波罗的海肖像和静物画家亚历山德拉·冯·伯克霍兹(1821-1899)

