyond the physical experience of reality. “For Menzel,” as Werner Busch concludes, “there remained only a feeling of alienation. Society offers no comfort and he is not inspired by any hope of something beyond it. His only consolation was his work or, more precisely, his artistic activity as a physical self-realisation, the experience of his unique and separate individuality”. Yet if we turn this metaphysically loaded judgement on its head, seeing it from a positive angle, Adolph Menzel appears as what he unquestionably was: the modern artist par excellence. • Bernhard Schulz is the art critic of Der Tagesspiegel, Berlin Adolph Menzel: Auf der Suche nach der Wirklichkeit Werner Busch C.H. Beck, 304pp, €58 (hb)
666	dbpedia	1	9	https://www.nationalgallery.org.uk/artists/adolph-menzel	en	Adolph Menzel (1815 - 1905)	https://www.nationalgallery.org.uk/favicon.ico	https://www.nationalgallery.org.uk/favicon.ico	[ "https://www.nationalgallery.org.uk/v3/img/icons/white/hamburger-menu.svg", "https://www.nationalgallery.org.uk/v3/img/icons/white/close.svg", "https://www.nationalgallery.org.uk/v3/img/logos/ng-plus-ng200-logo.svg", "https://www.nationalgallery.org.uk/v3/img/icons/white/search.svg", "https://www.nationalgallery.org.uk/v3/img/icons/white/account.svg", "https://www.nationalgallery.org.uk/v3/img/icons/white/account.svg", "https://www.nationalgallery.org.uk/v2/img/icons/close-thin.svg", "https://www.nationalgallery.org.uk/v2/img/icons/search-grey.svg", "https://www.nationalgallery.org.uk/media/34790/n-6604-00-000013-hd.jpg?cc=0.18462299262152782,0.0000000000000001263187085796,0.11381450737847203,0&width=576&height=576&v=1d6544b24e9f0c0&bgcolor=fff", "https://www.nationalgallery.org.uk/media/26597/l-1218-00-000002-hd.jpg?rxy=0.52967032967032968,0.40540540540540543&width=576&height=576&v=1d542fb9a08f340&bgcolor=fff", "https://www.nationalgallery.org.uk/v2/img/logos/ng-logo-white-320.png", "https://www.nationalgallery.org.uk/v2/img/logos/facebook-circle.svg", "https://www.nationalgallery.org.uk/v2/img/logos/youtube-circle.svg", "https://www.nationalgallery.org.uk/v2/img/logos/instagram-circle.svg", "https://www.nationalgallery.org.uk/v2/img/logos/threads-circle.svg", "https://www.nationalgallery.org.uk/v2/img/logos/x-circle.svg", "https://www.nationalgallery.org.uk/v2/img/logos/tiktok-circle.svg" ]	[]	[]	[ "" ]	null	[ "The National Gallery" ]	null	Adolph Menzel was the leading German artist of the second half of the 19th century. Born in 1815, he exhibited his first drawing at the age of 12. His father ran a lithographic printing works, and by the time he was 14, Menzel was contributing illustrations to publications. Active first as a printmaker, and a dazzling draftsman throughout his prolific career, he turned to oil painting only after he was 30.	en	/favicon.ico		https://www.nationalgallery.org.uk/artists/adolph-menzel	Adolph Menzel was the leading German artist of the second half of the 19th century. Born in 1815, he exhibited his first drawing at the age of 12. His father ran a lithographic printing works, and by the time he was 14, Menzel was contributing illustrations to publications. Active first as a printmaker, and a dazzling draftsman throughout his prolific career, he turned to oil painting only after he was 30. His technical virtuosity and skill at capturing visual phenomena (such as the way in which we perceive background objects as unfocussed and blurred compared to foreground ones) attracted wide attention, and anticipated some of the effects of French Impressionism by 30 years. During his lifetime, he was most famous for his illustrations of the life of the 18th-century Prussian monarch, Frederick the Great, and his court. Menzel was deeply concerned with historical accuracy and every detai,l down to the buttons on a uniform or the handle on a sword, was meticulously researched. When visiting Paris, Menzel was in contact with artists there including Edgar Degas and Ernest Meissonier. He is remembered as the unparalleled chronicler of life in Berlin. He was knighted in 1898, and received a state funeral upon his death in 1905.
666	dbpedia	3	52	https://www.pinterest.com/ahmadrezasotodeh/dostoyevsky/	en		https://s.pinimg.com/web…x48-7470a30d.png	https://s.pinimg.com/web…x48-7470a30d.png	[]	[]	[]	[ "" ]	null	[]	2021-05-29T08:55:03+00:00	May 29, 2021 - Explore Ahmad Sotodeh's board "Dostoyevsky" on Pinterest. See more ideas about dostoyevsky, writers and poets, russian literature.	en	https://s.pinimg.com/web…144-3da7a67b.png	Pinterest	https://www.pinterest.com/ahmadrezasotodeh/dostoyevsky/
666	dbpedia	1	30	http://beardedroman.com/forgotten-master-adolf-von-menzel-polishgerman-1815-1905/	en	Forgotten Master: Adolf von Menzel (Polish/German, 1815-1905)	http://beardedroman.com/wp-content/uploads/2019/11/cropped-android-chrome-512x512-32x32.png	http://beardedroman.com/wp-content/uploads/2019/11/cropped-android-chrome-512x512-32x32.png	[ "http://farm4.static.flickr.com/3086/2783968034_49b62626fb.jpg", "http://farm4.static.flickr.com/3179/2783114649_87ae75eb14.jpg", "http://farm4.static.flickr.com/3270/2783115471_64abc94647.jpg", "http://farm4.static.flickr.com/3296/2783729977_59a4b806aa.jpg", "http://farm4.static.flickr.com/3105/2783115343_e30735337b.jpg", "http://farm4.static.flickr.com/3013/2784583396_fcf11a8759.jpg", "http://farm4.static.flickr.com/3027/2783114557_0447fa7540.jpg", "http://beardedroman.com/wp-content/plugins/social-media-feather/synved-social/image/social/regular/32x32/facebook.png", "http://beardedroman.com/wp-content/plugins/social-media-feather/synved-social/image/social/regular/32x32/twitter.png", "http://beardedroman.com/wp-content/plugins/social-media-feather/synved-social/image/social/regular/32x32/pinterest.png", "http://beardedroman.com/wp-content/plugins/social-media-feather/synved-social/image/social/regular/32x32/linkedin.png", "http://beardedroman.com/wp-content/plugins/social-media-feather/synved-social/image/social/regular/32x32/mail.png", "http://2.gravatar.com/avatar/b5c8e49f2c387b2e8e5294096de38fd7?s=72&d=mm&r=g", "http://0.gravatar.com/avatar/0ca1ade14247c4e6138b0590e7ba51be?s=72&d=mm&r=g", "http://0.gravatar.com/avatar/0ca1ade14247c4e6138b0590e7ba51be?s=72&d=mm&r=g", "http://2.gravatar.com/avatar/b5c8e49f2c387b2e8e5294096de38fd7?s=72&d=mm&r=g", "http://0.gravatar.com/avatar/?s=72&d=mm&r=g", "http://beardedroman.com/wp-content/plugins/social-media-feather/synved-social/image/social/regular/32x32/facebook.png", "http://beardedroman.com/wp-content/plugins/social-media-feather/synved-social/image/social/regular/32x32/twitter.png", "http://beardedroman.com/wp-content/plugins/social-media-feather/synved-social/image/social/regular/32x32/linkedin.png", "http://beardedroman.com/wp-content/plugins/social-media-feather/synved-social/image/social/regular/32x32/rss.png", "http://beardedroman.com/wp-content/plugins/social-media-feather/synved-social/image/social/regular/32x32/vimeo.png", "http://beardedroman.com/wp-content/plugins/social-media-feather/synved-social/image/social/regular/32x32/instagram.png" ]	[]	[]	[ "" ]	null	[ "Micah Christensen", "beardedroman.com" ]	2008-08-21T00:00:00		en	http://beardedroman.com/wp-content/uploads/2019/11/cropped-android-chrome-512x512-32x32.png	BEARDED ROMAN	http://beardedroman.com/forgotten-master-adolf-von-menzel-polishgerman-1815-1905/	His graduation from the Academy was followed by a series of lithographic commissions, including works by Goethe and a history of the Frederick the Great. Adolf von Menzel (Polish/German, 1815-1905) Meissonier in his studio at Poissy (1869) Oil on panel. 8 1/4 BY 11 3/8IN. Private collection. In 1855, Menzel traveled to Paris for the first time. The occasion was most likely the influential Paris Exposition Universelle, with thousands of artists’ works on display in series of pavilions organized by nationality. There Menzel saw Gustave Courbet’s “Pavillon du Réalism,” which led to a more naturalistic approach to his paintings. From that time forward, he would make regular trips to Paris and came to know some of the city’s most important artists. Adolf von Menzel (Polish/German, 1815-1905) Aufbewahrungssaal während des Museumsumbaus (1848) Pastel on paper. 46 BY 57CM. Alte Nationalgalerie, Berlin. By the end of his life, Menzel was considered one of Berlin’s greatest artists. He joined the Royal Academy of Art in 1853, and was a teacher at the school from 1875 until his death in 1905. He had been decorated as a Knight of the Black Order, given the rank of Privy Councilor with the title “Your Excellency,” and awarded an honorary doctorate at the University of Berlin.
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"https://upload.wikimedia.org/wikipedia/en/thumb/4/4a/Commons-logo.svg/30px-Commons-logo.svg.png", "https://upload.wikimedia.org/wikipedia/en/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/10px-OOjs_UI_icon_edit-ltr-progressive.svg.png", "https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?type=1x1", "https://en.wikipedia.org/static/images/footer/wikimedia-button.svg", "https://en.wikipedia.org/static/images/footer/poweredby_mediawiki.svg" ]	[]	[]	[ "" ]	null	[ "Contributors to Wikimedia projects" ]	2005-02-18T04:58:20+00:00		en	/static/apple-touch/wikipedia.png		https://en.wikipedia.org/wiki/Adolph_Menzel	German artist (1815–1905) Adolph Friedrich Erdmann von Menzel (8 December 1815 – 9 February 1905) was a German Realist artist noted for drawings, etchings, and paintings. Along with Caspar David Friedrich, he is considered one of the two most prominent German painters of the 19th century,[1] and was the most successful artist of his era in Germany.[2] First known as Adolph Menzel, he was knighted in 1898 and changed his name to Adolph von Menzel. His popularity in his native country, owing especially to his history paintings, was such that few of his major paintings left Germany, as many were quickly acquired by museums in Berlin.[3] Menzel's graphic work (and especially his drawings) were more widely disseminated; these, along with informal paintings not initially intended for display, have largely accounted for his posthumous reputation.[2] Although he traveled in order to find subjects for his art, to visit exhibitions, and to meet with other artists, Menzel spent most of his life in Berlin, and was, despite numerous friendships, by his own admission detached from others.[4] It is likely that he felt socially estranged for physical reasons alone—he had a large head, and stood about four foot six inches (137 cm).[4][5] Biography [edit] Career [edit] Menzel was born to German parents in Breslau, Prussian Silesia (now Wrocław, Poland), on 8 December 1815.[6] His father was a lithographer and intended to educate his son as a professor, but did not thwart his taste for art. After resigning his teaching post, Menzel senior set up a lithographic workshop in 1818. In 1830 the family moved to Berlin, and in 1832 Adolph was forced to take over the lithographic business on the death of his father. In 1833, he studied briefly at the Berlin Academy of Art, where he drew from plaster casts and ancient sculptures; thereafter Menzel was self-taught.[4] Louis Friedrich Sachse [de] of Berlin published his first work in 1833, an album of pen-and-ink drawings reproduced on stone, to illustrate Goethe's little poem, Kunstlers Erdenwallen. He executed lithographs in the same manner to illustrate Denkwürdigkeiten aus der brandenburgisch-preussischen Geschichte; The Five Senses and The Prayer, as well as diplomas for various corporations and societies. From 1839 to 1842, he produced 400 drawings, largely introducing to Germany the technique of wood-engraving, to illustrate the Geschichte Friedrichs des Grossen (History of Frederick the Great) by Franz Kugler. He subsequently brought out Friedrichs der Grossen Armee in ihrer Uniformirung (The Uniforms of the Army under Frederick the Great), Soldaten Friedrichs der Grossen (The Soldiers of Frederick the Great); and finally, by order of King Frederick William IV, he illustrated the works of Frederick the Great, Illustrationen zu den Werken Friedrichs des Grossen (1843–1849). The artist had a deep sympathy for the Prussian king. In one of his letters to Johann Jakob Weber, he said that it was his intention to represent the monarch as a man who was both hated and admired—simply as he was, in other words, as a man of the people.[8] Through these works, Menzel established his claim to be considered one of the first, if not actually the first, of the illustrators of his day in his own line. Menzel's fame came from his illustrations of the 18th-century Prussian monarch, Frederick the Great. As well as dedication to adding historical accuracy and attention to detail. Menzel also made sure to do research on the items he was painting.[10] From 1840 and onward Menzel became admirable for his small paintings and drawings. In which he depicted his unconventional ideas.[11] In the meantime, Menzel had also begun to study, unaided, the art of painting, and he soon produced a great number and variety of pictures. His paintings consistently demonstrated keen observation and honest workmanship in subjects dealing with the life and achievements of Frederick the Great, and scenes of everyday life, such as In the Tuileries, The Ball Supper, and At Confession. Among those considered most important of these works are Iron Rolling Mill (1872–1875) [12] and The Market-place at Verona. When invited to paint The Coronation of William I at Koenigsberg, he produced an exact representation of the ceremony without regard to the traditions of official painting. During Menzel's life, his paintings were appreciated by Otto von Bismarck and William I, and after his death they were appropriated for use as electoral posters by Adolf Hitler.[2] If these historical illustrations anticipated the qualities of early Impressionism,[14] it is paintings such as The French Window and The Palace Garden of Prince Albert, both painted in the mid- 1840s, that now appeal as "among the most freely observed of mid-nineteenth century images."[15] Such genre paintings evidence associations with French and English art. Though he was primarily an excellent draughtsman, art historian Julius Meier-Graefe considered him to be a "proto-impressionist" painter, whose graphic work hindered his painterly potentials.[16] Private drawings and watercolors made of dead and dying soldiers in 1866 on the battlefields of the Austro-Prussian War are unsparing in their realism, and have been described by art historian Marie Ursula Riemann-Reyher as "unique in German art of the time."[17] Later years [edit] The paintings which were available to the public garnered recognition not only within Germany, but from the French avant-garde as well: Edgar Degas admired and copied his work, calling him "the greatest living master",[18] and Louis Edmond Duranty wrote of his art: In a word, the man is everywhere independent, sincere, with sure vision, a decisive note that can sometimes be a little brutal....While being perfectly healthy he has the neurosis of truthfulness....The man who has measured with a compass the buttons on a uniform from the time of Frederick, when it is a matter of depicting a modern shoe, waistcoat, or coiffure, does not make them by approximations but totally, in their absolute form and without smallness of means. He puts there everything that is called for by the character (of the object). Free, large, and rapid in his drawing, no draftsman is as definitive as he.[19] Notwithstanding Menzel's professed estrangement from others, his renown entailed social obligations, and in the 1880s the poet Jules Laforgue described him as "no taller than a cuirassier-guard's boot, bedecked with pendants and orders, not missing a single one of these parties, moving among all these personages like a gnome and like the greatest enfant terrible for the chronicler."[20] In Germany he received many honors, and in 1898 became the first painter to be admitted to the Order of the Black Eagle; by virtue of receiving the Order, Menzel was raised to the nobility, becoming "Adolph von Menzel". He was also made a member of the Académie des Beaux-Arts in Paris and the Royal Academy in London. After his death in 1905 in Berlin, his funeral arrangements were directed by the Kaiser, who walked behind his coffin.[21] Exhibitions (selection) [edit] "Adolph Menzel 1815–1905. Das Labyrinth der Wirklichkeit", Nationalgalerie (National Gallery) and Kupferstichkabinett (Museum of Prints and Drawings), Staatliche Museen zu Berlin – Preußischer Kulturbesitz, 7 Feb – 11 May 1997[22] "Menzel. Maler auf Papier", Kupferstichkabinett (Museum of Prints and Drawings), Staatliche Museen zu Berlin – Preußischer Kulturbesitz, 20 September 2019 – 19 January 2020.[23] World War II [edit] Several important works by Menzel were seized, sold by force or under duress during the Nazi period. Some of these have been restituted in the 21st century. [24] In 2014, the Menzel's Stehende Rüstungen (1886) ("Standing Suits of Armour" or "Armoury Fantasy"[25]) was restituted by the Albertina Museum in Vienna to the heirs of Adele Pächter, who was murdered at the Theresienstadt concentration camp.[26] In 2015, the Menzel pastel "Lady with a Red Blouse" was restituted to the heirs of Erna Felicia and Hans Lachmann-Mosse.[27] [28] Oskar Reinhart had purchased the pastel from the art dealer Fritz Nathan in Munich in 1934 and donated it to the Foundation in 1940.[29] Others have been claimed but not restituted.[30] Also in 2015 the Dutch Limbach Commission refused a restitution request for the Menzel painting "A Weekday in Paris" which had belonged to the Jewish banker Georges Behrens.[31] [32] In 2017 Germany's Culture Minister Monika Gruetter returned Menzel's Interior of a Gothic Church to the heirs of Elsa Cohen who, persecuted by the Nazis because Jewish, sold it to Hitler's art dealer Hildebrand Gurlitt in 1938. It was rediscovered in the art stash of his son, Cornelius Gurlitt.[33] The German Lost Art Foundation lists numerous Menzel artworks on its website.[34] In pop culture [edit] Menzel and an exhibition of his art plays a pivotal role in the HBO series The Gilded Age, Season 2 Episode 3.[1] Gallery [edit] Building Site with Willows, 1846 Living Room with the Artist's Sister, 1847 The Bedroom of the Artist in the Ritterstraße, 1847 Study of a Man with a Ruff Collar, ca 1850 Frederick II at Hochkirch, 1856 Students illuminated procession, 1859 Coronation of Wilhelm I, 1865 Weekday in Paris, 1869 Studio Wall, 1872 Supper at the Ball, 1878 Fronleichnamsprozession in Hofgastein, 1880 At the Beer Garden, 1883 Japanese Artist at Work, 1886, graphite on paperboard, National Gallery of Art Notes [edit] Selected bibliography [edit] Karl Scheffler, Adolf Menzel: Der Mensch, das Werk. Berlin: Cassirer, 1915. Elfried Bock, Adolph Menzel: Verzeichnis seines graphischen Werkes. Berlin: Amsler & Ruthardt, 1923. Werner Schmidt, Adolf Menzel: Zeichnungen Verzeichnis und Erläuterungen. National-Galerie, Staatliche Museen, Berlin, 1955. Ulrich Bischoff, Jens Christian Jensen, Richard Hoppe-Sailer, Wulf Schadendorf, Johann Schlick, Jürgen Schultze, Adolph Menzel: Realist – Historist – Maler des Hofes. Exhibition catalog. Schweinfurt: Weppert, 1981. Gisela Hopp, Eckhard Schaar, Werner Hofmann, eds., Menzel – der Beobachter. Exhibition catalog. Munich: Prestel, 1982. Jost Hermand, Adolph Menzel mit Selbstzeugnissen und Bilddokumenten (Rowohlts Monographien, vol. 361). Reinbek bei Hamburg: Rowohlt, 1986. Gisold Lammel, Adolph Menzel. Frideriziana und Wilhelmiana. Dresden: Verlag der Kunst, 1987. Claude Keisch and Marie Ursula Riemann-Reyher, eds.: Adolph Menzel 1815–1905: Between Romanticism and Impressionism. London and New Haven: Yale University Press, 1996. Michaela Diener, „Ein Fürst der Kunst ist uns gestorben“: Adolph von Menzels Nachruhm im Kaiserlichen Deutschland (1905–1910). Regensburg: Roderer, 1998. Hubertus Kohle, Adolph Menzels Friedrichbilder: Theorie und Praxis der Geschichtsmalerei im Berlin der 1850er Jahre. Munich and Berlin: Deutscher Kunstverlag, 2001. Christina Grummt, Adolph Menzel – zwischen Kunst und Konvention, die Allegorie in der Adressenkunst des 19. Jahrhunderts. Berlin: Reimer, 2001. Michael Fried, Menzel's Realism: Art and Embodiment in Nineteenth-Century Berlin. London and New Haven: Yale University Press, 2002. Jens Christian Jensen, Adolph Menzel. Cologne: DuMont, 2003. Werner Busch, Adolph Menzel: Leben und Werk. Munich: Beck, 2004. Bernhard Maaz, ed., Adolph Menzel radikal real. Munich: Hirmer, 2008. Werner Busch, Adolph Menzel: Auf der Suche nach der Wirklichkeit. Munich: Beck, 2015. Anja Grebe, Menzel, Maler der Moderne. Berlin: Verlag Eisengold, 2015. Claudia Czok, "Menzel, Adolph (Adolph Friedrich Erdmann von)", in De Gruyter: Allgemeines Künstlerlexikon: Die Bildenden Künstler aller Zeiten und Völker, vol. 89. Berlin and Boston: De Gruyter, 2016, pp. 117–121. References [edit] Busch-Salmen, Gabriele (2003). "Adolf Menzels 'Flötenkonzert Friedrich der Großen in Sanssouci': Ein vertrautes Gemälde, 150 Jahre nach seiner Fertigstellung neu gesehen". Music in Art: International Journal for Music Iconography. 28 (1–2): 127–146. ISSN 1522-7464. Eisler, Colin. Masterworks in Berlin: A City's Paintings Reunited. Bulfinch, 1996. ISBN 0-8212-1951-0 Fried, Michael. Menzel's Realism: Art and Embodiment in Nineteenth-Century Berlin. London and New Haven: Yale University Press, 2002. ISBN 0-300-09219-9 Keisch, Claude, et al. Adolph Menzel 1815–1905: Between Romanticism and Impressionism. London and New Haven: Yale University Press, 1996. ISBN 0-300-06954-5 This article incorporates text from a publication now in the public domain: Chisholm, Hugh, ed. (1911). "Menzel, Adolph Friedrich Erdmann von". Encyclopædia Britannica. Vol. 18 (11th ed.). Cambridge University Press. pp. 146–147.
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Along with Caspar David Friedrich, he is considered one of the two most prominent German painters of the 19th century, and was the most successful artist of his era in Germany. First known as Adolph Menzel, he was knighted in 1898 and changed his name to Adolph von Menzel.		https://www.tuttartpitturasculturapoesiamusica.com/favicon.ico	Tutt'Art@ \| Pittura * Scultura * Poesia * Musica	https://www.tuttartpitturasculturapoesiamusica.com/2019/05/Adolph-von-Menzel-Drawing.html
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666	dbpedia	1	88	https://www.artsy.net/artwork/adolph-menzel-three-hobos-on-the-artists-signature	en	Three Hobos on the Artist's Signature (1887)	https://d7hftxdivxxvm.cloudfront.net?height=640&quality=80&resize_to=fit&src=https%3A%2F%2Fd32dm0rphc51dk.cloudfront.net%2FuLT11CP8Ft66FmMFX_QBNQ%2Flarge.jpg&width=610	https://d7hftxdivxxvm.cloudfront.net?height=640&quality=80&resize_to=fit&src=https%3A%2F%2Fd32dm0rphc51dk.cloudfront.net%2FuLT11CP8Ft66FmMFX_QBNQ%2Flarge.jpg&width=610	[ "https://d7hftxdivxxvm.cloudfront.net?height=801&quality=1&resize_to=fit&src=https%3A%2F%2Fd32dm0rphc51dk.cloudfront.net%2FuLT11CP8Ft66FmMFX_QBNQ%2Fsmall.jpg&width=801", "https://d7hftxdivxxvm.cloudfront.net?height=800&quality=85&resize_to=fit&src=https%3A%2F%2Fd32dm0rphc51dk.cloudfront.net%2FuLT11CP8Ft66FmMFX_QBNQ%2Fnormalized.jpg&width=762", "https://d7hftxdivxxvm.cloudfront.net?height=801&quality=1&resize_to=fit&src=https%3A%2F%2Fd32dm0rphc51dk.cloudfront.net%2FuLT11CP8Ft66FmMFX_QBNQ%2Fsmall.jpg&width=801", "https://d7hftxdivxxvm.cloudfront.net?height=800&quality=85&resize_to=fit&src=https%3A%2F%2Fd32dm0rphc51dk.cloudfront.net%2FuLT11CP8Ft66FmMFX_QBNQ%2Fnormalized.jpg&width=762", "https://d7hftxdivxxvm.cloudfront.net?quality=80&resize_to=width&src=https%3A%2F%2Ffiles.artsy.net%2Fimages%2Funiversal-footer_april-14_cropped.jpg&width=725", "https://d7hftxdivxxvm.cloudfront.net?quality=80&resize_to=width&src=https%3A%2F%2Ffiles.artsy.net%2Fimages%2Funiversal-footer_april-14_cropped.jpg&width=1220" ]	[]	[]	[ "" ]	null	[]	null	From National Gallery of Art, Washington, D.C., Adolph Menzel, Three Hobos on the Artist's Signature (1887), Graphite on light brown wove paper, 7 9/16 × 7…	en	https://d1s2w0upia4e9w.cloudfront.net/images/favicon.ico		https://www.artsy.net/artwork/adolph-menzel-three-hobos-on-the-artists-signature	Get the app, get the art. Get the app, and find the art you love. Get the app, and artworks tailored to you. Get the app, and discover works our curators love. Get the app, and keep up with your favorite artists Get the app, and be alerted about new artworks. Get the app, and stay connected with galleries. Get the app, and build your art world profile. Get the app, and keep track of your collection. Get the app, and keep track of artists’ markets.
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students, and writers. You'll find practical studio tips, insights into the making of the Dinotopia books, and first-hand reports from art schools and museums.		http://gurneyjourney.blogspot.com/favicon.ico		http://gurneyjourney.blogspot.com/2019/11/	Adolph Menzel (1815–1905) is currently featured in a Berlin exhibition about his paintings on paper. According to the Kupferstichkabinett, the museum that's hosting the show, Menzel "is known as a painter of large works on canvas, and as the creator of countless studies in pencil. But it was first as a painter of works on paper that he began to employ the full palette of his artistic gifts of expression, creating colourful works ranging from experimental portrait studies through to elaborately composed paintings."
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666	dbpedia	1	26	http://arthistoryreference.com/t145/25492.htm	en	Adolph Menzel			[ "http://arthistoryreference.com/022/me/551.jpg", "http://arthistoryreference.com/me/5830.jpg", "http://arthistoryreference.com/e/me/800.jpg", "http://arthistoryreference.com/o/me/131.jpg", "http://arthistoryreference.com/v/me/316.jpg", "http://arthistoryreference.com/022/me/550.jpg", "http://arthistoryreference.com/022/me/551.jpg", "http://arthistoryreference.com/022/me/548.jpg", "http://arthistoryreference.com/o/me/125.jpg", "http://arthistoryreference.com/022/me/549.jpg", "http://arthistoryreference.com/022/me/552.jpg", "http://arthistoryreference.com/022/me/553.jpg", "http://arthistoryreference.com/me/6008.jpg", "http://arthistoryreference.com/020/me/587.jpg", "http://arthistoryreference.com/020/me/005.jpg" ]	[]	[]	[ "" ]	null	[]	null					null	Adolph Menzel (1815 - 1909). Adolph Friedrich Erdmann von Menzel was a German Realist artist noted for drawings, etchings, and paintings. Along with Caspar David Friedrich, he is considered one of the two most prominent German painters of the 19th century, and was the most successful artist of his era in Germany. First known as Adolph Menzel, he was knighted in 1898 and changed his name to Adolph von Menzel. His popularity in his native country, owing especially to his history paintings, was such that few of his major paintings left Germany, as many were quickly acquired by museums in Berlin. Menzel's graphic work were more widely disseminated; these, along with informal paintings not initially intended for display, have largely accounted for his posthumous reputation. Although he traveled in order to find subjects for his art, to visit exhibitions, and to meet with other artists, Menzel spent most of his life in Berlin, and was, despite numerous friendships, by his own admission detached from others. It is likely that he felt socially estranged for physical reasons alone, Menzel had a large head, and stood about four foot six inches. Menzel was born to German parents in Breslau, Prussian Silesia, on December 8, 1815. His father was a lithographer and intended to educate his son as a professor; however, he would not thwart his taste for art. After resigning his teaching post, Menzel senior set up a lithographic workshop in 1818. In 1830 the family moved to Berlin, and in 1832 Adolph was forced to take over the lithographic business on the death of his father. In 1833, he studied briefly at the Berlin Academy of Art, where he drew from plaster casts and ancient sculptures; thereafter Menzel was self-taught. Louis Friedrich Sachse of Berlin published his first work in 1833, an album of pen-and-ink drawings reproduced on stone, to illustrate Goethe's little poem, Kunstlers Erdenwallen. He executed lithographs in the same manner to illustrate Denkwurdigkeiten aus der brandenburgisch-preussischen Geschichte; The Five Senses and The Prayer, as well as diplomas for various corporations and societies. From 1839 to 1842, he produced 400 drawings, largely introducing to Germany the technique of wood-engraving, to illustrate the Geschichte Friedrichs des Grossen by Franz Kugler. He subsequently brought out Friedrichs der Grossen Armee in ihrer Uniformirung, Soldaten Friedrichs der Grossen; and finally, by order of King Frederick William IV, he illustrated the works of Frederick the Great, Illustrationen zu den Werken Friedrichs des Grossen. The artist had a deep sympathy for the Prussian king. In one of his letters to Johann Jakob Weber, he said that it was his intention to represent the monarch as a man who was both hated and admired, simply as he was, in other words, as a man of the people. Through these works, Menzel established his claim to be considered one of the first, if not actually the first, of the illustrators of his day in his own line. Menzel's fame came from his illustrations of the 18th-century Prussian monarch, Frederick the Great. As well as dedication to adding historical accuracy and attention to detail. Menzel also made sure to do research on the items he was painting. From 1840 and onward Menzel became admirable for his small paintings and drawings. In which he depicted his unconventional ideas. In the meantime, Menzel had also begun to study, unaided, the art of painting, and he soon produced a great number and variety of pictures. His paintings consistently demonstrated keen observation and honest workmanship in subjects dealing with the life and achievements of Frederick the Great, and scenes of everyday life, such as In the Tuileries, The Ball Supper, and At Confession. Among those considered most important of these works are Iron Rolling Mill and The Market-place at Verona. When invited to paint The Coronation of William I at Koenigsberg, he produced an exact representation of the ceremony without regard to the traditions of official painting. During Menzel's life, his paintings were appreciated by Otto von Bismarck and William I, and after his death they were appropriated for use as electoral posters by Adolf Hitler. If these historical illustrations anticipated the qualities of early Impressionism, it is paintings such as The French Window and The Palace Garden of Prince Albert, both painted in the mid-1840s, that now appeal as among the most freely observed of mid-nineteenth century images. Such genre paintings evidence associations with French and English art. Though he was primarily an excellent draughtsman, art historian Julius Meier-Graefe considered him to be a proto-impressionist painter, whose graphic work hindered his painterly potentials.
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Explore his unique styles and techniques in our AI Art Style Library inspiring you to create stunning AI art. - Adolph Menzel DeepArt - Adolph Menzel stable diffusion	en	https://cdn.prod.website…_Image_32x32.png		https://www.artvy.ai/ai-art-style/adolph-menzel	Adolph Menzel - The Realist Painter Adolph Menzel (1815-1905) was a German realist painter and one of the most significant artists of the 19th century. Renowned for his attention to detail and meticulous depiction of everyday life, Menzel's paintings often portrayed historical events, genre scenes, and landscapes. His work had a profound influence on the development of German art, setting new standards for realism and precision. Art Style: Realism Realism is an art movement that emerged in the mid-19th century as a reaction against romanticism and its emphasis on idealized and distorted representations. Realist painters like Adolph Menzel aimed to portray subjects as they appear in reality, without embellishment or idealization. This style focused on capturing the accurate depiction of everyday life, often depicting ordinary people engaged in mundane activities. Characteristics of Adolph Menzel's Art Adolph Menzel's paintings are known for their meticulous attention to detail, precision, and realistic representation. Here are some key characteristics of his art style: Photographic Realism: Menzel's paintings often resemble photographs due to their extraordinary level of detail and precision. This meticulous attention to detail allows viewers to scrutinize every aspect of the scene, bringing it to life. Natural Lighting: Menzel skillfully employed natural lighting in his paintings to create a sense of depth and realism. He portrayed the interplay of light and shadow in his subjects, adding a lifelike quality to his work and enhancing the visual impact. Historical Accuracy: Many of Menzel's paintings delved into historical subjects, accurately depicting the architectural details, costumes, and settings of the respective time periods. His commitment to historical accuracy adds a layer of authenticity to his work. Genre Scenes: Menzel often depicted scenes from everyday life, capturing the mundane activities of ordinary people. Whether it was a market scene, a busy street, or people engaged in leisurely pastimes, he brought a sense of authenticity to these genre scenes. Experience the Art Style with Artvy To explore and create art in the style of Adolph Menzel, we recommend using "Artvy," our free AI art generation tool. By using Artvy, you can unleash your creativity and generate your own realistic artwork inspired by Menzel's style. With its advanced AI algorithms, Artvy can help you replicate the precision, lighting, and realistic details characteristic of Menzel's works. Visit our website and start experimenting with this amazing art style today. Happy creating
666	dbpedia	2	53	http://arthistoryreference.com/t145/25492.htm	en	Adolph Menzel			[ "http://arthistoryreference.com/022/me/551.jpg", "http://arthistoryreference.com/me/5830.jpg", "http://arthistoryreference.com/e/me/800.jpg", "http://arthistoryreference.com/o/me/131.jpg", "http://arthistoryreference.com/v/me/316.jpg", "http://arthistoryreference.com/022/me/550.jpg", "http://arthistoryreference.com/022/me/551.jpg", "http://arthistoryreference.com/022/me/548.jpg", "http://arthistoryreference.com/o/me/125.jpg", "http://arthistoryreference.com/022/me/549.jpg", "http://arthistoryreference.com/022/me/552.jpg", "http://arthistoryreference.com/022/me/553.jpg", "http://arthistoryreference.com/me/6008.jpg", "http://arthistoryreference.com/020/me/587.jpg", "http://arthistoryreference.com/020/me/005.jpg" ]	[]	[]	[ "" ]	null	[]	null					null	Adolph Menzel (1815 - 1909). Adolph Friedrich Erdmann von Menzel was a German Realist artist noted for drawings, etchings, and paintings. Along with Caspar David Friedrich, he is considered one of the two most prominent German painters of the 19th century, and was the most successful artist of his era in Germany. First known as Adolph Menzel, he was knighted in 1898 and changed his name to Adolph von Menzel. His popularity in his native country, owing especially to his history paintings, was such that few of his major paintings left Germany, as many were quickly acquired by museums in Berlin. Menzel's graphic work were more widely disseminated; these, along with informal paintings not initially intended for display, have largely accounted for his posthumous reputation. Although he traveled in order to find subjects for his art, to visit exhibitions, and to meet with other artists, Menzel spent most of his life in Berlin, and was, despite numerous friendships, by his own admission detached from others. It is likely that he felt socially estranged for physical reasons alone, Menzel had a large head, and stood about four foot six inches. Menzel was born to German parents in Breslau, Prussian Silesia, on December 8, 1815. His father was a lithographer and intended to educate his son as a professor; however, he would not thwart his taste for art. After resigning his teaching post, Menzel senior set up a lithographic workshop in 1818. In 1830 the family moved to Berlin, and in 1832 Adolph was forced to take over the lithographic business on the death of his father. In 1833, he studied briefly at the Berlin Academy of Art, where he drew from plaster casts and ancient sculptures; thereafter Menzel was self-taught. Louis Friedrich Sachse of Berlin published his first work in 1833, an album of pen-and-ink drawings reproduced on stone, to illustrate Goethe's little poem, Kunstlers Erdenwallen. He executed lithographs in the same manner to illustrate Denkwurdigkeiten aus der brandenburgisch-preussischen Geschichte; The Five Senses and The Prayer, as well as diplomas for various corporations and societies. From 1839 to 1842, he produced 400 drawings, largely introducing to Germany the technique of wood-engraving, to illustrate the Geschichte Friedrichs des Grossen by Franz Kugler. He subsequently brought out Friedrichs der Grossen Armee in ihrer Uniformirung, Soldaten Friedrichs der Grossen; and finally, by order of King Frederick William IV, he illustrated the works of Frederick the Great, Illustrationen zu den Werken Friedrichs des Grossen. The artist had a deep sympathy for the Prussian king. In one of his letters to Johann Jakob Weber, he said that it was his intention to represent the monarch as a man who was both hated and admired, simply as he was, in other words, as a man of the people. Through these works, Menzel established his claim to be considered one of the first, if not actually the first, of the illustrators of his day in his own line. Menzel's fame came from his illustrations of the 18th-century Prussian monarch, Frederick the Great. As well as dedication to adding historical accuracy and attention to detail. Menzel also made sure to do research on the items he was painting. From 1840 and onward Menzel became admirable for his small paintings and drawings. In which he depicted his unconventional ideas. In the meantime, Menzel had also begun to study, unaided, the art of painting, and he soon produced a great number and variety of pictures. His paintings consistently demonstrated keen observation and honest workmanship in subjects dealing with the life and achievements of Frederick the Great, and scenes of everyday life, such as In the Tuileries, The Ball Supper, and At Confession. Among those considered most important of these works are Iron Rolling Mill and The Market-place at Verona. When invited to paint The Coronation of William I at Koenigsberg, he produced an exact representation of the ceremony without regard to the traditions of official painting. During Menzel's life, his paintings were appreciated by Otto von Bismarck and William I, and after his death they were appropriated for use as electoral posters by Adolf Hitler. If these historical illustrations anticipated the qualities of early Impressionism, it is paintings such as The French Window and The Palace Garden of Prince Albert, both painted in the mid-1840s, that now appeal as among the most freely observed of mid-nineteenth century images. Such genre paintings evidence associations with French and English art. Though he was primarily an excellent draughtsman, art historian Julius Meier-Graefe considered him to be a proto-impressionist painter, whose graphic work hindered his painterly potentials.
666	dbpedia	1	5	https://www.getty.edu/art/collection/person/103JVZ	en	Adolf von Menzel (The J. Paul Getty Museum Collection)	https://static.getty.edu…e-20/share75.png	https://static.getty.edu…e-20/share75.png	[]	[]	[]	[ "Getty Museum collections", "artworks", "art works", "art history", "video", "interpretation of art", "acquisitions", "artists", "Getty art", "collections Getty", "collezioni Getty", "colecciones Getty", "Sammlung Getty", "Getty exhibits", "Getty current exhibitions", "Getty Museum exhibits", "los angeles collections", "antiquities", "decorative arts", "sculpture", "manuscripts", "photography", "paintings", "drawings" ]	null	[]	null	Explore the collection of the J. Paul Getty Museum at the Getty Center and the Getty Villa.	en	/art/collection/favicon.ico	The J. Paul Getty Museum Collection	https://www.getty.edu/art/collection/person/103JVZ
666	dbpedia	1	10	http://spenceralley.blogspot.com/2017/09/adolph-menzel-1815-1905.html	en	Spencer Alley: Adolph Menzel 1815	https://4.bp.blogspot.co…ary-New-York.jpg	https://4.bp.blogspot.co…ary-New-York.jpg	[ "https://4.bp.blogspot.com/-ADgcjFtv_IU/WVjnFoT0QfI/AAAAAAABt8Y/8dNtJUckNZsXUMY-a1s0hu6pQ8jxmR_7ACLcBGAs/s640/Menzel-Adolph-Study-of-a-Prussian-officer-half-length-from-the-rear-1860-drawing-Morgan-Library-New-York.jpg", "https://1.bp.blogspot.com/-xqgAf0_ujIQ/WVjnLQEJ5ZI/AAAAAAABt8c/tIWr2mqQCbs72MtH_f3MJQPdNHDRj3XIgCLcBGAs/s640/Menzel-Adolph-Studies-of-a-dancer-c1870-80-drawing-British-Museum.jpg", "https://2.bp.blogspot.com/-bMBDQ4Wyc94/WVjnQN6cDvI/AAAAAAABt8g/Teqw6-EtGagwqjS-Ru-pxjPegVoTN1algCLcBGAs/s640/Menzel-Adolph-Studies-of-young-woman-1870s-drawing-Metropolitan-Museum-of-Art-New-York.jpg", "https://4.bp.blogspot.com/-ni4jo8q_GF0/WVjnYIq_axI/AAAAAAABt8k/YJ8N7BtsMosb6iW0pSeQmYBJDjjZB6F4gCLcBGAs/s640/Menzel-Adolph-Sleeping-Youth-his-head-and-arm-resting-on-the-back-of-a-sofa-before-c1875-90-drawing-Morgan-Library-New-York.jpg", "https://2.bp.blogspot.com/-uCGg4bFCPDA/WVjncESXjVI/AAAAAAABt8o/c7XF1m-eKvoylSlkBLtAPfi3HlzNP_p_gCLcBGAs/s640/Menzel-Adolph-Woman-in-court-dress-c1875-90-drawing-National-Gallery-of-Art-Washington-DC.jpg", "https://4.bp.blogspot.com/-95EvtKJb9qs/WVjngnxiOwI/AAAAAAABt8s/BYpCau8CU40Vt1FJqzfV29HQppQURMoDQCLcBGAs/s640/Menzel-Adolph-Study-of-a-woman-c1875-90-drawing-National-Gallery-of-Art-Washington-DC.jpg", "https://3.bp.blogspot.com/-M1F17SOPDQA/WVjnk4_KxpI/AAAAAAABt8w/ILig2Zx9Br0rHkRGJU1aOh5xNQ_RMbP-gCLcBGAs/s640/Menzel-Adolph-Study-of-man-in-hat-from-behind-1880-drawing-Rijksmuseum.jpg", "https://2.bp.blogspot.com/-HXGaL8NUluI/WVjnutbf7_I/AAAAAAABt80/wHhUbAEwui4NVYJjq7RHoluFbWOLKTnGACLcBGAs/s640/Menzel-Adolph-Head-of-bearded-man-1884-drawing-Metropolitan-Museum-of-Art-New-York.jpg", "https://3.bp.blogspot.com/-wIBn2hsafNM/WVjnzjcaTQI/AAAAAAABt84/G6l0hMg1wRgr6v7j-K2qngR08Ae-qpftQCLcBGAs/s640/Menzel-Adolph-Heads-of-two-old-men-and-right-hand-holding-hat-1887-drawing-Princeton-University-Art-Museum.jpg", "https://1.bp.blogspot.com/-3qSCmhlCHZQ/WVjn87TviQI/AAAAAAABt88/OADhzCmXyn0h8mUFtoWvZlw2mnylfF2MwCLcBGAs/s640/Menzel-Adolph-Studies-of-man-drinking-from-cup-1888-drawing-National-Gallery-of-Art-Washington-DC.jpg", "https://1.bp.blogspot.com/-48dF2V6Vh3k/WVjoDDoCJwI/AAAAAAABt9A/qd58O3WyXGAE124w_T1BXzoD03C7AgCyACLcBGAs/s640/Menzel-Adolph-Study-of-woman-in-profile-1890-drawing-Wadsworth-Atheneum-Hartford-Connecticut.jpg", "https://4.bp.blogspot.com/--LJCFeI4sW0/WVjoIobN9ZI/AAAAAAABt9E/eqnGFFX61bEYyuwMRQEh1B0PcFfAMI-nwCLcBGAs/s640/Menzel-Adolph-Woman-in-crushed-velvet-hat-1894-drawing-Metropolitan-Museum-of-Art-New-York.jpg", "https://1.bp.blogspot.com/-jf6HIscx5j0/WVjoM-YkZeI/AAAAAAABt9I/CI4cjRgVUb8eM4hkAxmCxLeChtrGTbgiwCLcBGAs/s640/Menzel-Adolph-Three-studies-of-old-women-1899-drawing-Morgan-Library-New-York.jpg", "https://4.bp.blogspot.com/-mstDNIc026w/WVjoSAHuwrI/AAAAAAABt9M/PaZ5rLzOCKEzejl9LYN1Ivz5pMf_oSOwwCLcBGAs/s640/Menzel-Adolph-Portrait-of-a-woman-drawing-1902-British-Museum.jpg", "https://4.bp.blogspot.com/-48ZzBNUu52o/WVopL2R2TNI/AAAAAAABt9Y/fInv7do0MmAKUGdngr32LnLQBiNoyJ2wwCLcBGAs/s640/Menzel-Adolph-Two-Studies-of-a-gripping-right-hand-1884-drawing-Los-Angeles-County-Museum-of-Art.jpg", "https://lh3.googleusercontent.com/blogger_img_proxy/AEn0k_ubpRydQ4gtapuBpwG8GZA57ZkvcbiV2CF-bvU6x-AreB1P6FDw2hIStzmjiixjSbbVgHvGofhdyBWpOfgqZsEf80_V_W5wNO95DwuGIZEQzg=s16-w16-h16" ]	[]	[]	[ "" ]	null	[]	null	Adolph Menzel Study of a Prussian officer, half-length, from the rear 1860 drawing Morgan Library, New York Adolph Menzel Studie...	en	http://spenceralley.blogspot.com/favicon.ico		http://spenceralley.blogspot.com/2017/09/adolph-menzel-1815-1905.html	Adolph Menzel Study of a Prussian officer, half-length, from the rear 1860 drawing Morgan Library, New York Adolph Menzel Studies of a young woman 1870s drawing Metropolitan Museum of Art, New York Adolph Menzel Sleeping youth, his head and arm resting on the back of a sofa before ca. 1875-90 drawing Morgan Library, New York Adolph Menzel Study of a woman ca. 1875-90 drawing National Gallery of Art, Washington DC Adolph Menzel Study of a man in a hat, from behind 1880 drawing Rijksmuseum, Amsterdam Adolph Menzel Head of a bearded man 1884 drawing Metropolitan Museum of Art, New York Adolph Menzel Heads of two old men and a right hand holding a hat 1887 drawing Princeton University Art, Museum Adolph Menzel Studies of a man drinking from a cup 1888 drawing National Gallery of Art, Washington DC Adolph Menzel Study of a woman in profile 1890 drawing Wadsworth Atheneum, Hartford, Connecticut Adolph Menzel Woman in a crushed velvet hat 1894 drawing Metropolitan Museum of Art, New York Adolph Menzel Three studies of women 1899 drawing Morgan Library, New York
666	dbpedia	2	12	https://www.stephenongpin.com/artist/236463/adolph-menzel	en		https://images.stephenon…ht=1500&mode=max		[ "https://www.stephenongpin.com/Media/OngpinMedia/Layout/images/magnifying-glass-white.png", "https://www.stephenongpin.com/Media/OngpinMedia/Layout/images/magnifying-glass-white.png", "https://images.stephenongpin.com/OngpinMedia/Object/Ongpin982012T134352.jpg?width=1900&height=1500&mode=max", "https://images.stephenongpin.com/OngpinMedia/Object/Ongpin982012T134352.jpg?width=500&height=1000&qlt=80&format=jpg&mode=max", "https://images.stephenongpin.com/OngpinMedia/Object/Ongpin982012T134352.jpg?width=490&height=1000&qlt=80&mode=max", "https://images.stephenongpin.com/OngpinMedia/Object/Adolph-Menzel-TheHeadofaBeardedMan-1952014T121151.jpg?width=490&height=1000&qlt=80&mode=max", "https://images.stephenongpin.com/OngpinMedia/Object/Adolph Von-MENZEL-ABeardedManLookingDowntotheLeft-432018T103232.jpg?width=490&height=1000&qlt=80&mode=max", "https://images.stephenongpin.com/OngpinMedia/Object/636967277763668659.jpg?width=490&height=1000&qlt=80&mode=max", "https://images.stephenongpin.com/OngpinMedia/Object/636968145148251554.jpg?width=490&height=1000&qlt=80&mode=max", "https://images.stephenongpin.com/OngpinMedia/Object/636969006271750968.jpg?width=490&height=1000&qlt=80&mode=max", "https://images.stephenongpin.com/OngpinMedia/Object/636969694251977349.jpg?width=490&height=1000&qlt=80&mode=max", "https://images.stephenongpin.com/OngpinMedia/Object/636969731471898203.jpg?width=490&height=1000&qlt=80&mode=max", "https://images.stephenongpin.com/OngpinMedia/Object/636970702340704058.jpg?width=490&height=1000&qlt=80&mode=max", "https://images.stephenongpin.com/OngpinMedia/Object/636975751554374603.jpg?width=490&height=1000&qlt=80&mode=max", "https://images.stephenongpin.com/OngpinMedia/Object/636975761058531598.jpg?width=490&height=1000&qlt=80&mode=max", "https://images.stephenongpin.com/OngpinMedia/Object/636975763862353135.jpg?width=490&height=1000&qlt=80&mode=max", "https://images.stephenongpin.com/OngpinMedia/Object/636976835204492308.jpg?width=490&height=1000&qlt=80&mode=max", "https://www.stephenongpin.com/Media/OngpinMedia/Layout/images/facebook-new.svg", "https://www.stephenongpin.com/Media/OngpinMedia/Layout/images/instagram-black.svg", "https://www.stephenongpin.com/Media/OngpinMedia/Layout/images/twitter.svg", "https://googleads.g.doubleclick.net/pagead/viewthroughconversion/1021462870/?value=0&guid=ON&script=0" ]	[]	[]	[ "" ]	null	[]	null		en	/favicon.ico		null	Data collectively all information that you submit to Stephen Ongpin Fine Art Limited via the Website. This definition incorporates, where applicable, the definitions provided in the Data Protection Laws; Cookies a small text file placed on your computer by this Website when you visit certain parts of the Website and /or when you use certain features of the Website. Details of the cookies used by this Website are set out in the clause below (Cookies); Data Protection Laws any applicable law relating to the processing of personal Data, including but not limited to the Directive 96/46/EC (Data Protection Directive) or the GDPR, and any national implementing laws, regulations and secondary legislation, for as long as the GDPR is effective in the UK; GDPR the General Data Protection Regulation (EU) 2016/679; Stephen Ongpin Fine Art Limited, we or us Stephen Ongpin Fine Art Limited, a company incorporated in England and Wales with registered number 08879095 whose registered office is at 8 Rodborough Road, London, NW11 8RY; UK and EU Cookie Law the Privacy and Electronic Communications (EC Directive) Regulations 2003 as amended by the Privacy and Electronic Communications (EC Directive) (Amendment) Regulations 2011; User or you any third party that accesses the Website and is not either (i) employed by Stephen Ongpin Fine Art Limited and acting in the course of their employment or (ii) engaged as a consultant or otherwise providing services to Stephen Ongpin Fine Art Limited and accessing the Website in connection with the provision of such services; and Website the website that you are currently using, www.stephenongpinfineart.com, and any sub-domains of this site unless expressly excluded by their own terms and conditions. Type of Cookie Purpose Strictly necessary cookies These are cookies that are required for the operation of our website. They include, for example, cookies that enable you to log into secure areas of our website, use a shopping cart or make use of e-billing services. Analytical/performance cookies They allow us to recognise and count the number of visitors and to see how visitors move around our website when they are using it. This helps us to improve the way our website works, for example, by ensuring that users are finding what they are looking for easily.
666	dbpedia	3	25	https://getty.libguides.com/sketchbooks/everyday-life	en	Sketchbooks Research Guide	https://getty.libguides.com/ld.php?screenshot=bcgfaaf.png&size=facebook&cb=1724605697	https://getty.libguides.com/ld.php?screenshot=bcgfaaf.png&size=facebook&cb=1724605697	[ "https://libapps.s3.amazonaws.com/accounts/55563/images/gri_banner.jpg", "https://libapps.s3.amazonaws.com/customers/3299/images/GRI_2010.M.64.jpeg", "https://libapps.s3.amazonaws.com/customers/3299/images/GRI_850837_cropped.jpeg", "https://libapps.s3.amazonaws.com/customers/3299/images/GRI_910164B.jpeg", "https://libapps.s3.amazonaws.com/customers/3299/images/GRI_2001.M.15.jpeg", "https://libapps.s3.amazonaws.com/customers/3299/images/GRI_2009.M.17_cropped.jpeg", "https://libapps.s3.amazonaws.com/customers/3299/images/Museum_95.GD.35.jpg" ]	[]	[]	[ "" ]	null	[ "Deborah Cooper" ]	null	Research Guides and Bibliographies: Sketchbooks Research Guide: Sketchbooks of Everyday Life	en	//d2jv02qf7xgjwx.cloudfront.net/apps/common/favicon/apple-touch-icon.png		https://getty.libguides.com/sketchbooks/everyday-life	Carle Vernet (1758-1836) was a French artist who won the Prix de Rome in 1782. In his painting and printmaking, Vernet captured scenes of daily life, showing a keen interest in the depiction of horses. This undated sketchbook contains hunting scenes, horses, figure studies, and color notes. (2010.M.64) Rosa Bonheur (1822-1899), the accomplished painter of animals, made this sketchbook in 1847 to record life in rural France. It includes drawings she made in the fields during harvest time, farm tools, and local plants. (850837) An incredibly prolific German draftsman, Adolph Menzel (1815-1905) recorded his keen observations of people and descriptions of his surroundings in thousands of extant drawings. He made this sketchbook in 1863 filled with studies of infants and small children drawn from life. (910164B) French painter Henri-Edmond Cross (1856-1910) was central to the Neo-Impressionist and Fauvist movements. The GRI has two undated sketchbooks by Cross: the first is comprised mostly of studies of horses, boats, women, and children; the second contains studies of seated women, all drawn from life. (2001.M.15) French painter and printmaker Félix Bracquemond (1833-1914) was a principle figure in the revival of etching in the 1850s and 1860s. This sketchbook (ca. 1868-ca. 1874) shows watercolors of forests and vegetation in Balleroy and drawings that were preliminary for prints; it also contains his eyewitness account of the 1871 Paris Commune, including a drawing of dead bodies in the street. (2009.M.17) Edgar Degas (1834-1917) made this sketchbook around 1877 to record the weekly soirées at the home of his friend Ludovic Halévy, a writer of opera librettos and popular romances. At these gatherings, Degas drew portraits of his friends and made studies for his own work. Degas presented the completed sketchbook to Halévy, who later added inscriptions to many of the pages. This sketchbook is held at the J. Paul Getty Museum. (95.GD.35) While living in New York in the late 1930s, Mark Rothko (1903-1970) filled the pages of this sketchbook with pen and ink studies of everyday objects and scenes, from a house plant, to a comfy armchair, to fellow painters at work at the easel. In the years immediately following this sketchbook, Rothko's style would shift from figural depictions of everyday life to the Abstract Expressionist paintings for which he is best known. (2002.M.8)
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666	dbpedia	1	84	https://pantheon.world/profile/person/Adolph_Menzel	en	Adolph Menzel Biography	https://pantheon.world/api/screenshot/person?id=1519807	https://pantheon.world/api/screenshot/person?id=1519807	[ "https://pantheon.world/images/icons/icon-nav.svg", "https://pantheon.world/images/logos/logo_pantheon.svg", "https://pantheon.world/images/icons/icon-search.svg", "https://pantheon.world/images/profile/people/1519807.jpg", "https://pantheon.world/images/ui/profile-w.svg", "https://pantheon.world/images/ui/tri-left-b.svg", "https://pantheon.world/images/profile/people/60143.jpg", "https://pantheon.world/images/profile/people/293107.jpg", "https://pantheon.world/images/profile/people/5517284.jpg", "https://pantheon.world/images/profile/people/221422.jpg", "https://pantheon.world/images/profile/people/467626.jpg", "https://pantheon.world/images/profile/people/17121.jpg", "https://pantheon.world/images/profile/people/1519807.jpg", "https://pantheon.world/images/profile/people/306478.jpg", "https://pantheon.world/images/profile/people/335390.jpg", "https://pantheon.world/images/profile/people/238341.jpg", "https://pantheon.world/images/profile/people/396241.jpg", "https://pantheon.world/images/profile/people/8572928.jpg", "https://pantheon.world/images/profile/people/225297.jpg", "https://pantheon.world/images/ui/tri-right-b.svg", "https://pantheon.world/images/ui/tri-left-b.svg", "https://pantheon.world/images/profile/people/2345746.jpg", "https://pantheon.world/images/profile/people/974.jpg", "https://pantheon.world/images/profile/people/38298.jpg", "https://pantheon.world/images/profile/people/93459.jpg", "https://pantheon.world/images/profile/people/193686.jpg", "https://pantheon.world/images/profile/people/181565.jpg", "https://pantheon.world/images/profile/people/1519807.jpg", "https://pantheon.world/images/profile/people/568017.jpg", "https://pantheon.world/images/profile/people/394677.jpg", "https://pantheon.world/images/profile/people/166079.jpg", "https://pantheon.world/images/profile/people/85737.jpg", "https://pantheon.world/images/profile/people/348170.jpg", "https://pantheon.world/images/profile/people/1360094.jpg", "https://pantheon.world/images/ui/tri-right-b.svg", "https://pantheon.world/images/ui/tri-left-b.svg", "https://pantheon.world/images/profile/people/524981.jpg", "https://pantheon.world/images/profile/people/223170.jpg", "https://pantheon.world/images/profile/people/434674.jpg", "https://pantheon.world/images/profile/people/1738608.jpg", "https://pantheon.world/images/profile/people/324682.jpg", "https://pantheon.world/images/profile/people/1619384.jpg", "https://pantheon.world/images/profile/people/1519807.jpg", "https://pantheon.world/images/profile/people/9991007.jpg", "https://pantheon.world/images/profile/people/847063.jpg", "https://pantheon.world/images/profile/people/204900.jpg", "https://pantheon.world/images/profile/people/6689442.jpg", "https://pantheon.world/images/profile/people/872601.jpg", "https://pantheon.world/images/profile/people/1481776.jpg", "https://pantheon.world/images/ui/tri-right-b.svg", "https://pantheon.world/images/ui/tri-left-b.svg", "https://pantheon.world/images/profile/people/1525677.jpg", "https://pantheon.world/images/profile/people/2109568.jpg", "https://pantheon.world/images/profile/people/60757.jpg", "https://pantheon.world/images/profile/people/1718452.jpg", "https://pantheon.world/images/profile/people/243903.jpg", "https://pantheon.world/images/profile/people/21901391.jpg", "https://pantheon.world/images/profile/people/1519807.jpg", "https://pantheon.world/images/profile/people/371490.jpg", "https://pantheon.world/images/profile/people/640363.jpg", "https://pantheon.world/images/profile/people/379142.jpg", "https://pantheon.world/images/profile/people/9912489.jpg", "https://pantheon.world/images/profile/people/538389.jpg", "https://pantheon.world/images/profile/people/319117.jpg", "https://pantheon.world/images/ui/tri-right-b.svg", "https://pantheon.world/images/ui/tri-left-b.svg", "https://pantheon.world/images/profile/people/1519807.jpg", "https://pantheon.world/images/profile/people/3569760.jpg", "https://pantheon.world/images/ui/tri-right-b.svg", "https://pantheon.world/_next/image?url=%2Fimages%2Flogos%2Flogo_datawheel.png&w=256&q=75 1x, /_next/image?url=%2Fimages%2Flogos%2Flogo_datawheel.png&w=640&q=75 2x", "https://pantheon.world/images/logos/logo_CL.svg", "https://pantheon.world/_next/image?url=%2Fimages%2Flogos%2Flogo_creative_commons.png&w=96&q=75 1x, /_next/image?url=%2Fimages%2Flogos%2Flogo_creative_commons.png&w=256&q=75 2x", "https://pantheon.world/images/logos/logo_facebook.svg", "https://pantheon.world/images/logos/logo_twitter.svg" ]	[]	[]	[ "" ]	null	[]	null		en	/images/favicon.ico		null	Adolph Menzel Adolph Friedrich Erdmann von Menzel (8 December 1815 – 9 February 1905) was a German Realist artist noted for drawings, etchings, and paintings. Along with Caspar David Friedrich, he is considered one of the two most prominent German painters of the 19th century, and was the most successful artist of his era in Germany . Read more on Wikipedia Since 2007, the English Wikipedia page of Adolph Menzel has received more than 291,136 page views. His biography is available in 39 different languages on Wikipedia (up from 37 in 2019) . Adolph Menzel is the 21st most popular artist (up from 22nd in 2019), the 182nd most popular biography from Poland (down from 130th in 2019) and the most popular Polish Artist. Adolph Menzel is most famous for his paintings of the life of Frederick the Great.
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He was one of the two most prominent German artists of the nineteenth century, in the company of the talented Caspar David Friedrich. He lived from 1815 to 1905. Menzel was born in modern day Poland, moving to Berlin, Germany with the rest of his family when he was 15 years old. Menzel was self-taught. He had only just started art school when he had to quit and take over his father’s lithograph business. Luckily, that same year, his art was first published in a commissioned lithograph series, and he was an immediate success. Menzel produced a large number of drawings that were used to illustrate books, making him one of the earliest illustrators in the world. He soon transitioned to painting. As Menzel had no formal training, he created works without regard to art rules of the day, helping to start the German realism art movement. Some art critics see the very earliest beginnings of what would be both the French Impressionist and Expressionist art movements in his work. Adolph Menzel was well-admired by other artists, including Edgar Degas who called him ‘the greatest living master.’ He was also the most successful living artist in Germany during his time. Most of his paintings were bought by museums before they had a chance to leave the country. Young German artists, such as Max Klinger, looked up to Menzel. Interestingly, he has said that he felt estranged from others, as he was embarrassed by his short stature, which was 4 foot 6 inches, and larger head. In 1898, Menzel was given a German nobility title and was admitted to the Order of the Black Eagle. He was the very first artist to receive this honor. That same year, after the rewards, he formally changed his name from Adolph Menzel to Adolph von Menzel. When he died in 1905 at 90 years old, Kaiser William II himself walked behind Menzel’s coffin during the funeral procession. Back to the Artists page.
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Massive driving wheels, pistons, rollers, a variety of cables and connections, in between a great number of people manually operating the necessary machines. The picture almost looks like a swarm of ants.	en	https://mediaschock.wpen…L-ohne-alles.png	ART at Berlin \| Contemporary Art \| Ausstellungen \| Galerien \| Museen \| Galerieführer \| Kunst \| Map	https://www.artatberlin.com/en/portfolio-item/adolph-menzel-steel-rolling-mill/	The portrayed interaction between man and machine impresses the observer in particular. Massive driving wheels, pistons, rollers, a variety of cables and connections, in between a great number of people manually operating the necessary machines. The picture almost looks like a swarm of ants. Around six men are standing in the centre of the picture. They are inserting glowing iron, with the help of big tongs, into the roller. They are forming a kind of symbiotic relationship with the roller. They equip it and then the roller processes it further. A group of men stand on the other side and receive the processed metal. One is tangible with the other. On the right edge of the picture, you see a woman bringing men a meal for their break. She is the only one to have eye contact with the observer. On the left side one sees some workers cleaning themselves. A man in the background, who is not working on the machines, is apparently controlling and supervising the procedures. Menzel didn’t paint the picture to criticize the working conditions but rather to show the procedures in an industrialized daily work routine. Hier geht es zu dem Museum in Berlin, in dem Sie dieses Meisterwerk finden ART@Berlin: Adolph Menzel – Steel Rolling Mill
666	dbpedia	2	28	https://jamesgurney.com/products/adolph-menzel-drawings-and-paintings	en	Adolph Menzel: Drawings and Paintings, Selected by James Gurney (Signe	http://jamesgurney.com/cdn/shop/products/9a9107f1f646f7a4d02792aff4429288.jpg?v=1620079521	http://jamesgurney.com/cdn/shop/products/9a9107f1f646f7a4d02792aff4429288.jpg?v=1620079521	[ "https://jamesgurney.com/cdn/shop/files/JamesGurneySignature2_300x300.png?v=1619085411", "https://jamesgurney.com/cdn/shop/files/JamesGurneySignature2_115x.png?v=1619085411", "https://jamesgurney.com/cdn/shop/products/9a9107f1f646f7a4d02792aff4429288_{width}x.jpg?v=1620079521", "https://jamesgurney.com/cdn/shop/products/Menzel.the_head_of_a_woman-huge_{width}x.jpg?v=1620079522", "https://jamesgurney.com/cdn/shop/products/menzel-von-erdmann-friedrich-adolf--kronprinz-friedrich-besucht-den-ma-791198_{width}x.jpg?v=1620079522", "https://jamesgurney.com/cdn/shop/products/menzel-in-muenchen-schon-bevor-man-sich-versieht-11702992_{width}x.jpg?v=1620079522", "https://jamesgurney.com/cdn/shop/products/menzel-in-muenchen-schon-bevor-man-sich-versieht-11702992-5_{width}x.jpg?v=1620079522", "https://jamesgurney.com/cdn/shop/products/9a9107f1f646f7a4d02792aff4429288_530x@2x.jpg?v=1620079521", "https://jamesgurney.com/cdn/shop/products/9a9107f1f646f7a4d02792aff4429288_110x110@2x.jpg?v=1620079521", "https://jamesgurney.com/cdn/shop/products/Menzel.the_head_of_a_woman-huge_110x110@2x.jpg?v=1620079522", "https://jamesgurney.com/cdn/shop/products/menzel-von-erdmann-friedrich-adolf--kronprinz-friedrich-besucht-den-ma-791198_110x110@2x.jpg?v=1620079522", "https://jamesgurney.com/cdn/shop/products/menzel-in-muenchen-schon-bevor-man-sich-versieht-11702992_110x110@2x.jpg?v=1620079522", "https://jamesgurney.com/cdn/shop/products/menzel-in-muenchen-schon-bevor-man-sich-versieht-11702992-5_110x110@2x.jpg?v=1620079522" ]	[]	[]	[ "" ]	null	[]	null	Adolph Menzel (German, 1815-1905) exhibited tremendous powers of observation and an interest in a wide range of subjects. This art book collects the best of his drawings, watercolors, pastels, and gouaches, many of which have never been published before. Menzel’s plein air studies——portraits, animals, architecture, and	en		James Gurney	https://jamesgurney.com/products/adolph-menzel-drawings-and-paintings	Adolph Menzel (German, 1815-1905) exhibited tremendous powers of observation and an interest in a wide range of subjects. This art book collects the best of his drawings, watercolors, pastels, and gouaches, many of which have never been published before. Menzel’s plein air studies——portraits, animals, architecture, and landscapes——were revered by contemporary realists for their truth to nature and technical accomplishment. Menzel was also a master of historical illustration, and this collection includes some of his best examples of imaginative realism. The drawings and paintings in this volume were selected by Dinotopia author James Gurney, who also provides an informative introduction. This is the finest collection in print of the drawings and watercolors of an unjustly overlooked artist. 130 images, includes 32 pages of color, 8.5 x 11 inches. Signed by the author/editor James Gurney. Follow me on Mastodon
666	dbpedia	3	64	https://www.apollo-magazine.com/scene-stealers-the-candid-sketches-of-adolph-menzel/	en	The candid sketches of Adolph Menzel	https://www.apollo-magaz…pg?fit=730%2C486	https://www.apollo-magaz…pg?fit=730%2C486	[ "https://www.apollo-magazine.com/wp-content/themes/apollo/assets/images/apollo-masthead.svg", "https://www.apollo-magazine.com/wp-content/uploads/2019/07/LEAD_Menz-801.jpg?resize=730%2C486", "https://www.apollo-magazine.com/wp-content/uploads/2019/07/Menzel-Mir-recto-e1562683572662.jpg?resize=620%2C928", "https://www.apollo-magazine.com/wp-content/uploads/2019/07/Menz-801-e1562683713195.jpg?resize=620%2C997", "https://www.apollo-magazine.com/wp-content/uploads/2019/07/Ongpin-Menzel-Bearded-Man-LAW19S-e1562683859944.jpg?resize=620%2C959", "https://www.apollo-magazine.com/wp-content/uploads/2017/10/GettyImages-158051482-e1508332507305.jpg?resize=520%2C360", "https://www.apollo-magazine.com/wp-content/uploads/2016/04/P-2910.12.jpg?resize=520%2C360", "https://www.apollo-magazine.com/wp-content/uploads/2016/06/Degas.jpg?resize=520%2C360", "https://www.apollo-magazine.com/wp-content/uploads/2024/06/cover_apollo_July-aug2024.jpg?fit=624%2C808", "https://www.apollo-magazine.com/wp-content/uploads/2024/08/Rakewell-Olympics-art-copy.jpg?resize=520%2C360", "https://www.apollo-magazine.com/wp-content/uploads/2024/08/Sothebys-New-Bond-Street.jpg?resize=520%2C360", "https://www.apollo-magazine.com/wp-content/uploads/2024/08/LEAD_MG_4995-HDR.jpg?resize=520%2C360", "https://www.apollo-magazine.com/wp-content/uploads/2024/08/Pierre-Bonnard-Lete-1917-Archives-Fondation-Maeght-1.jpg?resize=520%2C360", "https://www.apollo-magazine.com/wp-content/uploads/2024/08/Germaine-Richier-LEau-1953-1954-2-Bronze-©-photos-C.-Baraja-_-E.-Touchaleaume-Archives-Galerie-54-Friche-de-lEscalette-.jpg?resize=520%2C360", "https://www.apollo-magazine.com/wp-content/uploads/2024/08/HighRes-20-copy.jpg?resize=520%2C360", "https://www.apollo-magazine.com/wp-content/uploads/2024/07/LEAD-IS20.jpg?resize=520%2C360", "https://www.apollo-magazine.com/wp-content/uploads/2024/08/lead-Inner-Elder-Nina-Simone-as-Queen-of-Sheba-2023-Ceramic-39-⅜-H-x-23-⅝-W-x-23-⅝-D-in-100-x-60-x-60-cm.-Courtesy-of-the-Artist-and-Marian-Goodman-Gallery.jpg?resize=520%2C360", "https://www.apollo-magazine.com/wp-content/uploads/2022/07/MPL2022_4263.jpg", "https://www.apollo-magazine.com/wp-content/themes/apollo/assets/images/apollo-masthead.svg" ]	[]	[]	[ "" ]	null	[ "Jo Lawson-Tancred" ]	2019-07-09T15:54:10+02:00	The virtuoso draughtsman carried several sketchbooks at all times and liked to draw standing up, writes Jo Lawson-Tancred	en	//www.apollo-magazine.com/wp-content/themes/apollo/assets/favicons/apple-touch-icon-57x57.png	Apollo Magazine	//www.apollo-magazine.com/scene-stealers-the-candid-sketches-of-adolph-menzel/	The angle at which we perceive a man inhaling his pipe in Studies of a Man Smoking, in Profile (1888) leaves us feeling like secret observers. The subject is certainly oblivious, gazing absently into the distance as we remain just out of his peripheral vision. Slight movements are captured in the surrounding close-ups; in one his hand loosely grips a tilted glass, the other catches his eye straying upwards. Though it was sketched by Adolph Menzel in a tavern, the scene spills freely across the text of an old invitation to a court ball of 1886, which provides circumstantial evidence for this son of a lithographer’s smooth ascendance in German society; he went on to be knighted in 1898. This use of the invitation shows Menzel’s lack of pretension and harks back to his earlier career as a commercial illustrator designing frontispieces, menus and letterheads. The drawing may also reveal more of its author than its subject. Though Menzel later recalled, ‘My artistic creativity began as soon as I was able to hold a piece of chalk,’ his early years do not conform to Romantic notions of the young artist. He became the family breadwinner when he was just 16, after his father died in 1832, and received only a few months of formal training at the Akademie in Berlin. Though he became one of the best known German artists of his day and had an obvious interest in people and their social performances, Menzel remained a serious and standoffish man. Just as he was happiest when secluded and unseen in a corner – perhaps easily achieved by a man of just four feet seven inches – his subjects are often caught at odd angles and seemingly unaware. Wearing a large overcoat that had eight pockets filled with sketchbooks, he would draw standing up, his wrist stiffened in what has been described as a ‘clawlike fashion’. The books doubled as personal diaries. ‘They are my memories. They contain things that are extremely personal to me,’ Menzel said just a year before his death in 1905. It was then that 4,000 sheets were discovered in his studio and transferred to the National-Galerie in Berlin, where they remain. With only some 18 works in UK permanent collections, and the most recent museum show being the Fitzwilliam’s in 1984, Menzel remains relatively little known here. A new exhibition of Menzel’s drawings has opened at Stephen Ongpin Fine Art to coincide with London Art Week. The works date from the 1840s to 1898 and include landscapes, portraits and genre studies. Unlike Afternoon in the Tuileries Garden (1867), a painting acquired by the National Gallery in 2006 that takes an almost panoramic view of bustling Parisian life, the sketches focus on isolated figures that we might easily have missed. A Seated, Elegantly Dressed Lady Eating From a Plate (1878), in which a young woman at a ball tries to protect her frilly dress by awkwardly leaning over a bowl of soup, contains hints of light derision. Menzel admitted that he enjoyed the balls for their ‘super-subtle differences of status and position, taste and non-taste […] in the most impressive and the most wretched of human specimens’. The drawings are done in pencil, pastel, chalk and ink and make generous use of stumping to blend and smudge the markings. In Studies of Three Men (1886), dense strokes of chalk combine to produce weathered skin in eerily lifelike flashes that quickly dissolve into loose silhouettes. A Bearded Man Looking Down to the Left (1891) is perhaps the simplest but most striking work. A detailed textural study of a man’s hair and beard, the faint, upright wisps of hair remaining on his head slowly gather into rolling, undulant curls and finally the hazy, thicker fuzz of facial hair emerges from light grazes of graphite. The few works in gouache and watercolour look out of place and, in contrast to the Menzel’s perceptive use of pencil, their effects are flat and unsophisticated. The preparatory sketches in Ongpin’s show have been usefully paired with images of the paintings they would become, yet can be equally admired as works in their own right. Menzel is a figure who has been unfamiliar to the British public for too long and this gathering of 42 sketches is not to be missed. It is a start, and reveals much about his eye and his outlook.
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"https://images.fineartamerica.com/public/assets/images/LogoYouTubeFooter.jpg" ]	[]	[]	[ "" ]	null	[]	null	Choose your favorite menzel paintings from 219 available designs. All menzel paintings ship within 48 hours and include a 30-day money-back guarantee.	en		Fine Art America	https://fineartamerica.com/art/paintings/menzel	219 sphinx Products: 1 \| NumProducts: 1 \| Page List: 1 \| Tags: 1 \| Available Products: 1 \| Available Mediums: \| Available Shapes: 1 \| Canonical Tags: \| Date / Time Expiration: 08/11/2024 11:59:59 PM
666	dbpedia	3	33	https://www.askart.com/artist_related/Adolph_Friedrich_Erdman_von_Menzel/11083965/Adolph_Friedrich_Erdman_von_Menzel.aspx	en	Adolph Friedrich Erdman von Menzel			[ "https://www.askart.com/assets/artist/11083965/Adolph_von_Menzel_1899l.jpg", "https://www.askart.com/photos3/2014/VGB20141126_86186/200.jpg", "https://www.askart.com/photos3/2014/SOL20070627_4353/18.jpg", "https://www.askart.com/photos3/2014/SOO20070613_5040/5.jpg", "https://www.askart.com/photos3/2014/VGB20141126_86186/200.jpg", "https://www.askart.com/photos3/2014/SOL20070627_4353/18.jpg", "https://www.askart.com/photos3/2014/SOO20070613_5040/5.jpg", "https://www.askart.com/photos3/2014/DVA20071016_4869/45.jpg", "https://www.askart.com/photos3/2014/DVA20100421_64536/5.jpg", "https://www.askart.com/photos3/2014/SOL20100707_64983/34.jpg", "https://www.askart.com/photos3/2014/COL20060519_35166/59.jpg", "https://www.askart.com/photos3/2014/SOL20130703_77355/42.jpg", "https://www.askart.com/photos3/2014/VGB20140528_82495/209_1.jpg", "https://www.askart.com/photos3/2014/COL20050615_35955/17.jpg", "https://www.askart.com/photos3/2014/KSA20121124_74660/1222.jpg", "https://www.askart.com/photos3/2015/SNY20150507_89741/78_1.jpg", "https://www.askart.com/assets/artist/11084304/2.JPG", "https://www.askart.com/photos3/2014/COL20101208_65457/319.jpg", "https://www.askart.com/photos3/2014/COL20080708_6870/21.jpg", "https://www.askart.com/images/TwomblyExample.gif", "https://www.askart.com/images/space.gif", "https://www.askart.com/images/space.gif", "https://www.askart.com/images/space.gif", "https://www.askart.com/images/space.gif" ]	[]	[]	[ "Adolph Friedrich Erdman von Menzel similar related art artwork" ]	null	[]	null	askART similar artists to Adolph Friedrich Erdman von Menzel. 49 similar or related artists.Adolph Friedrich Erdman von Menzel (1815 - 1905) was active/lived in Germany.				https://www.askart.com/artist_related/Adolph_Friedrich_Erdman_von_Menzel/11083965/Adolph_Friedrich_Erdman_von_Menzel.aspx
666	dbpedia	0	82	https://mydailyartdisplay.uk/category/adolph-menzel/	en	Adolph Menzel – my daily art display	https://s0.wp.com/i/blank.jpg	https://s0.wp.com/i/blank.jpg	[ "https://defaultcustomheadersdata.files.wordpress.com/2016/07/beach1.jpg?resize=1200,280", "https://mydailyartdisplay.uk/wp-content/uploads/2012/11/ramsau-by-thomas-fearnley.jpg?w=840", "https://mydailyartdisplay.uk/wp-content/uploads/2012/11/a-church-at-ramsau-austria-by-wilhelm-bendz.jpg?w=840", "https://2.gravatar.com/avatar/b648911dfada1a4c24f384d57eeaec1b66feb78b269303fad84847acbc3f194d?s=49&d=identicon&r=G", "https://mydailyartdisplay.uk/wp-content/uploads/2012/03/music-at-the-tuileries-by-edouard-manet.jpg?w=840", "https://mydailyartdisplay.uk/wp-content/uploads/2012/03/manets-man.jpg?w=50&h=150", "https://mydailyartdisplay.uk/wp-content/uploads/2012/03/menzels-man2.jpg?w=57&h=150", "https://mydailyartdisplay.uk/wp-content/uploads/2012/03/manets-children.jpg?w=150&h=117", "https://mydailyartdisplay.uk/wp-content/uploads/2012/03/menzels-children.jpg?w=150&h=91", "https://2.gravatar.com/avatar/b648911dfada1a4c24f384d57eeaec1b66feb78b269303fad84847acbc3f194d?s=49&d=identicon&r=G", "https://mydailyartdisplay.uk/wp-content/uploads/2012/03/afternoon-at-the-tuileries-garden-by-adolph-menzel1.jpg?w=840", "https://mydailyartdisplay.uk/wp-content/uploads/2012/03/kunstlerserdenwa00menz_0001.jpg?w=300&h=217", "https://mydailyartdisplay.uk/wp-content/uploads/2012/03/woman-and-child1.jpg?w=840", "https://2.gravatar.com/avatar/b648911dfada1a4c24f384d57eeaec1b66feb78b269303fad84847acbc3f194d?s=49&d=identicon&r=G", "https://s2.wp.com/i/logo/wpcom-gray-white.png", "https://s2.wp.com/i/logo/wpcom-gray-white.png", "https://pixel.wp.com/b.gif?v=noscript" ]	[]	[]	[ "" ]	null	[]	2012-11-24T11:34:50+00:00	Posts about Adolph Menzel written by jonathan5485	en	https://s1.wp.com/i/favicon.ico	my daily art display	https://mydailyartdisplay.uk/category/adolph-menzel/	I have said on a number of occasions that one of the joys of visiting art galleries is when you suddenly come across one you did not know existed. It is always a pleasure to go to the large and famous galleries such as the Louvre, Prado, and London’s National Gallery to name just a few but I find it exhilarating when I come across, often by accident, the smaller, more hidden-away ones such as London’s Wallace Collection or the Musée Marmottan Monet Gallery in the 16th arrondissement of Paris. I had visited Birmingham before and visited the Birmingham Museum and Art Gallery but a fortnight ago I decided to visit the city again and have a look at the Barber Institute of Fine Arts which is on the University of Birmingham campus. If I had not decided on that visit I would never have come across a divine portraiture work of Élisabeth Vigée Le Brun which I enthused about in my last blog and which was part of their permanent collection. However the reason for me going to the gallery was to see an exhibition of the Norwegian painter Thomas Fearnley and today I want to talk a little about the life of this artist and look at one of the paintings which was in the exhibition. Thomas Fearnley, although an English-sounding name, was Norwegian. He was a romantic painter who was born in 1802 in Frederikshald, Norway, a small town in the south east of the country, a few miles from the Norwegian-Swedish border. The town has since been renamed Halden. The Fearnley family maintained its custom of naming its eldest sons Thomas and so both his father and grandfather were named Thomas. His grandfather was an English timber merchant from Heckmondwike, a small mill town near Leeds, and who with his family moved to Norway in 1753 as a representative for a trading company based in the English seaport of Hull. Fearnley’s father Thomas was also a merchant and married Maren Sophie Paus, a woman from the important Norwegian Paus dynasty. Thomas was the eldest of their eight children. Thomas Fearnley’s father owned a shop in Frederikshald and earned his money as an importer/exporter, importing woollen and cloth goods from England and exporting Norwegian lumber. At the age of five, young Thomas went to live with his maternal aunt, Karen and her husband, Georg Frederik Hagemann in Christiania, (now known as Oslo). The couple had no children of their own and were delighted to have Thomas live with them. When Thomas was twelve years old he was enrolled as a pupil in the cadet corps of the Military Academy. At the Academy, one of the subjects Thomas was taught was drawing. It was soon clear that he had a talent for drawing and excelled in these lessons. However he achieved less in his other subjects especially in the military training and he left the Academy in the spring of 1819. As his father and his father’s father before him had all been merchants, it was expected that Thomas would follow suit and at the age of sixteen, for a while, he took on the role of a young merchant in his uncle’s business. However Thomas had not given up his love of drawing and every evening he would attend an elementary art class in Christiania, where he spent time copying still lifes and portraits painted by various artists. To become an artist in Norway was quite difficult as there were no major art academies where aspiring artists could learn their trade. It could well be this factor, which forced Fearnley to travel extensively through Europe visiting major art institutions. In late 1821 he travelled to Copenhagen and enrolled at the Royal Danish Academy of Fine Arts. It was here that he came across Dutch landscape paintings of Nordic scenes by the likes of Jacob van Ruisdael. It was these seventeenth century works, which influenced Fearnley and it was these depictions of Nordic landscapes, which would play an important role in Norwegian art and Norwegian artists such as Thomas Fearnley. In 1823, aged twenty-one, Fearnley left Copenhagen and went to live in Stockholm where he attended the Drawing Class at the Royal Swedish Academy of Fine Arts enrolling on a four-year course. During this period Thomas received a number of commissions for his landscape work including a three-painting commission from the country’s royal family. During his time at the Academy, he would take the opportunity, during summer breaks in the art course, to travel back to Norway to sketch the wild and rugged landscape of his homeland. It was at this juncture in his artistic career that he completed his first en plein air oil sketch. It was also during one of these visits to western Norway, in 1826, that he first encountered another artist on an art tour. He was Johan Christian Dahl, who would become the first great romantic painter in Norway, and one of the great European artists of all time. Dahl is now looked upon as the founder of the “golden age” of Norwegian painting. Fearnley’s four-year art course at the Copenhagen Academy ended in 1829 and Fearnley continued with his European travels, this time going to Dresden. It was in this city that Fearnley again meets Dahl and they soon become friends and Thomas received some artistic tuition from him. One of Dahl’s other artistic friends and near neighbour was the German artist Casper David Friedrich. Fearnley spent time studying Friedrich’s work and one can see in a number of Fearnley’s landscape works a characteristic employed by Friedrich – figures in the paintings are seen from behind. Fearnley studied the different ways in which Dahl and Friedrich worked. J C Dahl used rapid brushstrokes in his paintings whilst Casper Friedrich was much slower and more methodical and his landscapes often had religious connotations. The study of these two great artists was to influence Fearnley’s art in the future. From Dresden Fearnley travelled to Prague, Nuremberg and the lake district of Salzburg before finally settling in Munich in 1830. He was to remain in the Bavarian city for two years often travelling south to the foothills of the Bavarian Alps on painting trips. Following his two-year sojourn in Munich he and two other fellow artist Wihelm Bendz and Joseph Petzl set off on foot at the end of August 1832 on their 700 kilometre trek to Italy, passing through the Bavarian alpine village of Ramsau, which is the setting for my Daily Art Display’s featured painting today. The en plein air oil on paper, laid on canvas, sketch was completed by Thomas Fearnley within a week in 1832 and is simply entitled Ramsau. This was the first painting I came across when I entered the gallery of the Barber Institute of Fine Arts, which was staging Thomas Fearnley’s exhibition In front of Nature. It was, by far, my favourite of all his works on show and was of great interest to me as I have visited the picturesque Alpine village of Ramsau on a number of occasions when I toured around Berchtesgadener Land in southern Bavaria. The sketch is dated September 20th 1832 and diaries kept by Wilhelm Bendz record that it was the last day the intrepid trio stayed in the village before heading across the Alps to Italy. In the picture we can see the road winding and disappearing around a corner of the village before we catch a glimpse of it again as it heads off towards their destination, the snow-covered Alps. There is a beautiful stillness about this picture. In the left middle ground we see a solitary farmer collecting hay, which will be needed for the harsh and bitterly cold winter, which is fast approaching. In the background we see the majestic snow-capped mountain, Hoher Göll, which straddles the border between the German state of Bavaria and the Austrian city of Salzburg. This en plein air work would have taken Fearnley several sittings during the week-long stay, on each occasion adding another layer of colour. It is interesting to note that whilst the intrepid trio were in Ramsau William Bendz also completed an en plein air oil sketch of the village from almost the same vantage point used by Fearnley. Bendz was principally a figure painter and this landscape work of his is a comparative rarity. You will see from Bendz’s picture that unlike the deliberate and carefully detailed picture painted by Fearnley over a seven-day period, the foreground and some other areas of Bendz’s work were hastily sketched in and the work would probably have been completed within a day or two. William Bendz’s work, which was dated September 1830, two years earlier than Fearnley’s sketch, and entitled The Church of Ramsau, Austria, can be found in Oxford’s Ashmolean Museum. In my next blog I will conclude my look at the life of Thomas Fearnley and follow his journey through Europe visiting the Neapolitan and Amalfi Coasts as well as visiting England and travelling around the Lake District. To end on a slightly sad note, Fearnley’s companion on his trek to Italy, which started in September 1832, Wilhelm Bendz, made it to Venice but soon after, in the November of that same year, on reaching Vincenza, he took ill and died from a lung infection. Bendz had noted in his diary that the road to Rome was hard, the weather conditions unfavourable and at times extremely harsh and the walking very strenuous and the exertion obviously took the ultimate toll of him. In my last blog I looked at the painting Afternoon at the Tuileries Garden by Adolph Menzel which he completed in 1867. He had visited Paris that year and attended the second Exposition Universelle and it was during this stay that he completed a number of sketches of the Tuileries Gardens. On returning to his home in Berlin he completed this work. When it was exhibited, he pointed out that the painting was all done from his memory of the times when he walked around the Gardens watching the weekend promenading of the bourgeois. However, there is a train of thought that believes his work was not just based on his memories but was very much influenced by a painting he saw, when in Paris, by Édouard Manet, which was completed in 1862 entitled Music in the Tuileries Gardens. This is My Daily Art Display featured work today and I will let you decide whether Manet’s painting had any bearing on Menzel’s work. Music in the Tuileries Garden,s like the Menzel work, hangs, in the National Gallery, London. The work depicts a fashionable Parisian crowd promenading and socialising in the Gardens as they listen to music played by a band, albeit Manet has not included the musicians in the painting. The Jardin des Tuileries lies between the Louvre and the Place de la Concorde, and it was the favourite place for people to idle away their leisure time. The way in which people spent their free time in the capital became one of Manet’s favourite subjects for his paintings. Manet’s close friend going back to his childhood, Antonin Proust, the politician and journalist, often recalled the many times he witnessed Manet walking along the Parisian boulevards in search of interesting aspects of city life, which he could depict in his paintings. Manet and his companion, the poet, Charles Beaudelaire, could often be seen in the afternoons, strolling through the Tuileries Gardens, a favoured gathering place for the beau monde, who wanted “to see and be seen”. Manet completed numerous sketches of these “beautiful people” as well as the working nannies, who were spending a pleasant afternoon with their little charges. This was Manet’s first major work on this theme. The Tuileries Gardens were created for Catherine de Medici who, on the death of her husband King Henry II of France, decided to move her home to the Louvre Palace. She then had built a separate new palace with gardens modelled after the gardens of her native Florence. These were the Tuileries Gardens and were opened to the public in 1667 and became a public park following the French Revolution. As we look at the people in the scene we can imagine the enjoyment they were having whilst they socialised and listened to the music. Leisure time and recreational activities such as listening to music in a park on a Sunday afternoon was all part of this newly quoted term, modernity. Menzel’s work is far more detailed than Manet’s painting. If we compare the two works there are some similarities but Menzel also maintained some differences. Both depict families enjoying their leisure time. Look at foreground and slightly right of centre of today’s painting by Manet. There is a man with the top hat bending down in conversation with a lady. He is almost the same character, in the same pose leaning against a tree, we saw yesterday in Menzel’s work. The theme of both paintings is similar – bourgeois Parisians at leisure but as I have just said there are also some differences in the two works. Menzel’s depiction of what is happening is somewhat more realistic. In his work we saw children in the foreground playing with a bucket and spades but they are not dressed in their “Sunday best” clothes and look somewhat dirtied by their playing on the ground. Now compare that with the children in Manet’s painting. They too have buckets and spades but these children, like their adult counterparts , are dressed in their best clothes and are behaving much more demurely. Also in Menzel’s work we witnessed a small child being dragged off screeching by a woman, probably her mother. We also saw dogs skirmishing but in Manet’s work there is no such unsavoury incidents happening, which would otherwise shatter the beautiful tranquillity of the scene. Manet has included the portraits of many of his friends into the lively social gathering, some of whom are fellow artists. Manet has painted himself at the far left of the painting partly hidden by the figure of Comte Albert de Balleroy, the wildlife artist, seen here holding a walking stick, who shared a studio with Manet. Another artist also included is Henri Fantin-Latour, best known for his flower paintings. Manet has added portraits of his brother Eugène, who was the husband of the Impressionist painter, Berthe Morissot. Several cultural figures of the time are featured in the painting such as the French poets Baudelaire and Théopile Gautier and the travel writer Baron Taylor. Other intellectuals who have found their way into the painting are the art critic Champfleury and the bearded sculptor Zacharie Astruc who sits at the table and behind him stands the journalist Aurélien Scholl. Two women sit facing us in the foreground. The younger of the two, on the left, is Madame Lejosne, the wife of the Commandant in whose house Manet met Baudelaire and the fledgling painter Frederic Bazille. The other lady is Heminie d’Alcain, the wife of Jacques Offenbach. Offenbach is the bespectacled man with a moustache who sits in front of a tree to the right of centre of the middle ground, between Eugène Manet and the painter, Charles Monginot who we see doffing his hat to a lady . Menzel’s work was far more detailed and with his painting your eyes darted from place to place surveying different incidents. In some ways this painting, by Manet, as did Cezanne’s Large Bathers ( My Daily Art Display March 13th))have an “unfinished” look about them but this is all to do with their style of painting. So what did the critics think of this work by Manet when it was first exhibited in 1863? It received very mixed reviews. On one hand, many of the artists who were soon to be known as the Impressionists, like Claude Monet and Frederic Bazille, were delighted with Manet’s depiction of the Parisian scene. However the conservatives among the art critics were less than complimentary. Paul Mantz, the art historian and art critic, who would later become Director General of Fine Arts and a member of Supreme Council of Fine Arts was particularly ruthless in his condemnation stating that Manet’s composition struck him as being disorganised and formless, while the broken play of light that animates its surface with such an eloquently restless quality roused him to declare that “this is not colour, but the caricature of colour”. I have had a number of comments added to the Large Bathers blog strongly disagreeing with my assertion that Cezanne’s work had an unfinished look to it and therefore I will not dare comment about the finish of this work. Emile Zola explained the “unfinished” look of Manet’s painting, countering such criticism, saying: “…You are to imagine a crowd of people, a hundred characters perhaps, moving about in the sunlight under the trees in the Tuileries; every character is simply a blot of colour, hardly given form at all, and the details are only lines and black dots. If I had been there I should have asked the amateur [observer of the painting] to move away to a respectful distance; he would then have seen that the patches of colour were alive, that the crowd was speaking, and that the picture was one of the characteristic productions of the artist, the one picture in fact in which he had most loyally obeyed his eyes and his temperament…” As with most of the Impressionist works of art, the best view you get is if you stand back from the work to see its exquisiteness. Close up one just sees brushstrokes but at a distance one discovers the true beauty of the work. So which painting do you like best, the one by Adolph Menzel or the one by Édouard Manet? The featured artist in My Daily Art Display today is German and is looked upon, along with the artist I featured in my previous blog, Caspar David Friedrich, as one of the most famous and most successful German artists of the nineteenth century. His name is Adolph Friedrich Erdmann von Menzel. Menzel was born in 1815 in Breslau, which is now the Polish city known as Wroclau. His father Carl Erdmann Menzel was originally a school headmaster but when young Menzel was just three years of age he gave up his educational career and started up a lithographic printing works. Adolph Menzel first exhibited a drawing in 1827 when he was only twelve years of age and two years later he exhibited eight lithographs, which were printed in his father’s workshop and which featured the history of Breslau. To gain more business opportunities for his printing company, Menzel’s father moved his family and business to Berlin in 1830 where he knew he was likely to receive more commissions. Adolph Menzel became an apprentice in his father’s firm and at the age of seventeen took over the running of the company when his father suddenly died. His mother and siblings now looked upon Adolph as the family breadwinner. In 1833, aged 18 Menzel enrolled at the Berlin Königliche Akademie der Künste where he met the wallpaper manufacturer, Carl Heinrich Arnold, who would not only become Menzel’s close friend but would furnish him with a large number of commissions. His reputation as an artist and illustrator grew after he had completed a commission for the art dealer and publisher, Louis Sachse, to create a number of lithographs for the German writer, Goethe, for his book Künstlers Erdenwallen. It was not until 1837 that von Menzel started to paint in oils. His speciality subject for his paintings was the life and events surrounding Friedrich the Great and in 1839 he was commissioned to illustrate a book, Geschichte Friedrichs des Großen (History of Friedrich the Great) written by Franz Kugler, a Prussian cultural administrator and art historian. In a three year period 1839 to 1842 Menzel produced over 400 drawings. It was not until the 1850’s that von Menzel started to travel extensively, visiting Vienna, Prague and Dresden. It was also in 1855 that he made his first visit to Paris where he attended the inaugural Exposition Universelle, the first World Fair to be held in the capital. It was held in the specially built building, Palais de l’Industrie, which overlooked the Champs-Elysées. Whilst there, von Menzel, was able to study not only the industrial exhibits but also the art exhibits on display by French artists such as Gustave Courbet. Eleven years later von Menzel returned to Paris to attend the second Exposition Universelle in 1867 and it was during this stay in the French capital that he visited the Tuileries Gardens which is the subject for today’s painting. That same year he was decorated with the “Cross of the Légion d’honneur by Napoleon III for his service to the arts. By the 1880’s von Menzel had established his international reputation as an artist and lithographer. In 1884 the Nationalgalerie in Berlin held the first major retrospective of von Menzel’s work to commemorate the 50th anniversary of his career as an artist. In 1890, aged 70, he was given an honorary doctorate from Berlin University. He was bestowed with many other honours. He was made an honorary citizen of both Breslau and Berlin and made a member of both the Royal Academy of London and a member of the Akadémie des Beaux Arts, the Paris Academy. His greatest honour came in 1898 when he became the first artist to be admitted to the Order of the Black Eagle as a Knight, the highest order of chivalry in the Kingdom of Prussia. Adolph von Menzel died in Berlin in 1905, aged 89. My Daily Art Display featured painting today is entitled Afternoon at the Tuileries Garden by Adolph Menzel. He painted it in 1867 and now hangs in the National Gallery, London. It was following Menzel’s 1867 trip to Paris that he returned to his studio in Berlin with many sketches of the Tuileries Gardens, which lay across from the Louvre. He had become interested in painting scenes set in areas where society people pretentiously paraded and whilst in Paris was fascinated with the bustling social goings-on within the Gardens. The subject matter of his paintings were at this time often depicting bourgeois society and he, because of his fame as an artist, lived the lifestyle of this very grand bourgeois. Menzel’s painting is filled with detail and exudes a great deal of realism. What I like about the works is that with so much going on in the painting your eyes flick from one group to another and every time you look at it your eyes focus on something different. I like the number of separate vignettes taking place. Let your eye wander up the centre of the painting and observe the little chubby girl being dragged off by the woman in blue. How often have we seen that! Dogs abound, in some cases having territorial disputes whilst the adults try their best to ignore such distractions and have only one thing in mind – to look their best! When the painting was first exhibited Menzel was at pains to tell everybody that it was done from his memories of his recent visit to the French capital. Was it a work just from memory or was there something else which prompted Menzel to depict such a scene? In my next blog I will give you another possible motivation for Menzel’s depiction of the Tuileries Garden. Notwithstanding what inspired Menzel to paint this lively event, which is buzzing with activity, it is a fascinating work of art. I stood before it the other day and I was mesmerised by what I was looking at and as I said the other day, when talking about Caspar David Friedrich’s Winter Landscape, I was so pleased I had visited Room 41 of the gallery. The next time you visit the National Gallery; don’t forget to pay that particular room a visit. I guarantee you will not be disappointed.
666	dbpedia	2	74	https://www.themorgan.org/drawings/item/144556	en	Adolph Menzel	https://www.themorgan.or…avicon-32x32.png	https://www.themorgan.or…avicon-32x32.png	[ "https://www.themorgan.org/sites/default/files/Morgan100_horizontal-white3.png", "https://www.themorgan.org/sites/default/files/images/collection/drawings/144556v_0001.jpg", "https://www.themorgan.org/modules/file/icons/image-x-generic.png", "https://www.themorgan.org/sites/all/modules/print/icons/print_icon.png", "https://www.themorgan.org/sites/default/files/facebook.png", "https://www.themorgan.org/sites/default/files/images/twitter2.png", "https://www.themorgan.org/sites/default/files/instagram.png", "https://www.themorgan.org/sites/default/files/images/youtube-icon.png", "https://www.themorgan.org/sites/default/files/images/pinterest.png", "https://www.themorgan.org/sites/default/files/images/TripAdvisor6.png", "https://www.themorgan.org/sites/default/files/GoogleCI2.png", "https://www.themorgan.org/sites/default/files/images/nysca-nyculture-2017.png", "https://www.googleadservices.com/pagead/conversion/1029644845/?label=QZn2CK6WgKUBEK3E_OoD&guid=ON&script=0" ]	[]	[]	[ "" ]	null	[]	2014-06-13T16:15:20-04:00	Adolph Menzel 1815-1905, Study of a Prussian Officer, Half-length, from the Rear, 1985.73	en	/sites/default/files/favicons/apple-touch-icon.png	The Morgan Library & Museum	https://www.themorgan.org/drawings/item/144556	Hours The Morgan Library & Museum is open Tuesday, Wednesday, Thursday, Saturday, and Sunday from 10:30 am to 5 pm, and Friday from 10:30 am to 7 pm. Visitor information Current exhibitions The Morgan Shop Concerts and Lectures Support the Morgan The programs of the Morgan Library & Museum are made possible with public funds from the New York City Department of Cultural Affairs in partnership with the City Council, and by the New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature.
666	dbpedia	2	23	https://www.amazon.com/Adolph-Menzel-Reality-Werner-Busch/dp/1606065173	en	Amazon.com			[ "https://images-na.ssl-images-amazon.com/captcha/druexhzz/Captcha_udwjztmson.jpg", "https://fls-na.amazon.com/1/oc-csi/1/OP/requestId=88QGTGEXNEXT0FS71FP5&js=0" ]	[]	[]	[ "" ]	null	[]	null		en			null	Enter the characters you see below Sorry, we just need to make sure you're not a robot. For best results, please make sure your browser is accepting cookies.
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666	dbpedia	1	76	https://www.independent.co.uk/news/world/europe/german-artist-s-163-3-2m-masterpiece-comes-to-britain-6107785.html	en	German artist's £3.2m masterpiece comes to Britain	https://www.independent.…icon-192x192.png	https://www.independent.…icon-192x192.png	[ "https://static.independent.co.uk/static-assets/images/newsletter/breaking-news/breaking-news-thumb.png", "https://www.independent.co.uk/img/icons/google.svg" ]	[]	[]	[ "Internal" ]	null	[ "Tony Paterson" ]	2006-03-03T00:00:07+00:00	The National Gallery has acquired a major work by the 19th century German artist Adolph Menzel, whose work is thought to have anticipated the French Impressionists but remained hidden behind the Iron Curtain throughout the Cold War.	en	/img/shortcut-icons/favicon.ico	The Independent	https://www.independent.co.uk/news/world/europe/german-artist-s-163-3-2m-masterpiece-comes-to-britain-6107785.html	The National Gallery has acquired a major work by the 19th century German artist Adolph Menzel, whose work is thought to have anticipated the French Impressionists but remained hidden behind the Iron Curtain throughout the Cold War. Menzel's An Afternoon in the Tuileries Gardens which was bought from Germany for £3.2m, went on show to the public at the National Gallery yesterday, becoming the first work by the painter to enter a British art collection. Menzel is thought to have painted the work, which depicts the bustling social scene of the Tuileries Gardens in 19th century Paris, after seeing Edouard Manet's 1862 Music in the Tuileries Gardens at an exhibition in the city in 1867. However the two works are executed in strikingly different styles - a contrast that will be highlighted when they are hung alongside each other in Room 41 of the National Gallery in a fortnight's time. An Afternoon in the Tuileries Gardens hung in Dresden's Galerie Neue Meister for 70 years after being bought during the Nazi era from the family of Fritz Meyer - a Berlin Jewish banker who bought the painting from Menzel himself in 1868. During the Cold War, the painting remained virtually off-limits to Western visitors because it was located in a East German city behind the Iron Curtain. "Menzel was a kind of secret kept within German and particularly East German borders," Christopher Riopelle, the curator of 19th century art at the National Gallery said. "It was only people who had gone and seen his work in those exhibitions who realised that this was a remarkable artist who was simply unknown outside his country." Concern about the Nazi-era sale of the painting prompted the Dresden gallery to return the work to Meyer's descendants in 2005. The family then sold the work to an American collector in partnership with a Munich art dealer who recently resold the painting to the National Gallery. Menzel was regarded as a painter to the courts of the kaisers. His reputation in Germany stems largely from his works depicting Frederick the Great. He was a printmaker and a draughtsman by trade and only took up oil painting when he was 30. Many of his lesser-known sketches and paintings are devoted to detailed studies of low and high life in his home city, Berlin. It was not until the early 20th century that critics realised, in many of his works painted during the 1840s, Menzel had developed an early Impressionist style some 30 years earlier than the French Impressionists themselves. "It has long been a priority for the National Gallery to acquire more German art as it's felt that it has been under-represented in our 19th century collection," Mr Riopelle said. "Menzel was an artist it was very important for us to acquire and his Tuileries painting is one of his most significant." Observer of high and low life ADOLPH MENZEL (1815-1905) He is widely recognised as the leading German artist of the second half of the 19th century. Active first as a printmaker, and a dazzling draftsman throughout his prolific career, he turned to oil painting only after he turned 30. When they were first exhibited early in the 20th century, his oil sketches of the 1840s displayed an impressive prescience, showing that he had successfully anticipated French Impressionism a full 30 years before the Impressionists themselves. His minutely-observed scenes of modern life established him as an excellent observer of high and low life in his adopted city, Berlin, which at that time was undergoing radical changes that would transform it into one of the world's great cities. Menzel also travelled restlessly across Europe in pursuit of visual and aesthetic stimulation. An Afternoon in the Tuileries Gardens is the result of a visit to Paris.
666	dbpedia	3	79	https://laurakozophotography.photo.blog/2020/02/16/adolph-von-menzel/	en	Just a Little Piece of Art	https://laurakozophotogr…i-4283162395.jpg	https://laurakozophotogr…i-4283162395.jpg	[ "https://laurakozophotography.photo.blog/wp-content/uploads/2020/01/cropped-abstract-art-artistic-featured-2.jpg", "https://laurakozophotography.photo.blog/wp-content/uploads/2020/02/image.png?w=225", "https://laurakozophotography.photo.blog/wp-content/uploads/2020/02/artatberlin-adolph-menzel-floetenkonzert-friedrichs-des-grossen-in-sanssouci-4283162395.jpg?w=640", "https://s2.wp.com/i/logo/wpcom-gray-white.png", "https://s2.wp.com/i/logo/wpcom-gray-white.png", "https://pixel.wp.com/b.gif?v=noscript" ]	[]	[]	[ "" ]	null	[]	2020-02-16T00:00:00	Adolph Von Menzel ( December 8, 1815 – February 9,) was the most successful artist of his era in Germany; and along with Caspar David Friedrich, one of the two most prominent German artists of the 19th century. He was best known for demonstrating scenes from the life of Frederick the Great. He wanted to capture the monarch…	en	https://s1.wp.com/i/favicon.ico	Just a Little Piece of Art	https://laurakozophotography.photo.blog/2020/02/16/adolph-von-menzel/	Adolph Von Menzel ( December 8, 1815 – February 9,) was the most successful artist of his era in Germany; and along with Caspar David Friedrich, one of the two most prominent German artists of the 19th century. He was best known for demonstrating scenes from the life of Frederick the Great. He wanted to capture the monarch as a man who was both hated and admired, simply as he was. Menzel is now also famous for capturing, with amazing detail and precision, the scenes and objects of everyday life. During Menzel’s life, his paintings were appreciated by Otto von Bismarck and William I, and after his death they were appropriated for use as electoral posters by Adolf Hitler.
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"https://d7hftxdivxxvm.cloudfront.net?quality=80&resize_to=width&src=https%3A%2F%2Ffiles.artsy.net%2Fimages%2Funiversal-footer_april-14_cropped.jpg&width=725", "https://d7hftxdivxxvm.cloudfront.net?quality=80&resize_to=width&src=https%3A%2F%2Ffiles.artsy.net%2Fimages%2Funiversal-footer_april-14_cropped.jpg&width=1220" ]	[]	[]	[ "" ]	null	[]	null	Discover and purchase Adolph Menzel’s artworks, available for sale. Browse our selection of paintings, prints, and sculptures by the artist, and find art you love.	en	https://d1s2w0upia4e9w.cloudfront.net/images/favicon.ico	Artsy	https://www.artsy.net/artist/adolph-menzel	Get the app, get the art. Get the app, and find the art you love. Get the app, and artworks tailored to you. Get the app, and discover works our curators love. Get the app, and keep up with your favorite artists Get the app, and be alerted about new artworks. Get the app, and stay connected with galleries. Get the app, and build your art world profile. Get the app, and keep track of your collection. Get the app, and keep track of artists’ markets.
666	dbpedia	2	62	https://arthive.com/artists/302~Adolf_Friedrich_Erdmann_von_Menzel	en	Adolf Friedrich Erdmann von Menzel (08.12.1815 - 09.02.1905) - Biography, Interesting Facts, Famous Artworks	https://arthive.com/res/…t/410/121784.jpg	https://arthive.com/res/…t/410/121784.jpg	[ "https://arthive.com/res/media/img/sx200/artist/ad8/121784.jpg", "https://arthive.com/res/img/svg/qr-code-4.svg", "https://arthive.com/res/img/svg/spinner-black.svg", "https://arthive.com/res/img/svg/spinner-black.svg", "https://arthive.com/res/img/svg/spinner-black.svg", "https://arthive.com/res/img/svg/spinner-black.svg", "https://arthive.com/res/img/svg/spinner-black.svg", "https://arthive.com/res/img/svg/spinner-black.svg", "https://arthive.com/res/img/svg/spinner-black.svg", "https://arthive.com/res/img/svg/spinner-black.svg", "https://arthive.com/res/img/svg/spinner-black.svg", "https://arthive.com/res/img/svg/spinner-black.svg", "https://arthive.com/res/img/svg/spinner-black.svg", "https://arthive.com/res/img/svg/spinner-black.svg", "https://arthive.com/res/img/svg/spinner-white.svg", "https://mc.yandex.ru/watch/40832419", "https://www.facebook.com/tr?id=209775657147908&ev=PageView&noscript=1" ]	[]	[]	[ "" ]	null	[]	null	Find out more about the history of Adolf Friedrich Erdmann von Menzel, including interesting facts, large resolution images, historical features and more.	en	/apple-touch-icon-57x57.png	Arthive	https://arthive.com/artists/302~Adolf_Friedrich_Erdmann_von_Menzel	German painter and graphic artist. Learned lithography from his father and at the Berlin Academy of arts (1830). Already in the early works of Menzel full expressive and accurate domestic details differ liveliness characteristics. Tireless draftsman (over 5 thousand drawings in the National gallery, Berlin), he was also a master of watercolor, gouache, etching, lithography. Adolf von Menzel was born in the Eastern German town of Breslau (now Wroclaw, Poland). In 1830 he moved with his family to Berlin. The first art school was for Adolf lithographic workshop of his father. Becoming in 1833, the breadwinner of the family after his father's death, he took any job: did a lunch menu, invitations, etc. Adolf short (only 6 months) attended classes at the Academy of arts in Berlin and was almost self-taught. First became known in 1833 by the notebook of drawings executed with pen and depicting "the Life of an artist". This youthful work of Menzel followed a number of them lithographed "Attractions Brandenburg history" (1834-39, 12 sheets) and some of his first experiments in oil painting what, for example, "the Game of chess" (1836), "Legal advice" (1837), "the Trial" (1837) and other works.But soon he had to put aside the palette and brush, in order to deal with the composition of the illustrations to "History of Frederick the Great," Kugler (1839 -42) and after that illustrating luxury editions of the works of Kugler (1843-49). Both of these works made Menzel to delve into the study of the epoch of Frederick the Great. Rendering it with complete historical accuracy, excellent characteristics of the provisions and actors, the realistic truth and technical prowess, he made himself a big name from their compatriots mainly with paintings on the themes drawn from that era, what are, for example: * "Round table of Frederick the Great" (1850, is in the Berlin National gallery), * "Concert in Sanssouci" (1852), * "Frederick the Great on the road" (1854), * "The oath of Frederick the Great in Breslau in 1741" (Breslau Museum) * "The meeting of Frederick the Great and Joseph II at Neisse", * "Friedrich before a leithian battle", * "Friedrich Gorkitskoe in battle" (1856; in the Berlin Royal Palace) and others. In 1840-ies he begins to write from life. There are a number of landscapes, portraits, which were first shown in 1906 at the exhibition Menzel at the National gallery in Berlin and have dramatically changed the prevailing opinion about his work. In 1850-ies he wrote, besides, several paintings of biblical content, the advantage of which in most cases harm their excessive realism, and then again showed his talent with the full splendour in the magnificent "Coronation of Frederick William I in königsberg" (1861-65; in the Berlin Royal Palace), the "Departure of the king to the war, July 30, 1870" (1871; in the Berlin National gallery), "dinner Ball" (1878), "the Conversation of the king with the lady at the court ball" (1880), in "Religious procession in Gastein"(1880), "Square d'erbe in Verona" and "Zhelezobaktery plant" (1875), the most remarkable of all the artist's paintings depicting the inside zhelezorudnogo plant while working on it. Beyond the mentioned works, Menzel performed many other, less significant genre paintings, pen drawings, compositions for policypage, watercolors and gouaches. Since 1856 he was a Professor and member of the Berlin Academy of arts. During the long years of his life he visited Austria, traveled on the Rhine, the Danube, was on the Baltic sea, Holland, Italy, toured the whole of Germany. Travel was his source of subjects for paintings, genre paintings, pastels. In these works was not the poetry and emotions that were inherent in his early works. Menzel has worked for over twenty years (1863-1885) on a series of gouaches and watercolours, combined to form a "Children's album". It contains scenes from everyday life, images of animals, birds, etc. the Last years of his life he devoted to the schedule, although throughout the creative journey never parted with a pencil: in the National gallery in Berlin, there are over five thousand of his drawings. In 1880-1890 G. G. Menzel drawn to the image of old age, he depicts the portraits of old men and women, seek psychological expression of this condition. 9 Feb 1905 in the ninetieth year of his life he died. The Imperial court he had arranged a very lavish funeral, which was awarded to only General-field Marshal.
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666	dbpedia	0	57	https://www.wga.hu/bio_m/m/menzel/biograph.html	en	Biography of MENZEL, Adolph von in the Web Gallery of Art			[ "https://www.wga.hu/support/header/header_m.gif", "https://www.wga.hu/support/gif/pictures_m.gif", "https://www.wga.hu/biojpg/m/menzel/biograph.jpg", "https://www.wga.hu/support/gif/kockak.gif" ]	[]	[]	[ "" ]	null	[]	null	Biography of MENZEL, Adolph von (b. 1815, Breslau, d. 1905, Berlin) in the Web Gallery of Art, a searchable image collection and database of European art and architecture (200-1900)				null	Biography German painter, son of a headmaster who founded a lithographic press, in which Adolph worked from the age of fourteen. The family moved to Berlin in 1830, and, left orphan in 1832, Menzel had to maintain his family. In 1833-34 Adolph Menzel attended the Royal Academy of Art, where he met the wallpaper manufacturer Carl Heinrich Arnold, who would become a friend and patron. In 1833 Sachse of Berlin published his first work, an album of pen-and-ink drawings reproduced on stone, to illustrate Goethe's little poem, "KÃ¼nstlers Erdenwallen." In 1834 he joined the Younger Artists' Association. By then he was working more in oils. In 1838 he was admitted to the 'Elder Artists' Association. One year later he was commissioned to illustrate Franz Kugler's History of Frederick the Great, for which from 1839 to 1842 he produced 400 drawings, reviving at the same time the technique of engraving on wood. In 1839 he saw some pictures by Constable in Berlin, and in the 1840s and 1850s he made a series of paintings which are very free in handling and seem to anticipate Impressionism although later he rejected the theory.
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"https://static.wixstatic.com/media/b39bbe_e7060d69e952481299adf330a28fad41~mv2.jpg/v1/fill/w_108,h_81,al_c,q_80,usm_0.66_1.00_0.01,blur_2,enc_auto/b39bbe_e7060d69e952481299adf330a28fad41~mv2.jpg", "https://static.wixstatic.com/media/b39bbe_204ee289620c451aad5e8776b5e2ac1c~mv2.png/v1/fill/w_127,h_140,al_c,q_85,usm_0.66_1.00_0.01,blur_3,enc_auto/White%20Transparent%20Background%20Green%20Box.png" ]	[]	[]	[ "" ]	null	[]	null	WWII Most Wanted Art™ - Adolph Menzel (1815-1905) \| In the "Jardin des Plantes" \| gouache, 8.66 x 13.78 in. (22 x 35 cm) \| Cash Reward up to $2,500	en	https://static.wixstatic…b53c2a%7Emv2.png	MonumentsMenWomenFnd	https://www.monumentsmenandwomenfnd.org/join-the-hunt/wwii-most-wanted-menzel	Adolph Menzel’s painting In the "Jardin des Plantes," the main botanical garden in Paris, was owned by the Jewish businessman Alfred Sommerguth and his wife Gertrud. Born in 1859 in Magdeburg, Germany, Alfred made his fortune as the director and co-owner of the tobacco company Loeser & Wolff. After selling his shares in 1920, he worked as an official of the Ministry of Interior in Berlin in charge of city planning. Alfred and Gertrud were known for their art collection, which consisted of 106 paintings, by both Old Masters and contemporaries of their time. The Menzel, previously in the collection of Eduard L. Behrens, was purchased by Alfred Sommerguth in 1936 from an art dealer in Berlin. When the Nazis came to power in 1933, Alfred was working in the Ministry of Interior. As a Jewish man he was viewed with deep suspicion and by the late 1930s he had been ordered to register all his assets, including his art collection, with the Nazi authorities. In order to pay the huge taxes imposed on Jewish households, as well as the so-called “flight tax” that would allow him and Gertrud to leave Germany, Alfred was forced to sell the majority of his collection at the Hans W. Lange auction house in Berlin on February 7, 1939. In the catalogue of the sale, the Menzel is listed as coming from the Behrens Collection, and as “on the protection list of nationally valuable art monuments in Germany.” Another Menzel from the Sommerguths’ collection, a drawing, was sold to the Städel Museum for RM 960. Alfred and Gertrud were able to escape Germany in 1941, first via Switzerland, then to Cuba, and finally New York. Alfred caught typhoid fever during his stay in Cuba, and the freezing of their accounts by Nazi authorities, left the couple destitute. Alfred died on October 15, 1950 in New York, and Gertrud four years later, on April 8, 1954. In 2011 a highly publicized story appeared in the press, detailing the return of one of Alfred Sommerguth’s paintings to his heirs. Madame La Suire, by Albert von Keller, was discovered at the Kunsthaus Zürich by chance, during an exhibition on Keller organized by the Kunsthaus. It had been donated to the museum in 2006 by the widow of Oskar Mueller, a Keller collector. The heirs agreed to leave the painting with the Swiss museum, with an added text panel detailing its provenance. This was the fourth painting returned to the Sommerguth estate in three years, including a painting by Karl Blechen pulled from sale at Sotheby’s in 2008. Jardin des Plantes has not appeared on the market since 1939, and its current whereabouts are unknown.
666	dbpedia	3	34	https://newcriterion.com/article/menzel-meier-graefe-the-problem-of-german-art/	en	Menzel, Meier-Graefe & the problem of German art	https://newcriterion.com…7/unnamed-3.jpeg	https://newcriterion.com…7/unnamed-3.jpeg	[ "https://newcriterion.com/wp-content/uploads/2023/09/horizontal-logo.svg", "https://newcriterion.com/wp-content/uploads/2023/09/horizontal-logo.svg", "https://newcriterion.com/wp-content/uploads/2024/07/unnamed-3-1024x703.jpeg", "https://newcriterion.com/wp-content/uploads/2023/06/tnc.png", "https://newcriterion.com/wp-content/uploads/2024/06/tnc_reprint-series-1024x325.png", "https://i0.wp.com/newcriterion.com/wp-content/uploads/2024/05/21-The-Preacher-e1716309876920.png?resize=40%2C40&ssl=1", "https://i0.wp.com/newcriterion.com/wp-content/uploads/2024/05/Grant_Wood_-_American_Gothic_-_Google_Art_Project-scaled-e1716217946562.jpg?resize=40%2C40&ssl=1", "https://i0.wp.com/newcriterion.com/wp-content/uploads/2024/05/TNC_5_2_24_00394-e1716308549311.jpg?resize=40%2C40&ssl=1", "https://i0.wp.com/newcriterion.com/wp-content/uploads/2024/05/LS-LBI-e1716306098468.webp?resize=40%2C40&ssl=1", "https://i0.wp.com/newcriterion.com/wp-content/uploads/2024/05/Lenin_-_El_Hombre_Controlador_del_Universo_Diogo_Rivera_-_Palacio_de_Bellas_Artes_-_Mexico_2024_2-1-1-scaled.jpg?resize=40%2C40&ssl=1", "https://newcriterion.com/wp-content/uploads/2024/07/Witherspoon-Forum-2024-2025-Minds-and-Machines-8-160x600_2x.jpg" ]	[]	[]	[ "" ]	null	[ "Hilton Kramer" ]	1996-10-01T00:00:00	On “Adolph Menzel 1815-1905: Between Romanticism & Impressionism” at the National Gallery of Art, Washington.	en	/favicon-sep.ico		https://newcriterion.com/article/menzel-meier-graefe-the-problem-of-german-art/	Menzel personifies the typical problem of German art so perfectly, that the story of his life might almost stand for a history, not of German art but of the German artist. —Julius Meier-Graefe The “problem” which Julius Meier-Graefe alludes to in discussing the art of the German painter Adolph Menzel (1815–1905) may be succinctly stated as follows: owing to a sensibility that tends to be graphic rather than painterly and to an attitude toward culture that tends to favor official opinion at the expense of new ideas, German artists in the nineteenth century failed for the most part to appreciate the emerging tradition of modern painting in the work of Constable, Delacroix, Corot, Courbet, and Manet. They thus also failed to understand the vital relation that obtained between modern painting and the Old Masters. Writing about this double failure in the first decade of the twentieth century, Meier-Graefe rendered a sweeping judgment: “During this fruitful development of modern painting German art has remained at a standstill. And to stand still here means even more than elsewhere: to go backward.” It is a judgment for which certain partisans of German art, both in Germany and elsewhere, have never forgiven Meier-Graefe, and it is for this reason that on the occasion of the first Adolph Menzel retrospective in the United States, Meier-Graefe is cast in the villain’s role by one writer after another in the voluminous catalogue that accompanies the exhibition.[1] It was not the case, however,
666	dbpedia	2	97	https://paintingz.com/repro-adolph-menzel-as-a-young-man-friedrich-eduard-meyerheim-168382.html	en	Adolph Menzel as a Young Man	https://paintingz.com/me…a/1/6/168382.jpg	https://paintingz.com/me…a/1/6/168382.jpg	[ "https://paintingz.com/icon.svg", "https://paintingz.com/static/version1692154858/frontend/Smartwave/porto_child/en_US/images/logo.svg", "https://paintingz.com/media/wysiwyg/3844.jpg", "https://paintingz.com/media/wysiwyg/3844.jpg", "https://paintingz.com/media/wysiwyg/3844.jpg", "https://paintingz.com/media/wysiwyg/3844.jpg", "https://paintingz.com/media/catalog/nation/american.png", "https://paintingz.com/media/catalog/nation/american.png", "https://paintingz.com/media/catalog/nation/french.png", "https://paintingz.com/media/catalog/nation/french.png", "https://paintingz.com/media/catalog/nation/dutch.png", "https://paintingz.com/media/catalog/nation/dutch.png", "https://paintingz.com/media/catalog/nation/british.png", "https://paintingz.com/media/catalog/nation/british.png", "https://paintingz.com/media/catalog/nation/german.png", "https://paintingz.com/media/catalog/nation/german.png", "https://paintingz.com/media/catalog/nation/italian.png", "https://paintingz.com/media/catalog/nation/italian.png", "https://paintingz.com/media/catalog/nation/belgian.png", "https://paintingz.com/media/catalog/nation/belgian.png", "https://paintingz.com/media/catalog/nation/spanish.png", "https://paintingz.com/media/catalog/nation/spanish.png", "https://paintingz.com/media/catalog/nation/austrian.png", "https://paintingz.com/media/catalog/nation/austrian.png", "https://paintingz.com/media/catalog/nation/russian.png", "https://paintingz.com/media/catalog/nation/russian.png", "https://paintingz.com/media/catalog/nation/polish.png", "https://paintingz.com/media/catalog/nation/polish.png", "https://paintingz.com/media/catalog/nation/hungarian.png", "https://paintingz.com/media/catalog/nation/hungarian.png", "https://paintingz.com/media/catalog/nation/swedish.png", "https://paintingz.com/media/catalog/nation/swedish.png", "https://paintingz.com/media/catalog/nation/swiss.png", "https://paintingz.com/media/catalog/nation/swiss.png", "https://paintingz.com/images/facebook-96.png", "https://paintingz.com/images/facebook-96.png", "https://paintingz.com/images/twitter-96.png", "https://paintingz.com/images/twitter-96.png", "https://paintingz.com/images/pinterest-96.png", "https://paintingz.com/images/pinterest-96.png", "https://paintingz.com/images/instagram-96.png", "https://paintingz.com/images/instagram-96.png", "https://paintingz.com/images/youtube-96.png", "https://paintingz.com/images/youtube-96.png", "https://paintingz.com/images/linkedin-96.png", "https://paintingz.com/images/linkedin-96.png", "https://paintingz.com/media/catalog/product/cache/34bbb8696bc90914125c43a0ff3036af/1/6/168382.jpg", "https://paintingz.com/media/catalog/product/cache/34bbb8696bc90914125c43a0ff3036af/1/6/168382.jpg", "https://paintingz.com/media/catalog/product/cache/ef13c17ed3c15917550275772fc3e19e/1/6/168382.jpg", "https://paintingz.com/media/catalog/product/cache/ef13c17ed3c15917550275772fc3e19e/1/6/168382.jpg", "https://paintingz.com/images/repro-1.jpg", "https://paintingz.com/images/repro-1.jpg", "https://paintingz.com/images/repro-2.jpg", "https://paintingz.com/images/repro-2.jpg", "https://paintingz.com/images/repro-3.jpg", "https://paintingz.com/images/repro-3.jpg", "https://paintingz.com/images/repro-4.jpg", "https://paintingz.com/images/repro-4.jpg", "https://paintingz.com/images/repro-5.jpg", "https://paintingz.com/images/repro-5.jpg", "https://paintingz.com/images/repro-6.jpg", "https://paintingz.com/images/repro-6.jpg", "https://paintingz.com/images/repro-8.jpg", "https://paintingz.com/images/repro-8.jpg", "https://paintingz.com/images/repro-7.jpg", "https://paintingz.com/images/repro-7.jpg", "https://paintingz.com/images/repro_vi4.jpg", "https://paintingz.com/images/repro_vi4.jpg", "https://paintingz.com/images/repro_v2.jpg", "https://paintingz.com/images/repro_v2.jpg", "https://paintingz.com/images/repro_v1.jpg", "https://paintingz.com/images/repro_v1.jpg", "https://paintingz.com/images/repro_v3.jpg", "https://paintingz.com/images/repro_v3.jpg" ]	[]	[]	[ "" ]	null	[]	null	Handmade recreation of Adolph Menzel as a Young Man by Friedrich Eduard Meyerheim starts from $208.67. Make sizes from 12 by 14" to very large, with artist-level oil on canvas and frame options.	en	https://paintingz.com/static/version1692154858/frontend/Smartwave/porto_child/en_US/Magento_Theme/favicon.ico		https://paintingz.com/repro-adolph-menzel-as-a-young-man-friedrich-eduard-meyerheim-168382.html	Adolph Menzel as a Young Man is a work by German artist Friedrich Eduard Meyerheim (1808 - 1879). It's one portrait oil on canvas painting created in 1839. The painting is owned by the museum of Alte Nationalgalerie - Staatliche Museen zu Berlin, one of the museums with the most Friedrich Eduard Meyerheim works, and is accessible to the general public. Friedrich Eduard Meyerheim made most paintings about portrait and figure and tableau. For faithful reproductions, our artists will study the oeuvre and techniques of Friedrich Eduard Meyerheim. The original painting of Adolph Menzel as a Young Man is about 14" wide and 17" high. You may customize the painting's size and frame, for décor or gifting, from 12" by 14" to size as huge as a wall. Our artists use oil on canvas by default. You may also request non-oil media. Covet a museum's antique frame? View wood carving frames or request a frame reproduction to go with your Adolph Menzel as a Young Man replica artwork.
666	dbpedia	0	61	https://figurativedrawing.com/figurative_artists_menzel.htm	en	Figurative Artists	https://figurativedrawin…ivedrawingog.jpg	https://figurativedrawin…ivedrawingog.jpg	[ "https://figurativedrawing.com/figurative_drawing_files/m1.jpg.jpg", "https://figurativedrawing.com/figurative_drawing_files/m2.jpg.jpg", "https://figurativedrawing.com/figurative_drawing_files/m3.jpg.jpg", "https://figurativedrawing.com/figurative_drawing_files/m4.jpg.jpg", "https://figurativedrawing.com/figurative_drawing_files/m5.jpg.jpg", "https://figurativedrawing.com/figurative_drawing_files/m6.jpg.jpg", "https://figurativedrawing.com/figurative_drawing_files/m7.jpg.jpg", "https://figurativedrawing.com/figurative_drawing_files/m8.jpg.jpg", "https://figurativedrawing.com/figurative_drawing_files/m9.jpg.jpg", "https://figurativedrawing.com/figurative_drawing_files/m10.jpg.jpg", "https://figurativedrawing.com/figurative_drawing_files/m11.jpg.jpg", "https://figurativedrawing.com/figurative_drawing_files/m12.jpg.jpg", "https://figurativedrawing.com/figurative_drawing_files/m13.jpg.jpg", "https://figurativedrawing.com/figurative_drawing_files/m14.jpg.jpg", "https://figurativedrawing.com/figurative_drawing_files/m15.jpg.jpg", "https://figurativedrawing.com/figurative_drawing_files/m16.jpg.jpg", "https://figurativedrawing.com/figurative_drawing_files/m17.jpg.jpg", "https://figurativedrawing.com/figurative_drawing_files/m18.jpg.jpg", "https://figurativedrawing.com/figurative_drawing_files/m19.jpg.jpg", "https://figurativedrawing.com/figurative_drawing_files/m20.jpg.jpg", "https://figurativedrawing.com/figurative_drawing_files/m21.jpg.jpg", "https://figurativedrawing.com/figurative_drawing_files/m22.jpg.jpg", "https://figurativedrawing.com/figurative_drawing_files/m23.jpg.jpg", "https://figurativedrawing.com/figurative_drawing_files/m24.jpg.jpg", "https://figurativedrawing.com/figurative_drawing_files/m25.jpg.jpg", "https://figurativedrawing.com/figurative_drawing_files/m26.jpg.jpg", "https://figurativedrawing.com/figurative_drawing_files/m27.jpg.jpg", "https://figurativedrawing.com/figurative_drawing_files/m28.jpg.jpg", "https://figurativedrawing.com/figurative_drawing_files/m29.jpg.jpg", "https://figurativedrawing.com/figurative_drawing_files/m30.jpg.jpg", "https://figurativedrawing.com/figurative_drawing_files/m31.jpg.jpg", "https://figurativedrawing.com/figurative_drawing_files/m32.jpg.jpg", "https://figurativedrawing.com/figurative_drawing_files/m33.jpg.jpg", "https://figurativedrawing.com/figurative_drawing_files/m34.jpg.jpg", "https://figurativedrawing.com/figurative_drawing_files/m35.jpg.jpg" ]	[]	[]	[ "" ]	null	[]	null	Figurative Artists, Adolph Menzel's works and biography	en	https://figurativedrawin…e-touch-icon.png	Figurative Drawings	https://figurativedrawing.com/figurative_artists_menzel.htm	MENZEL'S BIOGRAPHY (1815-1905)
666	dbpedia	2	78	https://literal.club/author/adolph-menzel-0yvon	en	Adolph Menzel	https://literal.club/img…raphfallback.png	https://literal.club/img…raphfallback.png	[ "https://assets.literal.club/author/6/cky492n006403090hvkoh7f61r7.jpg?size=300", "https://books.google.com/books/content?id=mCJQAQAAIAAJ&printsec=frontcover&img=1&zoom=1&source=gbs_api", "https://assets.literal.club/2/cky492n006403080hvk0nuuy48b.jpg?size=200", "https://literal.club/img/app-store-logo.png", "https://literal.club/img/play-store-logo.png" ]	[]	[]	[ "" ]	null	[]	null	Literal is the best platform to collectively explore the ideas of the world's greatest authors.		/apple-touch-icon.png?v=eEYRRdggA3		null	Adolph Friedrich Erdmann von Menzel was a German Realist artist noted for drawings, etchings, and paintings. Along with Caspar David Friedrich, he is considered one of the two most prominent German painters of the 19th century, and was the most successful artist of his era in Germany. First known as Adolph Menzel, he was knighted in 1898 and changed his name to Adolph von Menzel.
666	dbpedia	1	95	https://mydailyartdisplay.uk/tag/adolf-menzel/	en	Adolf Menzel – my daily art display	https://s0.wp.com/i/blank.jpg	https://s0.wp.com/i/blank.jpg	[ "https://defaultcustomheadersdata.files.wordpress.com/2016/07/beach1.jpg?resize=1200,280", "https://mydailyartdisplay.uk/wp-content/uploads/2012/03/afternoon-at-the-tuileries-garden-by-adolph-menzel1.jpg?w=840", "https://mydailyartdisplay.uk/wp-content/uploads/2012/03/kunstlerserdenwa00menz_0001.jpg?w=300&h=217", "https://mydailyartdisplay.uk/wp-content/uploads/2012/03/woman-and-child1.jpg?w=840", "https://2.gravatar.com/avatar/b648911dfada1a4c24f384d57eeaec1b66feb78b269303fad84847acbc3f194d?s=49&d=identicon&r=G", "https://s2.wp.com/i/logo/wpcom-gray-white.png", "https://s2.wp.com/i/logo/wpcom-gray-white.png", "https://pixel.wp.com/b.gif?v=noscript" ]	[]	[]	[ "" ]	null	[]	2012-03-17T08:18:49+00:00	Posts about Adolf Menzel written by jonathan5485	en	https://s1.wp.com/i/favicon.ico	my daily art display	https://mydailyartdisplay.uk/tag/adolf-menzel/	The featured artist in My Daily Art Display today is German and is looked upon, along with the artist I featured in my previous blog, Caspar David Friedrich, as one of the most famous and most successful German artists of the nineteenth century. His name is Adolph Friedrich Erdmann von Menzel. Menzel was born in 1815 in Breslau, which is now the Polish city known as Wroclau. His father Carl Erdmann Menzel was originally a school headmaster but when young Menzel was just three years of age he gave up his educational career and started up a lithographic printing works. Adolph Menzel first exhibited a drawing in 1827 when he was only twelve years of age and two years later he exhibited eight lithographs, which were printed in his father’s workshop and which featured the history of Breslau. To gain more business opportunities for his printing company, Menzel’s father moved his family and business to Berlin in 1830 where he knew he was likely to receive more commissions. Adolph Menzel became an apprentice in his father’s firm and at the age of seventeen took over the running of the company when his father suddenly died. His mother and siblings now looked upon Adolph as the family breadwinner. In 1833, aged 18 Menzel enrolled at the Berlin Königliche Akademie der Künste where he met the wallpaper manufacturer, Carl Heinrich Arnold, who would not only become Menzel’s close friend but would furnish him with a large number of commissions. His reputation as an artist and illustrator grew after he had completed a commission for the art dealer and publisher, Louis Sachse, to create a number of lithographs for the German writer, Goethe, for his book Künstlers Erdenwallen. It was not until 1837 that von Menzel started to paint in oils. His speciality subject for his paintings was the life and events surrounding Friedrich the Great and in 1839 he was commissioned to illustrate a book, Geschichte Friedrichs des Großen (History of Friedrich the Great) written by Franz Kugler, a Prussian cultural administrator and art historian. In a three year period 1839 to 1842 Menzel produced over 400 drawings. It was not until the 1850’s that von Menzel started to travel extensively, visiting Vienna, Prague and Dresden. It was also in 1855 that he made his first visit to Paris where he attended the inaugural Exposition Universelle, the first World Fair to be held in the capital. It was held in the specially built building, Palais de l’Industrie, which overlooked the Champs-Elysées. Whilst there, von Menzel, was able to study not only the industrial exhibits but also the art exhibits on display by French artists such as Gustave Courbet. Eleven years later von Menzel returned to Paris to attend the second Exposition Universelle in 1867 and it was during this stay in the French capital that he visited the Tuileries Gardens which is the subject for today’s painting. That same year he was decorated with the “Cross of the Légion d’honneur by Napoleon III for his service to the arts. By the 1880’s von Menzel had established his international reputation as an artist and lithographer. In 1884 the Nationalgalerie in Berlin held the first major retrospective of von Menzel’s work to commemorate the 50th anniversary of his career as an artist. In 1890, aged 70, he was given an honorary doctorate from Berlin University. He was bestowed with many other honours. He was made an honorary citizen of both Breslau and Berlin and made a member of both the Royal Academy of London and a member of the Akadémie des Beaux Arts, the Paris Academy. His greatest honour came in 1898 when he became the first artist to be admitted to the Order of the Black Eagle as a Knight, the highest order of chivalry in the Kingdom of Prussia. Adolph von Menzel died in Berlin in 1905, aged 89. My Daily Art Display featured painting today is entitled Afternoon at the Tuileries Garden by Adolph Menzel. He painted it in 1867 and now hangs in the National Gallery, London. It was following Menzel’s 1867 trip to Paris that he returned to his studio in Berlin with many sketches of the Tuileries Gardens, which lay across from the Louvre. He had become interested in painting scenes set in areas where society people pretentiously paraded and whilst in Paris was fascinated with the bustling social goings-on within the Gardens. The subject matter of his paintings were at this time often depicting bourgeois society and he, because of his fame as an artist, lived the lifestyle of this very grand bourgeois. Menzel’s painting is filled with detail and exudes a great deal of realism. What I like about the works is that with so much going on in the painting your eyes flick from one group to another and every time you look at it your eyes focus on something different. I like the number of separate vignettes taking place. Let your eye wander up the centre of the painting and observe the little chubby girl being dragged off by the woman in blue. How often have we seen that! Dogs abound, in some cases having territorial disputes whilst the adults try their best to ignore such distractions and have only one thing in mind – to look their best! When the painting was first exhibited Menzel was at pains to tell everybody that it was done from his memories of his recent visit to the French capital. Was it a work just from memory or was there something else which prompted Menzel to depict such a scene? In my next blog I will give you another possible motivation for Menzel’s depiction of the Tuileries Garden. Notwithstanding what inspired Menzel to paint this lively event, which is buzzing with activity, it is a fascinating work of art. I stood before it the other day and I was mesmerised by what I was looking at and as I said the other day, when talking about Caspar David Friedrich’s Winter Landscape, I was so pleased I had visited Room 41 of the gallery. The next time you visit the National Gallery; don’t forget to pay that particular room a visit. I guarantee you will not be disappointed.
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"https://upload.wikimedia.org/wikipedia/en/thumb/4/4a/Commons-logo.svg/30px-Commons-logo.svg.png", "https://upload.wikimedia.org/wikipedia/en/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/10px-OOjs_UI_icon_edit-ltr-progressive.svg.png", "https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?type=1x1", "https://en.wikipedia.org/static/images/footer/wikimedia-button.svg", "https://en.wikipedia.org/static/images/footer/poweredby_mediawiki.svg" ]	[]	[]	[ "" ]	null	[ "Contributors to Wikimedia projects" ]	2005-02-18T04:58:20+00:00		en	/static/apple-touch/wikipedia.png		https://en.wikipedia.org/wiki/Adolph_Menzel	German artist (1815–1905) Adolph Friedrich Erdmann von Menzel (8 December 1815 – 9 February 1905) was a German Realist artist noted for drawings, etchings, and paintings. Along with Caspar David Friedrich, he is considered one of the two most prominent German painters of the 19th century,[1] and was the most successful artist of his era in Germany.[2] First known as Adolph Menzel, he was knighted in 1898 and changed his name to Adolph von Menzel. His popularity in his native country, owing especially to his history paintings, was such that few of his major paintings left Germany, as many were quickly acquired by museums in Berlin.[3] Menzel's graphic work (and especially his drawings) were more widely disseminated; these, along with informal paintings not initially intended for display, have largely accounted for his posthumous reputation.[2] Although he traveled in order to find subjects for his art, to visit exhibitions, and to meet with other artists, Menzel spent most of his life in Berlin, and was, despite numerous friendships, by his own admission detached from others.[4] It is likely that he felt socially estranged for physical reasons alone—he had a large head, and stood about four foot six inches (137 cm).[4][5] Biography [edit] Career [edit] Menzel was born to German parents in Breslau, Prussian Silesia (now Wrocław, Poland), on 8 December 1815.[6] His father was a lithographer and intended to educate his son as a professor, but did not thwart his taste for art. After resigning his teaching post, Menzel senior set up a lithographic workshop in 1818. In 1830 the family moved to Berlin, and in 1832 Adolph was forced to take over the lithographic business on the death of his father. In 1833, he studied briefly at the Berlin Academy of Art, where he drew from plaster casts and ancient sculptures; thereafter Menzel was self-taught.[4] Louis Friedrich Sachse [de] of Berlin published his first work in 1833, an album of pen-and-ink drawings reproduced on stone, to illustrate Goethe's little poem, Kunstlers Erdenwallen. He executed lithographs in the same manner to illustrate Denkwürdigkeiten aus der brandenburgisch-preussischen Geschichte; The Five Senses and The Prayer, as well as diplomas for various corporations and societies. From 1839 to 1842, he produced 400 drawings, largely introducing to Germany the technique of wood-engraving, to illustrate the Geschichte Friedrichs des Grossen (History of Frederick the Great) by Franz Kugler. He subsequently brought out Friedrichs der Grossen Armee in ihrer Uniformirung (The Uniforms of the Army under Frederick the Great), Soldaten Friedrichs der Grossen (The Soldiers of Frederick the Great); and finally, by order of King Frederick William IV, he illustrated the works of Frederick the Great, Illustrationen zu den Werken Friedrichs des Grossen (1843–1849). The artist had a deep sympathy for the Prussian king. In one of his letters to Johann Jakob Weber, he said that it was his intention to represent the monarch as a man who was both hated and admired—simply as he was, in other words, as a man of the people.[8] Through these works, Menzel established his claim to be considered one of the first, if not actually the first, of the illustrators of his day in his own line. Menzel's fame came from his illustrations of the 18th-century Prussian monarch, Frederick the Great. As well as dedication to adding historical accuracy and attention to detail. Menzel also made sure to do research on the items he was painting.[10] From 1840 and onward Menzel became admirable for his small paintings and drawings. In which he depicted his unconventional ideas.[11] In the meantime, Menzel had also begun to study, unaided, the art of painting, and he soon produced a great number and variety of pictures. His paintings consistently demonstrated keen observation and honest workmanship in subjects dealing with the life and achievements of Frederick the Great, and scenes of everyday life, such as In the Tuileries, The Ball Supper, and At Confession. Among those considered most important of these works are Iron Rolling Mill (1872–1875) [12] and The Market-place at Verona. When invited to paint The Coronation of William I at Koenigsberg, he produced an exact representation of the ceremony without regard to the traditions of official painting. During Menzel's life, his paintings were appreciated by Otto von Bismarck and William I, and after his death they were appropriated for use as electoral posters by Adolf Hitler.[2] If these historical illustrations anticipated the qualities of early Impressionism,[14] it is paintings such as The French Window and The Palace Garden of Prince Albert, both painted in the mid- 1840s, that now appeal as "among the most freely observed of mid-nineteenth century images."[15] Such genre paintings evidence associations with French and English art. Though he was primarily an excellent draughtsman, art historian Julius Meier-Graefe considered him to be a "proto-impressionist" painter, whose graphic work hindered his painterly potentials.[16] Private drawings and watercolors made of dead and dying soldiers in 1866 on the battlefields of the Austro-Prussian War are unsparing in their realism, and have been described by art historian Marie Ursula Riemann-Reyher as "unique in German art of the time."[17] Later years [edit] The paintings which were available to the public garnered recognition not only within Germany, but from the French avant-garde as well: Edgar Degas admired and copied his work, calling him "the greatest living master",[18] and Louis Edmond Duranty wrote of his art: In a word, the man is everywhere independent, sincere, with sure vision, a decisive note that can sometimes be a little brutal....While being perfectly healthy he has the neurosis of truthfulness....The man who has measured with a compass the buttons on a uniform from the time of Frederick, when it is a matter of depicting a modern shoe, waistcoat, or coiffure, does not make them by approximations but totally, in their absolute form and without smallness of means. He puts there everything that is called for by the character (of the object). Free, large, and rapid in his drawing, no draftsman is as definitive as he.[19] Notwithstanding Menzel's professed estrangement from others, his renown entailed social obligations, and in the 1880s the poet Jules Laforgue described him as "no taller than a cuirassier-guard's boot, bedecked with pendants and orders, not missing a single one of these parties, moving among all these personages like a gnome and like the greatest enfant terrible for the chronicler."[20] In Germany he received many honors, and in 1898 became the first painter to be admitted to the Order of the Black Eagle; by virtue of receiving the Order, Menzel was raised to the nobility, becoming "Adolph von Menzel". He was also made a member of the Académie des Beaux-Arts in Paris and the Royal Academy in London. After his death in 1905 in Berlin, his funeral arrangements were directed by the Kaiser, who walked behind his coffin.[21] Exhibitions (selection) [edit] "Adolph Menzel 1815–1905. Das Labyrinth der Wirklichkeit", Nationalgalerie (National Gallery) and Kupferstichkabinett (Museum of Prints and Drawings), Staatliche Museen zu Berlin – Preußischer Kulturbesitz, 7 Feb – 11 May 1997[22] "Menzel. Maler auf Papier", Kupferstichkabinett (Museum of Prints and Drawings), Staatliche Museen zu Berlin – Preußischer Kulturbesitz, 20 September 2019 – 19 January 2020.[23] World War II [edit] Several important works by Menzel were seized, sold by force or under duress during the Nazi period. Some of these have been restituted in the 21st century. [24] In 2014, the Menzel's Stehende Rüstungen (1886) ("Standing Suits of Armour" or "Armoury Fantasy"[25]) was restituted by the Albertina Museum in Vienna to the heirs of Adele Pächter, who was murdered at the Theresienstadt concentration camp.[26] In 2015, the Menzel pastel "Lady with a Red Blouse" was restituted to the heirs of Erna Felicia and Hans Lachmann-Mosse.[27] [28] Oskar Reinhart had purchased the pastel from the art dealer Fritz Nathan in Munich in 1934 and donated it to the Foundation in 1940.[29] Others have been claimed but not restituted.[30] Also in 2015 the Dutch Limbach Commission refused a restitution request for the Menzel painting "A Weekday in Paris" which had belonged to the Jewish banker Georges Behrens.[31] [32] In 2017 Germany's Culture Minister Monika Gruetter returned Menzel's Interior of a Gothic Church to the heirs of Elsa Cohen who, persecuted by the Nazis because Jewish, sold it to Hitler's art dealer Hildebrand Gurlitt in 1938. It was rediscovered in the art stash of his son, Cornelius Gurlitt.[33] The German Lost Art Foundation lists numerous Menzel artworks on its website.[34] In pop culture [edit] Menzel and an exhibition of his art plays a pivotal role in the HBO series The Gilded Age, Season 2 Episode 3.[1] Gallery [edit] Building Site with Willows, 1846 Living Room with the Artist's Sister, 1847 The Bedroom of the Artist in the Ritterstraße, 1847 Study of a Man with a Ruff Collar, ca 1850 Frederick II at Hochkirch, 1856 Students illuminated procession, 1859 Coronation of Wilhelm I, 1865 Weekday in Paris, 1869 Studio Wall, 1872 Supper at the Ball, 1878 Fronleichnamsprozession in Hofgastein, 1880 At the Beer Garden, 1883 Japanese Artist at Work, 1886, graphite on paperboard, National Gallery of Art Notes [edit] Selected bibliography [edit] Karl Scheffler, Adolf Menzel: Der Mensch, das Werk. Berlin: Cassirer, 1915. Elfried Bock, Adolph Menzel: Verzeichnis seines graphischen Werkes. Berlin: Amsler & Ruthardt, 1923. Werner Schmidt, Adolf Menzel: Zeichnungen Verzeichnis und Erläuterungen. National-Galerie, Staatliche Museen, Berlin, 1955. Ulrich Bischoff, Jens Christian Jensen, Richard Hoppe-Sailer, Wulf Schadendorf, Johann Schlick, Jürgen Schultze, Adolph Menzel: Realist – Historist – Maler des Hofes. Exhibition catalog. Schweinfurt: Weppert, 1981. Gisela Hopp, Eckhard Schaar, Werner Hofmann, eds., Menzel – der Beobachter. Exhibition catalog. Munich: Prestel, 1982. Jost Hermand, Adolph Menzel mit Selbstzeugnissen und Bilddokumenten (Rowohlts Monographien, vol. 361). Reinbek bei Hamburg: Rowohlt, 1986. Gisold Lammel, Adolph Menzel. Frideriziana und Wilhelmiana. Dresden: Verlag der Kunst, 1987. Claude Keisch and Marie Ursula Riemann-Reyher, eds.: Adolph Menzel 1815–1905: Between Romanticism and Impressionism. London and New Haven: Yale University Press, 1996. Michaela Diener, „Ein Fürst der Kunst ist uns gestorben“: Adolph von Menzels Nachruhm im Kaiserlichen Deutschland (1905–1910). Regensburg: Roderer, 1998. Hubertus Kohle, Adolph Menzels Friedrichbilder: Theorie und Praxis der Geschichtsmalerei im Berlin der 1850er Jahre. Munich and Berlin: Deutscher Kunstverlag, 2001. Christina Grummt, Adolph Menzel – zwischen Kunst und Konvention, die Allegorie in der Adressenkunst des 19. Jahrhunderts. Berlin: Reimer, 2001. Michael Fried, Menzel's Realism: Art and Embodiment in Nineteenth-Century Berlin. London and New Haven: Yale University Press, 2002. Jens Christian Jensen, Adolph Menzel. Cologne: DuMont, 2003. Werner Busch, Adolph Menzel: Leben und Werk. Munich: Beck, 2004. Bernhard Maaz, ed., Adolph Menzel radikal real. Munich: Hirmer, 2008. Werner Busch, Adolph Menzel: Auf der Suche nach der Wirklichkeit. Munich: Beck, 2015. Anja Grebe, Menzel, Maler der Moderne. Berlin: Verlag Eisengold, 2015. Claudia Czok, "Menzel, Adolph (Adolph Friedrich Erdmann von)", in De Gruyter: Allgemeines Künstlerlexikon: Die Bildenden Künstler aller Zeiten und Völker, vol. 89. Berlin and Boston: De Gruyter, 2016, pp. 117–121. References [edit] Busch-Salmen, Gabriele (2003). "Adolf Menzels 'Flötenkonzert Friedrich der Großen in Sanssouci': Ein vertrautes Gemälde, 150 Jahre nach seiner Fertigstellung neu gesehen". Music in Art: International Journal for Music Iconography. 28 (1–2): 127–146. ISSN 1522-7464. Eisler, Colin. Masterworks in Berlin: A City's Paintings Reunited. Bulfinch, 1996. ISBN 0-8212-1951-0 Fried, Michael. Menzel's Realism: Art and Embodiment in Nineteenth-Century Berlin. London and New Haven: Yale University Press, 2002. ISBN 0-300-09219-9 Keisch, Claude, et al. Adolph Menzel 1815–1905: Between Romanticism and Impressionism. London and New Haven: Yale University Press, 1996. ISBN 0-300-06954-5 This article incorporates text from a publication now in the public domain: Chisholm, Hugh, ed. (1911). "Menzel, Adolph Friedrich Erdmann von". Encyclopædia Britannica. Vol. 18 (11th ed.). Cambridge University Press. pp. 146–147.
666	dbpedia	3	75	https://www.passport-collector.com/adolph-von-menzel-diplomatic-passport-1842/	en	Adolph von Menzel - Diplomatic passport 1842	https://www.passport-col…el-1852small.jpg	https://www.passport-col…el-1852small.jpg	[ "https://www.passport-collector.com/wp-content/uploads/PPC-Logo-e1698066136918.png", "https://www.passport-collector.com/wp-content/uploads/Header.webp", "https://www.passport-collector.com/wp-content/uploads/PPC-Logo-mobile.png", "https://www.passport-collector.com/wp-content/uploads/Header_new.png", "https://www.passport-collector.com/wp-content/uploads/Menzel-1853.jpg", "https://www.passport-collector.com/wp-content/uploads/A-Menzel-1852.jpg", "https://www.passport-collector.com/wp-content/uploads/PAAA-Solf_2926b025d10cc62acfcc40a2b650cc3e.jpg", "https://www.passport-collector.com/wp-content/uploads/UK-1869-visas-wallet-017-300x225.jpg", "https://www.passport-collector.com/wp-content/uploads/DDR1990-10-300x185.jpg", "https://www.passport-collector.com/wp-content/uploads/USA-Munich-1949-Jap-American-006-266x300.jpg", "https://www.passport-collector.com/wp-content/uploads/Screenshot-2023-10-17-115312.jpg", "https://www.passport-collector.com/wp-content/uploads/US-Consul-Behr-Appointment-credentials-Berlin-1911-Huntington-Wilson-001.jpg" ]	[]	[]	[ "" ]	null	[ "T T" ]	2021-05-26T22:55:25+00:00	Adolph von Menzel - Diplomatic passport 1842. To spot travel documents of such significant figures of German (passport) history is rare.	en	https://www.passport-col…x512-1-32x32.png	Passport-collector.com	https://www.passport-collector.com/adolph-von-menzel-diplomatic-passport-1842/	Adolph Friedrich Erdmann von Menzel (8 December 1815 – 9 February 1905) was a German Realist painter and etchings artist. He is regarded as one of the two most influential German painters of the nineteenth century, alongside Caspar David Friedrich, and was the most prolific artist of his period in Germany. He was born Adolph Menzel and changed his name to Adolph von Menzel after being knighted in 1898. Adolph Menzel Diplomatic Passport To spot travel documents of such significant figures of German (passport) history is truly rare. The city museum of Berlin has this document in its archive. The document you see here is his diplomatic passport issued on Few of his major paintings left Germany, as many were quickly acquired by museums in Berlin, owing to his popularity in his native country, owing particularly to his history paintings. Menzel’s graphic work (particularly his drawings) was more widely distributed, and these, along with informal paintings not intended for public display, have largely contributed to his posthumous fame. Adolph Menzel Diplomatic Passport Menzel spent the majority of his life in Berlin, despite several friendships, and was, by his own admission, distant from others. He traveled to find subjects for his paintings, to attend galleries, and to meet with other artists. Menzel had a big head and stood about four foot six inches tall, so it’s possible he felt socially isolated for physical reasons alone. Adolph Menzel Diplomatic Passport During the Nazi era, many important works by Menzel were confiscated, sold forcibly, or under duress. In the twenty-first century, some of these have been restored. The pastel “Lady with a Red Blouse” by Menzel was returned to Erna Felicia and Hans Lachmann-heirs Mosse’s in 2015. Others have been claimed but not returned to their rightful owners. A restitution appeal for the Menzel painting “A Weekday in Paris,” which had belonged to Jewish banker Georges Behrens, was also denied by the Dutch Limbach Commission in 2015. On its website, the German Lost Art Foundation lists a number of Menzel works. Adolph Menzel Diplomatic Passport Passport history, vintage passport collector, collectible documents, travel history, i94 travel history, passport collection, passport, diplomatic passport, passport office, famous people passports, celebrity passports, vintage passport, travel document, vintage passports for sale, old passports for sale, value of old passports, Reisepass, Reisepasskosten, passport fees,
666	dbpedia	1	83	https://ivypanda.com/essays/flute-concert-with-frederick-the-great-in-sanssouci-painting-by-adolph-menzel/	en	"Flute Concert..." Painting by Adolph Menzel - 831 Words	https://ivypanda.com/out…/jpg/ogimage.jpg	https://ivypanda.com/out…/jpg/ogimage.jpg	[ "https://ivypanda.com/essays/wp-content/uploads/slides/202/202289/flute-concert-with-frederick-the-great-in-sanssouci-painting-by-adolph-menzel-page1.webp", "https://ivypanda.com/essays/wp-content/uploads/slides/202/202289/flute-concert-with-frederick-the-great-in-sanssouci-painting-by-adolph-menzel-page2.webp" ]	[]	[]	[ "" ]	null	[ "IvyPanda" ]	2022-11-23T00:00:00	Adolph Menzel in his "Flute Concert with Frederick the Great in Sanssouci" manages to render the emotional impact of music impeccably, creating a sense of grandeur.	en	/favicons/favicon.svg	IvyPanda	https://ivypanda.com/essays/flute-concert-with-frederick-the-great-in-sanssouci-painting-by-adolph-menzel/	Visual art is one of the most easily perceived and understood modes of aesthetic expression due to the accessibility of the medium and the vast opportunities for using both cultural shorthand and nuanced visual techniques to represent specific ideas. Remarkably, even though being quite still, the art of painting is perfectly capable of capturing the beauty and elegance of movements due to a combination of various artistic techniques. However, rarely does the visual medium manage to convey the emotional impact of music since capturing sound as an extremely elusive phenomenon is barely impossible in a painting. Nevertheless, Adolph Menzel in his “Flute Concert with Frederick the Great in Sanssouci” manages to render the emotional impact of music impeccably, creating the sense of grandeur that the concert represented and encapsulating the emotional power of the musical piece itself with the help of an exquisite use of value, space, and color. The remarkable use of value is the most evident and remarkable part of the painting. Instead of shedding light on the entire scene, Menzel places the performer in the limelight while keeping the audience and the rest of the room in the shadow. While obviously simple, the specified idea adds to the mystery of the painting, as well as its solemn atmosphere, therefore, conveying the significance of the performance to the viewer. Indeed, delving into the history of the painting and researching the authors’ intent, one will realize that the specified art piece is supposed to represent a music lesson for a member of the royal family. Therefore, the use of the chiaroscuro technique as the tool for creating a solemn and ceremonious setting is completely justified. Moreover, placing the performer in the focus of the painting, Menzel introduced a special meaning into his painting, outlining not only his role in the performance but also his emotions and character. Specifically, the artist’s focus on the performance and his fascination with music leap out of the picture. The lighting in the picture also helps to emphasize his pose, namely, the fact that it is not stiff but, instead, lively and flexible. As a result, the painting gains the ability to represent motion, which helps the artist to move beyond the boundaries set by the chosen medium and portray the beauty of movement as well. Likewise, the use of space is worth noticing as one of the essential tools that Menzel used to express the conveyed emotion and focus on the performer’s fascination with music. While the background of the picture is quite cluttered, with the entire audience being shifted to the sides of the painting, the scene at the forefront is quite spacious. The use of space in the center of the painting allows it to breathe and creates the additional impression of grandeur and scale of the picture. Thus, the magnificence of the environment is amplified, and the overall significance of the performer’s work is reinforced. Finally, the way in which color is integrated into the painting is worth discussing. Painted in warm yellow and brown colors, the picture becomes especially festive and solemn. The use of red color to mark several spots in the picture could be seen as random at first, yet further analysis will show that the specified choice has clear reasoning behind it. Namely, the application of warm and deep red colors into the art piece completes the composition, contrasting with the dark and almost black elements of it. As a result, the painting gains an additional sense of coziness that, combined with the overall grandeur and solemn atmosphere, makes the painting unique. The lack of blue colors allows enhancing this sense of warmth and coziness that the painting conveys, which is further emphasized by the prevalence of yellow colors in the picture. Moreover, the location of the specified colors within the general color scheme helps to complete the painting and shape it into a unique structure. Namely, with yellow colors being placed in the center of the picture, blue ones framing it from the sides, and red ones marking several spots to create a unique pattern, the picture stops being a still, unmovable image and, instead, gains the sense of motion and a clear plot. Thus, Menzel manages to create an art piece that combines motion and sound, recreated with the masterful use of various painting techniques. By introducing the effective use of chiaroscuro combined with exquisite and energetic brushstrokes, as well as the presence of warm colors and the use of space to reinforce the impression of grandeur and scale, Adolph Menzel managed to capture the emotional power of a musical performance in his “Flute Concert with Frederick the Great in Sanssouci.” The painting encapsulates the magic of a music performance perfectly, representing its mystery and the effort that an artist puts into creating music. With its solemn and festive atmosphere, the painting transports the viewer to a different time, portraying the culture and traditions of the bygone era and, thus, offering a unique emotional experience.
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666	dbpedia	0	98	http://illustrationart.blogspot.com/2016/09/adolph-menzel-via-jim-gurney.html	en	ILLUSTRATION ART: ADOLPH MENZEL via JIM GURNEY	https://blogger.googleus…el+sketch020.jpg	https://blogger.googleus…el+sketch020.jpg	[ "http://4.bp.blogspot.com/-LYJM__hoXmY/V65_COObhxI/AAAAAAAAQrI/xoERrqcOFg0sRf7DQ6xzFxlQAnTf-RbBACK4B/s1600/illustrationarthead2.png", "https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpa37I2cF2MGkk08iBR7bZOx_g5quxrsC4xlvGdFxC5fPqaN83Qbic8pyzqqaPGG9qiuHh2IMwu45lFsNMIZM3G6izsFoOtZ4_TqzsGe16HSFXhUFRSjh_yoY6iWFtVyeJpcGQ/s640/Menzel+sketch020.jpg", "https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGNFFWGYBli-imUfWGz3C8WCQH3rAvgWICBfYcySGKRrRWZcIqdqbfcdQMNVVmh8U1xdYxbJnSuiWnldwOCgS88zT5kAmt7uWGIeKJO8dIGEADKkQ49NZ-Wm9vnWGgFSnue2CQ/s640/Menzel+factory+sketch021.jpg", "https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2DlbvZ6BOnbkpVQuZDMBNa6FixcoS4rA37X-xxQsbF8giLz0Z_6ukry8NUpbFPgnzPHNsIR0NvK1U6Oy4zEcpshFeI1VQPvnW-NTO7auwqrKutEq8wyaafadWRxFJbSmHyeJ8/s640/Menzel+Man+on+toilet.jpg", "https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeATDLtPlh5aXOA-x-M-5grJR59fAFCQn4-ADpPeIZYoa0jTwQZKn-7RDGjPKek23eaNTFLJ_HGta5tONIc6ety3A7scCORw33e5nfWHIhe6OC-NQAlN-899KdyFA7qG6AeGT_/s1600/Menzel+generals+017.jpg", "https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-loeezhq3Fur0mlMW2ZcJjPEvGpm_6OksOJZatUiwntzx57KnQUuk4E8ZC0iCu0V_leEuzUfnLvVDRfufcRf8MVPtghDk7JLbo95xFK0j2jApJiuVCxWf18AgS3wPx-0XKJYj/s640/Menzel+sketch018.jpg", "https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtZz_qkAwcCGf9vT7B9O7yF8-emb8Qb2vyptfaYsCmEbuEjKNBIo5lzDnjKdsVz4q3b06V-MErPmHlATSeKGLRif23Jw-aFmrbq-ef7wy8cKCRybNTT4Tke7TV6zAcrUhyphenhyphenfh8h/s640/Menzel+sketch019.jpg", "https://resources.blogblog.com/img/blank.gif", "http://4.bp.blogspot.com/_Eiwce13X738/SaqEDNqXJnI/AAAAAAAAGFk/4A_1BY-cO-Q/S45-s35/GurneyPortrait%2Bcopy.jpg", "https://resources.blogblog.com/img/icon_delete13.gif", "https://resources.blogblog.com/img/blank.gif", "http://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQ6AGm5i30ex6Nsff7Tv0I9GAS4frQXWb5wXEWCL642mQYy4oTvuVD9nxZl_0Vu7yGnL_4gwIfX5Er9swi4ocsY9ctUO2E-ZpITYjDpJoIZdJ61zqDYWG6CWlSqBZn3g/s45-c/avatar.jpg", "https://resources.blogblog.com/img/icon_delete13.gif", "https://resources.blogblog.com/img/blank.gif", "http://4.bp.blogspot.com/-Ukd9cOIEmQs/ZZGhUyHRzXI/AAAAAAAAANc/Zgf3ey0iDPMPprZ233YKQN3E1OIo48QXwCK4BGAYYCw/s35/PS8-02595.jpg", "https://resources.blogblog.com/img/icon_delete13.gif", "http://www.blogger.com/img/blogger_logo_round_35.png", "https://resources.blogblog.com/img/icon_delete13.gif", "http://resources.blogblog.com/img/blank.gif", "https://resources.blogblog.com/img/icon_delete13.gif", "http://www.blogger.com/img/blogger_logo_round_35.png", "https://resources.blogblog.com/img/icon_delete13.gif", "http://resources.blogblog.com/img/blank.gif", "https://resources.blogblog.com/img/icon_delete13.gif", "http://resources.blogblog.com/img/blank.gif", "https://resources.blogblog.com/img/icon_delete13.gif", "http://resources.blogblog.com/img/blank.gif", "https://resources.blogblog.com/img/icon_delete13.gif", "http://www.blogger.com/img/blogger_logo_round_35.png", "https://resources.blogblog.com/img/icon_delete13.gif", "https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQZlyPDy97q7URgRv_W-H3RVXwnUlpcFKHKVbw10o7r3fgPLK6TzDvFekeEekRAmAWnYe-XoOoCxJtonMYOdAMTjtKE2vovJe1XlZLq_sO7HlDZ55rWVWeHiQUCDt6mNqabrrVMgzfLIYVetmlngYQmjFcJSCaRzV3piVyjDHMW87deevADK3z/w72-h72-p-k-no-nu/Ward%20life%20drawing%20for%20blog%20IMG_7774%204.tif", "https://lh3.googleusercontent.com/blogger_img_proxy/AEn0k_uJGqmB8HML16XDGt1hBwxPSwAea5VbSGaUc05SguE4X4hGC2ZtDXSXVWJwLOIjo-zzDiuAI0hWWOpzURiX9MMqRgLMHJ0Y72pbcJ9lXPRZ6bYGfpCMeHK9LQ=w72-h72-p-k-no-nu", "https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgit1TLAXrRfo5WMkd966Uf_XiZIHraHQdr8gxDbpK7ekcpDko76yyFT_A6fe1ZM23zMc-1zIPKxfGQF2bD9_8cpea1ei_Rt-Vh0iaFMg-WQoicKT_xp6DG9EZ0Tj7JFhIvPBiG9PCxYnui3DDkutJf2W25UlxeKddQLnkQP1Dm4iI6IDeelOq8/w72-h72-p-k-no-nu/Sheppard%20Iris%20sleeping%20in%20chair,%20artist%20sketching%20(CS).tif" ]	[]	[]	[ "" ]	null	[ "David Apatoff", "View my complete profile" ]	null	James Gurney is one of the most visually insatiable artists I've met. He is famously productive-- he draws and paints all the damn time. I...		http://illustrationart.blogspot.com/favicon.ico		http://illustrationart.blogspot.com/2016/09/adolph-menzel-via-jim-gurney.html
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"https://d7hftxdivxxvm.cloudfront.net?quality=80&resize_to=width&src=https%3A%2F%2Ffiles.artsy.net%2Fimages%2Funiversal-footer_april-14_cropped.jpg&width=725", "https://d7hftxdivxxvm.cloudfront.net?quality=80&resize_to=width&src=https%3A%2F%2Ffiles.artsy.net%2Fimages%2Funiversal-footer_april-14_cropped.jpg&width=1220" ]	[]	[]	[ "" ]	null	[]	null	Discover and purchase Adolph Menzel’s artworks, available for sale. 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666	dbpedia	1	17	https://www.19thc-artworldwide.org/spring11/menzels-extreme-realism	en	Menzel’s Extreme Realism	https://www.19thc-artworldwide.org/templates/purity_pearlspine/favicon.ico	https://www.19thc-artworldwide.org/templates/purity_pearlspine/favicon.ico	[ "https://www.19thc-artworldwide.org/templates/purity_pearlspine/local/images/printButton.png", "https://www.19thc-artworldwide.org/templates/purity_pearlspine/local/images/emailButton.png", "https://www.19thc-artworldwide.org/templates/purity_pearlspine/local/images/PDF_icon.png", "https://www.19thc-artworldwide.org/templates/purity_pearlspine/local/images/share_icon.png", "https://www.19thc-artworldwide.org/images/resized/images/stories/spring_11/reviews/roor01_160_100.jpg", "https://www.19thc-artworldwide.org/images/resized/images/stories/spring_11/reviews/roor02_160_108.jpg", "https://www.19thc-artworldwide.org/images/resized/images/stories/spring_11/reviews/roor03_115_172.jpg", "https://www.19thc-artworldwide.org/images/resized/images/stories/spring_11/reviews/roor04_140_136.jpg", "https://www.19thc-artworldwide.org/images/resized/images/stories/spring_11/reviews/roor05_135_163.jpg", "https://www.19thc-artworldwide.org/images/resized/images/stories/spring_11/reviews/roor06_160_100.jpg", "https://www.19thc-artworldwide.org/images/resized/images/stories/spring_11/reviews/roor07_150_112.jpg", "https://i.creativecommons.org/l/by-nc/4.0/80x15.png" ]	[]	[]	[ "" ]	null	[ "Sietske Roorda" ]	null	Founded in 2002, Nineteenth-Century Art Worldwide is a scholarly, refereed e-journal devoted to the study of nineteenth-century painting, sculpture, graphic art	en	/templates/purity_pearlspine/favicon.ico		null	Alte Nationalgalerie, Berlin June 11 – August 8, 2010 That the exhibition Menzel's Extreme Realism should have taken place in the Alte Nationalgalerie (Old National Gallery) in Berlin seems obvious. The museum was designed at the beginning of the nineteenth century as a venue for contemporary German artists. (fig. 1) In his own time, Adolph Menzel (1815–1905) was recognized as a great artist, and in 1895, there was an exhibition in the Alte Nationalgalerie in honor of his eightieth anniversary.[1] The museum also holds a great number of Menzel's paintings in its permanent collection. Menzel began painting in the mid-1840s, depicting his surroundings, objects and views from his window. Later he took on grand subjects and events, for example Departure of King William I for the Army, 31 July 1870 (1871). He also took on historical subjects and made himself an expert on the life of the Prussian King Frederick the Great (1792–1786) the subject of several large-scale canvases.[2] In recent years, not a lot of attention has been paid to Menzel, certainly not in comparison with his nineteenth century German colleague, Caspar David Friedrich. Although Menzel is best known as a painter, he started out as an engraver in the lithography workshop of his father, which he took over when he was only sixteen-years-old after the death of his father. In 1833 Menzel attended the Berlin Academy of Art for a short period, but soon gave it up and taught himself.[3] His background as an illustrator and engraver made him an excellent draftsman, able to capture and visualize objects with such detail and precision. Menzel drew all his life and this is one of the aspects of his work that became clear at the exhibition, which featured his drawings, sketches and small-scale oil paintings from the Kupferstichkabinett in Berlin. In contrast, it seems highly improbable that the Alte Nationalgalerie would be a venue of the 6th Berlin Biennial of Contemporary Art, nor would it seem likely that Adolph Menzel's work would be represented in the biennial next to the works of contemporary artists. Still, it was the curator of the 6th Berlin Biennial, Katrin Rhomberg, who initiated this cooperation between the Alte Nationalgalerie and the Berlin Biennial. However surprising it seems that Adolph Menzel was included, Rhomberg mentions that Menzel's art was in line with her ideas on the theme of the biennial: "what is waiting out there." According to Rhomberg, reality is always subject to being mere illusion, mere staging, and yet, there is a tendency to cling to it as a seemingly indispensible idea, and there is an ongoing search for authenticity and purity.[4] A lot of the contemporary art that was exhibited at the Biennial focused on different aspects of society, usually in video art, that made the Biennial an overview of the artist's perspective on the outside world from within the framework of the art world. However unlikely the cooperation between the Alte Nationalgalerie and the Berlin Biennial seemed, it opened up possibilities to approach and experience the exhibition in two different ways. It can be viewed as a dialogue with the permanently exhibited work of Adolph Menzel in the Alte Nationalgalerie, but also as part of the 6th Berlin Biennial, which focused on how artists deal with the concept of reality from within the art world. The more obvious way of experiencing the exhibition would be as an addition to the permanent collection. The Menzel exhibition was installed in one of the grand neo-classical halls of the Alte Nationalgalerie, which usually displays many of Menzel's grand paintings of Frederick the Great. (fig. 2) During the exhibition one wall still displayed these large-scale canvases, while the other wall was dedicated to the exhibition. (fig. 3) Some of the works presented in the exhibition were studies, which were hung just opposite of the paintings for which they were made. For example, the exhibition contained Menzel's drawing Worker Holding Shaft of the Casting Truck (with Details) (1872–74) and Worker Washing Himself (ca. 1872–74), both studies of the figures for his painting Iron Rolling Mill (1872–75), which hung on the opposite wall in the exhibition. The exhibition works were hung on a white wall to distinguish them from the permanent display on the opposite wall; however, the distinction between the two was not especially clear. (fig. 4) The show also seemed incoherent, lacking a focus on a particular subject or phase in Menzel's career. The exhibition showed that Menzel had taken a variety of subjects for his studies and sketches, such as his detailed studies of ordinary objects, like Dr. Puhlmann's Bookcase (1844) or Study of a Bicycle (1890). These subjects ranged from an oil on wood painting called The Artist's Foot (1876) to the drawing of the Barbarini Faun (1876). However, it was left to the viewer to decide to make the connection between the exhibition objects and the paintings on display. The exhibition held another dimension when one experienced it as part of the Berlin Biennial. Although the inclusion of the work of a nineteenth century German realist artist might suffer from oversimplification and from far fetched connections when compared to the contemporary art exhibited at other venues of the Berlin Biennial, it is clear that Katrin Rhomberg included Adolph Menzel with specific objectives in mind. Menzel's inclusion puts the Biennial in a more art historical perspective, and raises questions about visibility, and how art can make the "invisible" visible.[5] Rhomberg invited the American art historian Michael Fried to curate the exhibition Menzel's Extreme Realism. Fried based the exhibition on his book Menzel's Realism: Art and Embodiment in Nineteenth-Century Berlin (2002), which he views as the third book in his nineteenth century realism trilogy that also contains Courbet's Realism (1990) and Realism, Writing, Disfiguration: On Thomas Eakins and Stephen Crane (1987).[6] In the chapter "Menzel with Courbet and Eakins," Fried explains that he views Menzel's work as essentially realist, and compares him to Gustave Courbet and Thomas Eakins by emphasizing that all three are intensely bodily painters, although in each case, this takes on very different forms. Fried explains Eakins as corporeal artist, studying the body's anatomy in depth, while Courbet's art is more ontological, questioning the relation of the painter to the artwork.[7] In Menzel's Realism, Fried connects embodiment with empathy in Menzel's art. He does this when discussing Menzel's sketch Dr. Puhlman's Bookcase, which was also included in the exhibition.[8] (fig. 5) Fried emphasizes how Menzel's eye for subtle daily objects and his excellent draftsmanship make him capable of showing the viewer objects that would otherwise be taken for granted. At first, it seems that Menzel simply depicted the bookcase as it appeared to him, and the viewer instinctively feels that such a bookcase actually existed. But, as Fried argues, it is not just a detailed depiction of a bookcase with its contents. The wear and tear of the books also shows the invisible, but not 'unrepresentable', imprint of Dr. Puhlmann's touch, his gaze, and his thoughts.[9] Fried touches on art historical discourse, but doesn't seem to contribute to it or provide new ideas on the subject. The arguments he uses to shed a new light on Menzel seem obvious, although he tries to give us a deeper understanding of Menzel's work. Still, the sketches seem to remain nothing more than studies. Fried also explains his ideas of embodiment and empathy in the folder distributed for the exhibition. Fried based his aesthetics of empathy on the nineteenth century German aesthetic philosophy, which plays a central role in his interpretation of Adolph Menzel's most famous drawing, Unmade Bed (ca. 1845) in which the viewer is confronted with a bundle of pillows and blankets drawn with the utmost precision and detail. (fig. 6) Fried makes us aware of the possibility that this unmade bed might not have ever existed in this form, although it of course shows what a good draftsman Menzel was. Fried points out that what makes Menzel's art 'bodily', even if the body is not present, is that in the folds, bulges and contours of the pillow, blankets and sheets, there is still a reference to the form of the recent sleeper.[10] According to Fried, the viewer has these associations because we are not just visual beings, but also have a body and so understand physical form.[11] It seems again that Fried is making an effort to stress a more in-depth explanation of Menzel's studies, but his arguments seem very apparent and not very renewing. A more interesting point that Fried makes is that Menzel's work does not just show reality, but that it even produces the reality that it ostensibly records. However, Fried also makes clear that there is more to Menzel's art that makes him a realist painter, and makes him worthy of comparison to Courbet and Eakins. He makes this clear in the exhibition folder, and in the chapter "Menzel's 'Real Allegory'" where he discusses the artist's gouache, Crown Prince Frederick Pays a Visit to the Painter Pesne on His Scaffold at Rheinsberg (1861). (fig. 7) He compares this picture to Courbet's famous painting The Artist's Studio: A Real Allegory of a Seven Year Phase in my Artistic and Moral Life (1855), and to Thomas Eakins's William Rush Carving His Allegorical Figure of the Schuylkill River (1876–77). Fried argues that Menzel's gouache is an allegory, because Menzel investigates himself as an artist and shows his capacities as such. The watercolor entitled Menzel in the Pose of Pesne (1861) supports Fried's idea of Menzel seeing himself as the artist in the picture.[12] However, as the exhibition showed, Menzel quite often used himself as an object of study, for example in Self-Portrait in Abrupt Foreshortening (before 1854). Although Fried is correct in pointing out that Menzel shows his capacities as an artist in a very interesting way, he makes leaps to draw parallels with the two famous allegories of Courbet and Eakins. The erotic female model up on the scaffold with Pesne is very much in contrast with the mannequin lying face down in an awkward position in the left corner of the picture. Fried declares that it would be too simple just to read this dummy that lies forgotten on the ground as a preference for the living model. One can see the mannequin as a distinction that is made in Menzel's art between the living model and the body as a dead object. In this gouache Menzel makes the viewer aware that he doesn't just visualise an object in a realistic manner, but that in his art there is liveliness present.[13] Fried draws attention to the sketches Menzel made of corpses, for example Two Dead Soldiers Laid out on Straw (1866) and Corpse of a General from the Period of the Wars of Liberation (1873), and makes a point that even these images drawn with so much detail have a certain morbid liveliness to them. Fried continues to argue that although Menzel chose a historical subject for his allegory, it is executed in a modern manner. The composition is absolutely a tour de force of vision and technique, and the gouache shows the viewer accurate detail, while giving the feeling of broad freedom at the same time. Menzel has chosen a split second of the prince climbing the unseen staircase, while the violinist on the scaffold is losing himself in his music; higher up on the scaffold, the painter Pesne is engaged in a sexually charged pas de deux with his model--unaware of the prince's unannounced visit. What makes the picture so modern is that it fills the viewer with expectations of what is going to happen in the next moment.[14] So in a much more complex manner than his sketches of objects, Menzel succeeds in making the viewer anticipate the next scene in this drama. Next to depicting reality, Menzel also made an extremely compelling physical connection with reality, and even produces the reality that it ostensibly records, which is in line with the theme of Katrin Rhomberg's Berlin Biennial.[15] The exhibition that was produced by cooperation between the 6th Berlin Biennial and the Alte Nationalgalerie seemed promising. Still, the exhibition has left a lot of possibilities open. The viewer is left to fend for himself and make something of the suggested links and connections with Menzel's sketches and studies. It shows the work of an artist that is not only capable of drawing objects with extreme precision, but who also has the ability to make the contemporary viewer aware of how reality is formed, constructed and suggested. Sietske Roorda Master Student Art History at the University of Amsterdam sietskeroorda[at]yahoo.com [1] Michael Fried, Menzel's Realism: Art and Embodiment in Nineteenth-Century Berlin (New Haven: Yale University Press, 2002), 1-9. [2] Ibid., 1, 6, 12. [3] Ibid., 5–6. [4] Katrin Rhomberg, was draussen wartet/ what is waiting out there, (Berlin : Dumont, 2010), 11–13. [5] Ibid, 126. [6] Fried, Menzel's Realism: Art and Embodiment in Nineteenth-Century Berlin, ix-x. [7] Ibid., 109. [8] Ibid., 1–4. [9] Ibid., 1–4. [10] Ibid., 41–42, and Michael Fried, "Menzel's Extreme Realism" in the folder of The 6th Berlin Biennale for Contemporary Art, 2010. [11] Michael Fried, Menzel's Realism: Art and Embodiment in Nineteenth-Century Berlin, 35–36. [12] Ibid.,109, and Michael Fried, folder of The 6th Berlin Biennale for Contemporary Art, 2010. [13] Michael Fried, Menzel's Realism: Art and Embodiment in Nineteenth-Century Berlin, 196–197. [14] Ibid., 185–197, and Michael Fried, the folder of The 6th Berlin Biennale for Contemporary Art, 2010.
666	dbpedia	3	18	https://classicalart.wordpress.com/1969/02/05/adolph-von-menzel-1815-1905/	en	Adolph von Menzel (1815-1905)	https://classicalart.wor…-candle-1845.jpg	https://classicalart.wor…-candle-1845.jpg	[ "https://classicalart.wordpress.com/wp-content/uploads/2016/03/adolph-von-menzel-artists-sister-with-a-candle-1845.jpg?w=571&h=882", "https://0.gravatar.com/avatar/f3a6af09390ced2d6ed233fdf4c5488fbaec357eb442b4ce1fe69ab5fd06c254?s=48&d=identicon&r=G", "https://secure.gravatar.com/blavatar/ada08b439e7b45f3bb416ed82f99ef9d1fff93d73399b93c7acbd3e2a9feb771?s=50&d=https%3A%2F%2Fs2.wp.com%2Fi%2Flogo%2Fwpcom-gray-white.png", "https://secure.gravatar.com/blavatar/ada08b439e7b45f3bb416ed82f99ef9d1fff93d73399b93c7acbd3e2a9feb771?s=50&d=https%3A%2F%2Fs2.wp.com%2Fi%2Flogo%2Fwpcom-gray-white.png", "https://pixel.wp.com/b.gif?v=noscript" ]	[]	[]	[ "" ]	null	[ "Ranjith Daluwatta" ]	1969-02-05T00:00:00	Living Room with the Artist's Sister (1847) Bavarian State Art Collection, Neue Pinakothek, Munich. The German painter, etcher and lithographer Adolph von Menzel (1815-1905) ranks alongside Caspar David Friedrich (1774-1840) as one of the most innovative figures in German Art of the 19th Century. However, unlike Friedrich, who believed deeply in the romantic power of…	en	https://secure.gravatar.com/blavatar/ada08b439e7b45f3bb416ed82f99ef9d1fff93d73399b93c7acbd3e2a9feb771?s=32	ART	https://classicalart.wordpress.com/1969/02/05/adolph-von-menzel-1815-1905/	Living Room with the Artist’s Sister (1847) Bavarian State Art Collection, Neue Pinakothek, Munich. The German painter, etcher and lithographer Adolph von Menzel (1815-1905) ranks alongside Caspar David Friedrich (1774-1840) as one of the most innovative figures in German Art of the 19th Century. However, unlike Friedrich, who believed deeply in the romantic power of nature, Menzel believed in Realism and strove for an objective, true-to-life representation of the world. A master of drawing and various types of printmaking, as well as realist painting, he created over 10,000 paintings, drawings and fine art prints, including 400 illustrations for the life of Emperor Frederick the Great. His canvases – including history paintings and genre scenes, as well as portraits – are typically well-researched, acutely observant and highly detailed. His palette, treatment of light and overall style – as exemplified for instance by Living Room with the Artist’s Sister (1847, Bavarian State Art Collection, Neue Pinakothek, Munich) – predated French Impressionism by twenty five years. Menzel now ranks alongside the best modern artists of 19th century Germany. Early Life Born Adolph Friedrich Erdmann Menzel in Breslau, Silesia (now Wroclaw, Poland), he moved with his family to Berlin in 1830, where he enrolled at the Academy of Fine Art and joined the Young Berlin Art Union (Jungerer Berliner Kunstverein). In 1832, following the death of his father, Menzel took over the family lithography business to which he applied himself with great energy, producing over 400 book illustrations for the History of Frederick the Great (1840-2) by Franz Kugler, which brought him his first popular acclaim. Aside from illustration, Menzel retained a strong interest in printmaking techniques throughout his career, producing woodcuts and etchings as well as numerous lithographs. Meanwhile, in his painting Menzel concentrated initially on realistic landscape painting, obtaining his views during the course of several sketching tours of southern Germany and Italy. History Painting The modern Realism art movement began in France – pioneered by Honore Daumier (1808-79), Jean-Francois Millet (1814-75) and Gustave Courbet (1819-77) – and was immediately accepted there, whereas in Germany artists and critics continued to attach a great deal of importance to a picture’s narrative and idealistic content. It was against this background that Menzel turned his attention during the 1850s to history painting, centred at first on life at the court of the Prussian Emperor Frederick the Great (1712-86): see, for instance: Flute Concert of Frederick II in Sanssouci (1852, Nationalgalerie, SMPK, Berlin). Such works were significant – at a time of national awakening – in helping to create the public image of the founder of the Prussian state, and brough Menzel considerable acclaim. For a comparison with a French history painter of a similar style, see: Ernest Meissonier (1815-91). Modern Art During the 1860s he broadened his repertoire to include scenes from modern, contemporary life, and events of more recent German history. He was the first German artist to depict the aesthetic side of industry – as in The Steel Mill (1872-5, Alte Nationalgalerie, Berlin). Another of his ‘modern’ works was Afternoon in the Tuileries Gardens (1867, National Gallery, London), based on a series of sketches the artist made during a visit to Paris that year to see the Universal Exposition. Probably inspired by Edouard Manet’s own somewhat looser treatment of the Tuileries Gardens, Menzel’s depiction of this bustling scene, replete with incidental details, remains wholly legible. In addition, his architectural realism is evident in The Interior of the Jacobskirche at Innsbruck (1872, National Gallery of Art, Washington). Pioneer of Impressionism Curiously although Menzel achieved widespread contemporary recognition for his lithography and historical paintings, it was his little-known exploration of smaller-format genre painting for which he is now rightly famous. Including a number of interiors and informal landscapes, these unorthodox, freely-expressed canvases demonstrate great skill in their treatment of light and point unmistakably towards Impressionism, anticipating works by Degas and other Impressionist painters. This pioneering style is exemplified in one of his greatest genre paintings – Living Room with the Artist’s Sister (also known as The Artist’s Sister with a Candle, or Emilie at the Parlour Door) (1847, Neue Pinakothek, Munich). It is one of numerous images inspired by the artist’s private life and was never exhibited publicly by Menzel himself. The picture depicts his 19-year old sister Emilie, who kept his household for him. Its quiet, Biedermeier mood contrasts with the moving play of light and shadow in which the details of figures and objects become less recognizable. Menzel lingers lovingly on the soft, round face of the girl in the doorway who looks dreamily out of the picture. The main attraction of this work is the ephemeral quality of the scene: the light and shade as well as the girl’s position, half-in, half-out of the door, exist for just that moment. The fleeting nature of the scene is reinforced by Menzel’s Impressionistic technique. Other works in a similar vein include The French Window (1845, SMPK, Berlin) and The Balcony Room (1845, SMPK, Berlin). Astonishingly, Menzel kept these works hidden throughout his lifetime. Indeed, not only did he suppress this ‘Impressionist’ side of his art, but also he was quite disparaging about Impressionist paintings in general, preferring instead the highly formal academic art of Ernest Meissonier (1815-91), the doyen of the French Academy. Reputation as a Painter Short of stature – he was only four foot six inches tall – Menzel spent most of his long life in Berlin. Among his most gripping works were the drawings and watercolours he produced in 1866 of dead and mutilated soldiers during the Austro-Prussian War. Revered by numerous German masters, including the modernist Max Klinger (1857-1920), as well as the great French Impressionist Degas who called him the “greatest living artist”, he received many honours, and was raised to the nobility, becoming “Von Menzel”. He was also elected a member of the Academy of Fine Arts in Paris, and the Royal Academy in London. After his death at the age of ninety, Menzel was given a state funeral in recognition of is artistic achievements. Other 19th Century German Painters Other painters belonging to the realism movement in Germany during the nineteenth century include: the landscape artist Joseph Anton Koch (1768-1839), the great Romantic Caspar David Friedrich (1774-1840), the early Biedermeier exponent Carl Spitzweg (1808-85), the eminent society portraitist Franz von Lenbach (1836-1904), the meticulous Wilhelm Leibl (1844-1900), the naturalist painter Hans Thoma (1839-1924) and the German Impressionists Max Liebermann (1847-1935), Max Slevogt (1868-1932) and Lovis Corinth (1858-1925). Paintings by Adolph Menzel can be seen in many of the best art museums throughout the world.
666	dbpedia	2	8	https://www.smb.museum/en/exhibitions/detail/menzel-painter-on-paper/	en	Menzel. 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In autumn 2019, the Berlin Kupferstichkabinett will rediscover Menzel’s paintings on paper.	en	/typo3conf/ext/sitepackage/Resources/Public/img/favicon.ico		https://www.smb.museum/en/exhibitions/detail/menzel-painter-on-paper/	Adolph Menzel was the eye of the nineteenth century. In autumn of 2019, the Berlin Kupferstichkabinett – which possesses the largest collection of works on paper by this German artist, comprising more than 6,000 works – is rediscovering Menzel as a painter of works on paper with a major solo exhibition. The show will feature around 100 works in watercolour, pastels and gouache from the museum’s own holdings, along with a number of key loans. Together, they offer the first comprehensive survey of Menzel’s painterly works on paper. Adolph Menzel (1815–1905) is known as a painter of large works on canvas, and as the creator of countless studies in pencil. But it was first as a painter of works on paper that he began to employ the full palette of his artistic gifts of expression, creating colourful works ranging from experimental portrait studies through to elaborately composed paintings. The majority of the works shown in the exhibition are standalone works, however there are also a number of preparatory studies for famous paintings – including the portrait studies carried out in preparation for the coronation picture commissioned by King Wilhelm I, which Menzel painted between 1861 and 1865, and which represents the largest and of Menzel’s paintings, depicting countless figures. Menzel’s multi-faceted oeuvre in 10 chapters The exhibition presents the different sides of Menzel’s work as a painter of works on paper chronologically and according to techniques, arranging selected works into 10 ‘chapters’. At the same time, it gives visitors an insight into the specific effects of watercolours, pastels and gouache, and Menzel’s particular mixed technique. There is a particular focus on his pastel technique, which between the mid-1840s and the late 1850s functioned as a crucial bridge between drawing and painting for Menzel. Alongside fragmentary sketches, the show will also feature experiments and abandoned drafts – such as a detailed “drapery study” rendered by Menzel in luminous chalk on paper, and later destroyed with energetic gestures. The portrait pair Gentleman and Lady in a Train Compartment back together again Hidden among the scenic depictions, a particular sensation awaits audiences in the form of the portrait pair Gentleman and Lady in a Train Compartment (1859), which first joined the collection in 1907. Presumed lost for decades after disappearing during the Second World War, the “Lady” was recently able to be regained for the Kupferstichkabinett’s collection. The couple, so cold in their interaction with one another, observed by Menzel with his keen sense for the twists and turns of human relationships, is now back together for the first time in more than 70 years. Loans, new acquisitions and recovered works Also on show are works that are not just sketched out as scenes, but are also worked over in other media covering the full expanse of the sheet. Platz für den großen Raffael (Room for the Great Raphael), a loan from the Germanisches Nationalmuseum in Nuremberg, represents Menzel’s tendency to rework pictures using various techniques: begun in 1855 in pastels, Menzel completed the work four years later in gouache. The figures in Schlittschuhläufer (Ice Skaters), acquired for the Kupferstichkabinett in 2018, are also rendered by Menzel in pastel on a monumental scale – in this case though, the work was not later reworked in gouache. This work was produced in 1855, shortly after Menzel’s first visit to France, and bears testament to the modernity that Menzel had been able to witness first hand in Paris, and which is represented in the exhibition by the loan from the Hamburg Kunsthalle, Erinnerung an Paris (Memory of Paris). From the 1860s onwards, Menzel’s production was dominated by a polished gouache and mixed technique. An impressive example of this can be found in Schutzmann im Winter (Constable in Winter, 1860/1865), a full-sheet depiction of his own contemporary context. As was the case with the portrait Oberregierungsrath Knerk (Senior Privy Councillor Knerk, 1863/1865), the whereabouts of the Constable had been unknown since 1941 as a result of the war. Back in the museum’s collection as of this spring, the works can now be presented to the public once more. Other works from the collection of the Kupferstichkabinett The exhibition is capped off by three outstanding groups of works from the collection of the Kupferstichkabinett: the Kinderalbum (Children’s Album), which was produced as an unbound series of 44 gouache paintings for Menzel’s niece Gretel and nephew Otto; the commissioned work on the designs for the “kitchenware” made by the Royal Porcelain Manufacture Berlin for the silver wedding anniversary of the Crown Prince and Princess in 1883; and Menzel’s idiosyncratically interpreted allegories. Menzel: Painter on Paper is curated by the Menzel experts Werner Busch and Claude Keisch, Anna Marie Pfäfflin (curator for nineteenth-century art at the Kupferstichkabinett) and Georg Josef Dietz (Director of the conservation and restoration department of the Kupferstichkabinett). The exhibition will be accompanied by a comprehensive publication released by Imhof Verlag. A special exhibition by the Kupferstichkabinett of the Staatliche Museen zu Berlin.
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"https://lh3.googleusercontent.com/blogger_img_proxy/AEn0k_tmlXxZOAuPwvM8yNiElh_BD_TH-cqRAXkudXxMMJcRBsrsYVY-2xO21-GRFdQmqJJ9YIz15jYQQwd15J9DhPyjNYeG5dlw=s16-w16-h16", "https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIsPJyMyp4LKKVGDZ3KQaU_lYSyHzwlh3dCyIIh93zfdBaHGvReFI27xJWyt5wWwwo-G6pIEnCq6k0QsT_GIzhBdtYvPQYJMCdgsA_lCcMpDSjJJNCTCBrQlr6wiLrLZ4JcFIZa9JAtm_bHLx0S6RYQ_B4sOSuqql1TZq3uAQlEL3ULzQyoSWmFO5jDA_j/s72-c/Alberto%20PANCORBO-Arte%20e%20dettagli%20(7).jpg", "https://2.bp.blogspot.com/-BPUUgguOjT8/WNa0wXKMgpI/AAAAAAAB1p8/ZcttUUzkyBciXjWVHcOP7K9CKsuRGgmjACK4B/s1600/Catherine%2BLa%2BRose.jpg", "https://3.bp.blogspot.com/-YJ5x0jh7FXU/XKEYfDsX3CI/AAAAAAACE10/AVFdejrp-soazRN3xlxCAiUJvUM4aJZ0gCK4BGAYYCw/s80/71htqTv3OvL._SX700_.jpg" ]	[]	[]	[ "" ]	null	[ "Catherine La Rose", "The Poet of Painting" ]	null	Adolph Friedrich Erdmann von Menzel (1815-1905) was a German Realist artist noted for drawings, etchings, and paintings. Along with Caspar David Friedrich, he is considered one of the two most prominent German painters of the 19th century, and was the most successful artist of his era in Germany. First known as Adolph Menzel, he was knighted in 1898 and changed his name to Adolph von Menzel.		https://www.catherinelarosepoesiaearte.com/favicon.ico		https://www.catherinelarosepoesiaearte.com/2017/07/adolph-von-menzel-1815-1905.html	"Il Piede dell'Artista", 1876 - Olio su pannello - Adolf von Menzel (German Realist painter, 1815-1905) Menzel was the leading German artist of the last half of the 19th century. He exhibited his first drawing at the age of 12. His father ran a lithographic printing works; and by the time he was 14, Menzel was contributing illustrations to publications. Active as a printmaker & a dazzling draftsman throughout his prolific career, he turned to oil painting only after he was 30. When visiting Paris, Menzel associated with other artists there including Edgar Degas. He chronicled life in Berlin. He was knighted in 1898, and received a state funeral upon his death in 1905. Adolph Friedrich Erdmann von Menzel (1815-1905) was a German Realist artist noted for drawings, etchings, and paintings. Along with Caspar David Friedrich, he is considered one of the two most prominent German painters of the 19th century, and was the most successful artist of his era in Germany. First known as Adolph Menzel, he was knighted in 1898 and changed his name to Adolph von Menzel. His popularity in his native country, owing especially to his history paintings, was such that few of his major paintings left Germany, as many were quickly acquired by museums in Berlin. Menzel's graphic work and especially his drawings were more widely disseminated; these, along with informal paintings not initially intended for display, have largely accounted for his posthumous reputation. Although he traveled in order to find subjects for his art, to visit exhibitions, and to meet with other artists, Menzel spent most of his life in Berlin, and was, despite numerous friendships, by his own admission detached from others. It is likely that he felt socially estranged for physical reasons alone Menzel had a large head, and stood about four foot six inches.
666	dbpedia	1	16	http://www.freemanart.ca/menzel.htm	en	Specialist Researchers - Provenance VerificationÂ - Due Diligence ~ Forgery Identification			[ "http://www.freemanart.ca/images/adolph-von-menzel-departure-of-king-william2.jpg", "http://www.freemanart.ca/images/line6.png", "http://www.freemanart.ca/images/Menzel1.jpg", "http://www.freemanart.ca/images/Menzel2.jpg", "http://www.freemanart.ca/images/Menzel3.jpg", "http://www.freemanart.ca/images/Menzel4.jpg", "http://www.freemanart.ca/images/Menzel5.jpg", "http://www.freemanart.ca/images/Menzel6.jpg", "http://www.freemanart.ca/images/Menzel10.jpg", "http://www.freemanart.ca/images/Menzel11.jpg", "http://www.freemanart.ca/images/Menzel12.jpg", "http://www.freemanart.ca/images/Menzel13.jpg", "http://www.freemanart.ca/images/Menzel14.jpg", "http://www.freemanart.ca/images/Menzel15.jpg", "http://www.freemanart.ca/images/line6.png", "http://www.freemanart.ca/images/line6.png", "http://www.freemanart.ca/images/line6.png", "http://www.freemanart.ca/images/line6.png", "http://www.freemanart.ca/images/line6.png", "http://www.freemanart.ca/images/line6.png" ]	[]	[]	[ "Adolph von Menzel", "A von Menzel", "von Menzel", "German", "genre", "history", "portrait", "reclining", "chair", "studio of", "workshop", "studio", "PEINTRE", "art", "arte", "kunst", "authentication", "authenticity", "art", "authentification", "paintings", "painting", "painters", "painter", "artist", "artists", "value", "investigations", "art authentication investigators", "authenticity", "international", "legitimacy", "real", "painter", "artist", "canvas", "investigate", "investigators", "researchers", "research", "signature", "fake", "forgery", "provenance", "forensic", "forensics", "international", "detection", "detective", "appraiser", "valuer", "fine art", "art consultant", "fine art consultant", "evaluate", "inspect", "examine", "forensic", "forensics", "fakes", "identification", "faux", "attribution", "attributions", "attribute", "studio", "apprentice", "circle", "follower", "copy", "pupil", "copy", "copied", "apprentice", "circle", "follower", "copy", "after", "manner of", "D'aprÃ¨s", "studio", "copy", "copie", "watercolor", "watercolour", "watercolours", "portrait", "portraits", "self portrait", "drawing", "panel", "canvas", "auction", "value", "descriptor", "Original", "charcoal", "pastel", "figures", "Landscapes", "landscape", "still life", "colour", "circle", "drawing", "pen", "ink. portraits", "studio assistents" ]	null	[]	null	Adolph von Menzel German art authenticity and attribution researchers and investigators. German and European modern & Old master art specialists. International Fine art Consultants,. Expert provenance research and verification services. Due diligence and fake and forgery identification.				null	Investigating the Authenticity and Attributions of Works of Art believed to be by; Adolph Friedrich Erdmann von Menzel (1815 â 1905) German Realist and History Painter and Printmaker Adolph von Menzel was a German realist painter, considered to be the leading German artist of the second half of the 19th century. His works range from vastly complex figurative groupings, usually set in period costume, to singular portraiture and studies, all executed with great detail and accuracy. Naturally, demands are high today for his fine paintings and even the lowliest of drawings and studies, which often vastly exceed their auction expectations and estimates. But as his works increase in value and they getting more and more rare, it is important to be able to distinguish between those works actually executed by an artist, compared to those either 'claiming' to be by the artist, or a work that we are told is by him and for that, you may need some help. At this level, you have to also face quite regular deceptions. Those putting a signature on either an straightforward copy of one of his known works, usually on old paper from a book, claiming it to be a preparatory study, or faking an entire work using comfortable and regular elements entirely created to deceive. The other is to acquire an emulation or a followers work, usually of age and of the artists era and remove the signature and forge another. The most common type of art fraud we encounter and this practise has been going on for centuries! *** As an international specialist fine art consultancy, with bases in the UK and Europe to conduct our European Old and Modern master research in archive effectively in person, we have been confidentially serving both private individuals and corporate clients around the world for over 45 years. In so doing, we have been investigating both single works of art and complete collections for clients. Conducting in-depth authentication and legitimacy investigations and inquiries, as well as directing full academic and forensic investigations, with multilingual archival research, into the origins of all works of art, from different geographical regions and eras. We also scrutinize and research the provenance and ownership lineage for verification and client satisfaction. We are able to assist and advise you in all fine art related matters, particularly issues of the authenticity and attributions of European art, including the works of Adolph von Menzel and any works of art that you need assistance and advice with. A few examples of his works and those associated with this name appear below as illustrations. Note: No inference is made, nor is it intended as to the question of legitimacy here. Moreover these are an across the board representational view of the differing types of works that are and may in the future be offered and advertised for sale at auction internationally that you could need specialist advise on.. The duration and the direction of any authenticity investigation or inquiry into an attribution of a work of art will inevitably vary from project to project. But there are clear and very well defined professional formalities, responsibilities and areas of scrutiny that we can formally assist you with, including: Authentication: Authentification: Conducting comprehensive investigations and in depth research into a work of art, with a view to establishing a correct, complete and formally recognized certification. One absolutely upheld by the appropriate, legally acknowledged and internationally sanctioned authority, body or given expert on that artist. Directing detailed and complicated inquiries, with multilingual capability, including any international academic research and forensic applications that are required. Attribution: Identifying and confirming the identity of a previously anonymous artist, studio or workshop from which a work of art most likely originated. Including the re-examination and investigation of a previous attribution which may be incorrect, or the scrutiny of an attribution that has been formally questioned or is currently formally doubted. Confirmation: Undertaking research and investigations into the legitimacy of the provenance, history and prior ownership of a work of art and establishing its accuracy and own legitimacy. Scrutiny: Examen minutieux: Identifying fake or faux works of art and forgeries, including any false supportive accompanying documentation and determining works of art which may be studio or later copies, or previously given, incorrect attributions. Prosecution: Poursuite: Investigating alleged art fraud and forgery and assisting and advising those who are currently, or may be considering litigating or prosecuting the fact. This includes colleagues who are legal professionals and individual private clients. Attention: Conducting all fine art related due diligence and duty of care inquiries. Including safe prepurchase or sale related audits and assisting clients in consolidating well balanced future family distribution. Appraisal: Évaluation - Valuations and condition reports. Step one in the Art Authentication and Attribution process. The Pre-Authentication Assessment L'Ã©valuation de prÃ©-authentification. La evaluaciÃ³n previa a la autenticaciÃ³n We strongly advise clients before embarking on a full investigation of legitimacy or an artist or studio attribution inquiry, that it is wise to have an impartial preliminary assessment conducted first. One made to balance any issues that may be present that could make the longer term exercise unviable. This is a professional advisory service that we provide, based upon the images you supply, the full details of work of arts acquisition, its history and provenance as is known to you, along with sight of any documentation, previous research or analysis that you may have had formerly conducted on it. You should then have a far better understanding of both the prospects or any pitfalls we might face, before making a decision. This is a logical and cost effective professional review and advisory for which there is a modest set fee. Our FAQ section covers this in more detail, or: CONTACT US CONTACTEZ NOUS We will respond to you promptly. ABOUT A WORK OF ARTS DESCRIPTOR AND TERMINOLOGY *It is very important to clearly understand the auction terms that are commonly used in any published descriptor and to be cautious of works that may just be created in the 'manner of' the artist, or those which could be variants of the artists works of art that 'bear a signature' or monogram. In this case as if they were defining the creations of the German artist; Adolph Friedrich Erdmann von Menzel German (1815 â 1905) Where the name, Adolph von Menzel (1815 â 1905), is given with the first name/s and surname of the artist, usually cited as, Adolph von Menzel (1815 â 1905), including his dates to be specific, then in their qualified and professional opinion, they are in no doubt. It is a genuine and authentic item and one painted by that artist. This is usually fully qualified by its inclusion in any catalogue raissone, or by the guarantee of the opinion given by appropriate and internationally recognized expert authority on the artist. When Adolph von Menzel (1815 â 1905), is the term used, or it is similarly defined as Attrib. to ' [abbreviated,] or AttribuÃ© Ã , or ascribed to, then in their opinion it is 'probably' a work by the artist, at least in part. But... there is no guarantee. It is only an opinion that it 'possibly' may be by the artist. But if the term Adolph von Menzel (1815 â 1905) - circle of, entourage, or “Circle of Emil Adolph von Menzel” is specifically used, then in their opinion, it is a work only of the period of the artist, but showing their influence. Or by someone closely associated with the artist, BUT not necessarily by their pupil or student. When the name is given thus; Painted in the “Style of Adolph von Menzel ” or “Follower of Adolph von Menzel is used, this means that in their opinion it is a work of art executed only in the artist’s way, their 'style', but not necessarily by a pupil. Yet it may be a contemporary, or nearly a contemporary of the artist. If the phrase in the “Manner Adolph von Menzel is used or is defined….” then in their opinion it is also only a work painted in the style of the artist, but of a later date and definitely not by the artist as named. When the term “After….Adolph von Menzel "; is the term used, then in their opinion it is a copy (made at any date) of an authentic and original work by the artist. This also applies to prints made 'after' an original work of art either by the artist or another artist/ printmaker. Signed - Adolph von Menzel ; “Dated….” or “Inscribed Adolph von Menzel” Then in their opinion the work has been signed/dated/or inscribed by that specific artist. The addition of a question mark ? however, indicates a strong element of doubt. When the term 'Bears signature', is used or the name, Adolph von Menzel is specified followed by the words; "With signature ….”, or “With date ….” or “With inscription….” or “Bears signature of Adolph von Menzel /date/or inscription” Then in 'their opinion,' either the signature / date / or inscription is spurious, forged or has been added by someone else other than the artist. We can assist and advise you in all fine art related matters.
666	dbpedia	2	14	https://kunkelfineart.de/en/artists/menzel-adolph/	en	Kunkel Fine Art	https://kunkelfineart.de…ann-verkauft.png	https://kunkelfineart.de…ann-verkauft.png	[ "https://www.facebook.com/tr?id=3742291745845696&ev=PageView&noscript=1", "https://kunkelfineart.de/wp-content/uploads/2020/03/CD_KunkelFineArt.svg", "https://kunkelfineart.de/wp-content/uploads/2020/03/CD_KunkelFineArt.svg", "https://kunkelfineart.de/wp-content/uploads/2020/03/CD_KunkelFineArt.svg", "https://kunkelfineart.de/wp-content/uploads/2020/03/Adolph_Menzel_Bärtiger_Mann_in_Rückenansicht-235x380.jpg", "https://kunkelfineart.de/wp-content/uploads/2020/03/Adolph_Menzel_Skizzenblatt_mit_Kinderstudien_1-380x265.jpg", "https://kunkelfineart.de/wp-content/uploads/2020/03/CD_KunkelFineArt.svg" ]	[]	[]	[ "" ]	null	[]	2022-04-21T11:57:18+02:00	Adolph Menzel 1815 Breslau – 1905 Berlin The Berlin-based artist Adolph Menzel enjoyed lifetime recognition for his paintings, drawings and prints. He earned the respect of prominent colleagues and influential contemporary critics. Numerous one-man exhibitions of his work staged in major museums, galleries and art associations added to his renown. He was accorded the highest national [...]	en	https://kunkelfineart.de…icon-2-32x32.png	Kunkel Fine Art	https://kunkelfineart.de/en/artists/menzel-adolph/	Adolph Menzel 1815 Breslau – 1905 Berlin The Berlin-based artist Adolph Menzel enjoyed lifetime recognition for his paintings, drawings and prints. He earned the respect of prominent colleagues and influential contemporary critics. Numerous one-man exhibitions of his work staged in major museums, galleries and art associations added to his renown. He was accorded the highest national honours and elevated to the nobility. A comprehensive memorial exhibition staged shortly after his death at the Nationalgalerie in Berlin crowned his stellar career. The Nationalgalerie had regularly secured many of his major works for its collection and went on to acquire his artistic estate, thus guaranteeing him a permanent place in the annals of German nineteenth-century art. Although Menzel’s rank as the leading German Realist painter is beyond dispute, this is too narrow a classification of his art-historical significance. In an artistic career spanning seven decades he produced an extraordinarily multifaceted range of pictorial imagery. His work encompasses early Impressionistic tendencies (The Balcony Room, Nationalgalerie Berlin), historical genre scenes (The Flute Concert, Nationalgalerie Berlin) and powerful depictions of the modern industrial age (The Iron-Rolling Mill [The Modern Cyclops], Nationalgalerie Berlin). Unlike many of his contemporaries, Menzel regarded drawing as much more than a tool for compiling a repertoire of motifs for later use in paintings. For him, drawing was an autonomous artistic act. Paul Meyerheim, a friend and colleague, noted in his recollections of Menzel: ‘In his paletot he had eight pockets part-filled with sketchbooks; he could not believe that there were artists who regularly set forth, even for the briefest of trips, without a sketchbook in their pocket.’ Meyerheim also observed that ‘no object was ever too insignificant for Menzel, and he would sketch with almost compulsive zeal while walking, or on the spot.’ The working method Meyerheim describes accounts for the overwhelming number of drawings Menzel produced and their extraordinary technical virtuosity. The vast range of motifs he recorded testifies to his ceaseless efforts to capture the tiniest details of the world around him and interiorise them artistically. His achievement lies in arriving at a universal formula for his subjective vision, the reason why the fascination of his draughtsmanship remains undiminished today. PDF Download
666	dbpedia	3	58	https://en.wikipedia.org/wiki/Frederick_the_Great_Playing_the_Flute_at_Sanssouci	en	Frederick the Great Playing the Flute at Sanssouci	https://upload.wikimedia…_Art_Project.jpg	https://upload.wikimedia…_Art_Project.jpg	[ "https://en.wikipedia.org/static/images/icons/wikipedia.png", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-wordmark-en.svg", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-tagline-en.svg", "https://upload.wikimedia.org/wikipedia/commons/thumb/6/64/Adolph_Menzel_-_Fl%C3%B6tenkonzert_Friedrichs_des_Gro%C3%9Fen_in_Sanssouci_-_Google_Art_Project.jpg/350px-Adolph_Menzel_-_Fl%C3%B6tenkonzert_Friedrichs_des_Gro%C3%9Fen_in_Sanssouci_-_Google_Art_Project.jpg", "https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?type=1x1", "https://en.wikipedia.org/static/images/footer/wikimedia-button.svg", "https://en.wikipedia.org/static/images/footer/poweredby_mediawiki.svg" ]	[]	[]	[ "" ]	null	[ "Contributors to Wikimedia projects" ]	2018-07-05T14:12:16+00:00		en	/static/apple-touch/wikipedia.png		https://en.wikipedia.org/wiki/Frederick_the_Great_Playing_the_Flute_at_Sanssouci	Painting by Adolph Menzel Frederick the Great Playing the Flute at SanssouciArtistAdolph MenzelYear1852Mediumoil on canvasDimensions142 cm × 205 cm (56 in × 81 in)LocationAlte Nationalgalerie, Berlin Frederick the Great Playing the Flute at Sanssouci or The Flute Concert is an 1852 oil on canvas history painting by the German painter Adolph Menzel. It depicts Frederick the Great, King of Prussia playing the flute at an evening concert at Sanssouci and is now in the Alte Nationalgalerie in Berlin.[1] Menzel was one of the most popular and important Realist painters of the 19th century, and was ennobled as Adolph von Menzel in 1898. His works form an important record of life in Prussia at the time, especially the life of Frederick the Great. Sanssouci (meaning Free of Care), was Frederick's summer palace at Potsdam, near Berlin. The painting depicts, in a pre-impressionistic, painterly 19th-century style, an 18th-century musical soirée at the palace at which a piece of music is being played with King Frederick himself playing the flute center stage. However, the monarch’s features represented in the painting are highly idealized as Menzel avoids showing Frederick with his aquiline nose,[2] although he must have known the death mask[3] of the Prussian king.[4] In front of Frederick sits his chamber ensemble and to his rear an audience of dignitaries and noble ladies. The focus of the work is not on the music but rather on Frederick and the ambience created by the interior design, the furniture, the chandelier and candlelight and the ladies' elaborate dresses. The assembly is made up of some of the leading names of the day, namely: Johann Joachim Quantz, the king's flute teacher (standing far right) Franz Benda, Bohemian violinist and composer (on his right with a violin and a dark skirt) Carl Philipp Emanuel Bach, German musician and composer (harpsichord player) Gustav Adolf von Gotter, diplomat (foreground at left) Jakob Friedrich von Bielfeld, German writer and statesman (behind him) Pierre Louis Maupertuis, French mathematician and philosopher (behind him, looking up) Wilhelmine von Bayreuth, Frederick's sister (sitting on the pink couch) Amalie von Preussen, composer and also Frederick's sister (on her right, with a court lady) Carl Heinrich Graun, German composer and the court conductor (behind them) Countess Camas (elderly lady behind the music stand) Egmont von Chasot, friend of Frederick (behind her) According to his own words, Menzel was not so much interested in depicting the people in his painting, but rather in showing the lighting situation with the many candles. He is said to have confessed to a visitor that he had "actually only painted the picture because of the chandelier".[5] See also [edit] 100 Great Paintings, 1980 BBC series Portraits of Frederick the Great References [edit] Bibliography [edit]
666	dbpedia	1	41	https://m.facebook.com/Europeana/photos/a.209570118667/10151850579433668/	en	Facebook	https://static.xx.fbcdn.net/rsrc.php/yv/r/B8BxsscfVBr.ico	https://static.xx.fbcdn.net/rsrc.php/yv/r/B8BxsscfVBr.ico	[ "https://facebook.com/security/hsts-pixel.gif?c=3.2" ]	[]	[]	[ "" ]	null	[]	null	Sieh dir auf Facebook Beiträge, Fotos und vieles mehr an.	de	https://static.xx.fbcdn.net/rsrc.php/yv/r/B8BxsscfVBr.ico		https://www.facebook.com/login/
666	dbpedia	0	76	https://pantheon.world/profile/person/Adolph_Menzel	en	Adolph Menzel Biography	https://pantheon.world/api/screenshot/person?id=1519807	https://pantheon.world/api/screenshot/person?id=1519807	[ "https://pantheon.world/images/icons/icon-nav.svg", "https://pantheon.world/images/logos/logo_pantheon.svg", "https://pantheon.world/images/icons/icon-search.svg", "https://pantheon.world/images/profile/people/1519807.jpg", "https://pantheon.world/images/ui/profile-w.svg", "https://pantheon.world/images/ui/tri-left-b.svg", "https://pantheon.world/images/profile/people/60143.jpg", "https://pantheon.world/images/profile/people/293107.jpg", "https://pantheon.world/images/profile/people/5517284.jpg", "https://pantheon.world/images/profile/people/221422.jpg", "https://pantheon.world/images/profile/people/467626.jpg", "https://pantheon.world/images/profile/people/17121.jpg", "https://pantheon.world/images/profile/people/1519807.jpg", "https://pantheon.world/images/profile/people/306478.jpg", "https://pantheon.world/images/profile/people/335390.jpg", "https://pantheon.world/images/profile/people/238341.jpg", "https://pantheon.world/images/profile/people/396241.jpg", "https://pantheon.world/images/profile/people/8572928.jpg", "https://pantheon.world/images/profile/people/225297.jpg", "https://pantheon.world/images/ui/tri-right-b.svg", "https://pantheon.world/images/ui/tri-left-b.svg", "https://pantheon.world/images/profile/people/2345746.jpg", "https://pantheon.world/images/profile/people/974.jpg", "https://pantheon.world/images/profile/people/38298.jpg", "https://pantheon.world/images/profile/people/93459.jpg", "https://pantheon.world/images/profile/people/193686.jpg", "https://pantheon.world/images/profile/people/181565.jpg", "https://pantheon.world/images/profile/people/1519807.jpg", "https://pantheon.world/images/profile/people/568017.jpg", "https://pantheon.world/images/profile/people/394677.jpg", "https://pantheon.world/images/profile/people/166079.jpg", "https://pantheon.world/images/profile/people/85737.jpg", "https://pantheon.world/images/profile/people/348170.jpg", "https://pantheon.world/images/profile/people/1360094.jpg", "https://pantheon.world/images/ui/tri-right-b.svg", "https://pantheon.world/images/ui/tri-left-b.svg", "https://pantheon.world/images/profile/people/524981.jpg", "https://pantheon.world/images/profile/people/223170.jpg", "https://pantheon.world/images/profile/people/434674.jpg", "https://pantheon.world/images/profile/people/1738608.jpg", "https://pantheon.world/images/profile/people/324682.jpg", "https://pantheon.world/images/profile/people/1619384.jpg", "https://pantheon.world/images/profile/people/1519807.jpg", "https://pantheon.world/images/profile/people/9991007.jpg", "https://pantheon.world/images/profile/people/847063.jpg", "https://pantheon.world/images/profile/people/204900.jpg", "https://pantheon.world/images/profile/people/6689442.jpg", "https://pantheon.world/images/profile/people/872601.jpg", "https://pantheon.world/images/profile/people/1481776.jpg", "https://pantheon.world/images/ui/tri-right-b.svg", "https://pantheon.world/images/ui/tri-left-b.svg", "https://pantheon.world/images/profile/people/1525677.jpg", "https://pantheon.world/images/profile/people/2109568.jpg", "https://pantheon.world/images/profile/people/60757.jpg", "https://pantheon.world/images/profile/people/1718452.jpg", "https://pantheon.world/images/profile/people/243903.jpg", "https://pantheon.world/images/profile/people/21901391.jpg", "https://pantheon.world/images/profile/people/1519807.jpg", "https://pantheon.world/images/profile/people/371490.jpg", "https://pantheon.world/images/profile/people/640363.jpg", "https://pantheon.world/images/profile/people/379142.jpg", "https://pantheon.world/images/profile/people/9912489.jpg", "https://pantheon.world/images/profile/people/538389.jpg", "https://pantheon.world/images/profile/people/319117.jpg", "https://pantheon.world/images/ui/tri-right-b.svg", "https://pantheon.world/images/ui/tri-left-b.svg", "https://pantheon.world/images/profile/people/1519807.jpg", "https://pantheon.world/images/profile/people/3569760.jpg", "https://pantheon.world/images/ui/tri-right-b.svg", "https://pantheon.world/_next/image?url=%2Fimages%2Flogos%2Flogo_datawheel.png&w=256&q=75 1x, /_next/image?url=%2Fimages%2Flogos%2Flogo_datawheel.png&w=640&q=75 2x", "https://pantheon.world/images/logos/logo_CL.svg", "https://pantheon.world/_next/image?url=%2Fimages%2Flogos%2Flogo_creative_commons.png&w=96&q=75 1x, /_next/image?url=%2Fimages%2Flogos%2Flogo_creative_commons.png&w=256&q=75 2x", "https://pantheon.world/images/logos/logo_facebook.svg", "https://pantheon.world/images/logos/logo_twitter.svg" ]	[]	[]	[ "" ]	null	[]	null		en	/images/favicon.ico		null	Adolph Menzel Adolph Friedrich Erdmann von Menzel (8 December 1815 – 9 February 1905) was a German Realist artist noted for drawings, etchings, and paintings. Along with Caspar David Friedrich, he is considered one of the two most prominent German painters of the 19th century, and was the most successful artist of his era in Germany . Read more on Wikipedia Since 2007, the English Wikipedia page of Adolph Menzel has received more than 291,136 page views. His biography is available in 39 different languages on Wikipedia (up from 37 in 2019) . Adolph Menzel is the 21st most popular artist (up from 22nd in 2019), the 182nd most popular biography from Poland (down from 130th in 2019) and the most popular Polish Artist. Adolph Menzel is most famous for his paintings of the life of Frederick the Great.
666	dbpedia	2	80	https://fr-ca.findagrave.com/memorial/10299714/adolph-menzel	en	1905) – Find a Grave Gedenkstätte	https://images.findagrav…4_1417453885.jpg	https://images.findagrav…4_1417453885.jpg	[ "https://fr-ca.findagrave.com/assets/images/logo-fff.png", "https://images.findagrave.com/photos/2014/334/10299714_1417453885.jpg?size=photos250", "https://images.findagrave.com/default-image.png", "https://images.findagrave.com/photos/2014/334/10299714_1417453885.jpg", "https://images.findagrave.com/photos/2023/147/10299714_71564af9-5c11-442e-a7c1-a35d3c13072c.jpg", "https://images.findagrave.com/photos/2008/192/10299714_121579658129.jpg" ]	[]	[]	[ "" ]	null	[]	null	Artist. He is considered as a leading German artist of the second half of the 19th century and by many, the foremost realist painter and graphic artist of the era. Born in Breslau, Germany, which is in the 21st century Wrocław, Poland, he illustrated both the great events of contemporary history, such as the 1848...	de	/assets/images/fg-icon.svg		https://de.findagrave.com/memorial/10299714/adolph-menzel	Es gibt ein Problem mit Ihrer E-Mail bzw. Ihrem Passwort. Es gibt ein Problem mit Ihrer E-Mail bzw. Ihrem Passwort. Es gibt ein Problem mit Ihrer E-Mail bzw. Ihrem Passwort. Wir sind auf ein unbekanntes Problem gestoßen. Warten Sie einige Minuten und versuchen Sie es noch einmal. Wenn das Problem weiterhin besteht, kontaktieren Sie Find a Grave. Wir haben die Sicherheit auf der Seite aktualisiert. Sie müssen Ihr Passwort zurücksetzen. Ihr Konto wurde wegen zu vieler fehlgeschlagener Anmeldeversuche für 30 Minuten gesperrt. Bitte kontaktieren Sie Find a Grave unter [email protected], wenn Sie Hilfe beim Zurücksetzen Ihres Passworts benötigen. Dieses Konto wurde deaktiviert. Bei Fragen kontaktieren Sie bitte [email protected] Dieses Konto wurde deaktiviert. Bei Fragen kontaktieren Sie bitte [email protected] E-Mail nicht gefunden. Bitte füllen Sie das Captcha aus, damit wir wissen, dass Sie eine echte Person sind. Mehr als einen Datensatz für eingegebene E-Mail gefunden. Wir haben Ihnen zur Aktivierung eine E-Mail geschickt. Sign in to your existing Find a Grave account. You’ll only have to do this once—after your accounts are connected, you can sign in using your Ancestry sign in or your Find a Grave sign in. We found an existing Find a Grave account associated with your email address. Sign in below with your Find a Grave credentials to link your Ancestry account. After your accounts are connected you can sign in using either account. Geben Sie zum Anmelden Ihre E-Mail-Adresse ein. Geben Sie zum Anmelden Ihr Passwort ein. Geben Sie zum Anmelden Ihre E-Mail-Adresse und Ihr Passwort ein. Es gibt ein Problem mit Ihrer E-Mail bzw. Ihrem Passwort. Es ist ein Systemfehler aufgetreten. Bitte versuchen Sie es später erneut. Eine E-Mail zum Zurücksetzen des Passworts wurde an Email-ID gesendet. Wenn Sie keine E-Mail erhalten haben, durchsuchen Sie bitte Ihren Spam-Ordner. Wir sind auf ein unbekanntes Problem gestoßen. Warten Sie einige Minuten und versuchen Sie es noch einmal. Wenn das Problem weiterhin besteht, kontaktieren Sie Find a Grave.
666	dbpedia	0	99	https://www.facebook.com/photo.php%3Ffbid%3D658154541634813%26id%3D333107680806169%26set%3Da.333904680726469	en	Facebook	https://static.xx.fbcdn.net/rsrc.php/yv/r/B8BxsscfVBr.ico	https://static.xx.fbcdn.net/rsrc.php/yv/r/B8BxsscfVBr.ico	[ "https://facebook.com/security/hsts-pixel.gif?c=3.2" ]	[]	[]	[ "" ]	null	[]	null	Sieh dir auf Facebook Beiträge, Fotos und vieles mehr an.	de	https://static.xx.fbcdn.net/rsrc.php/yv/r/B8BxsscfVBr.ico		https://www.facebook.com/login/

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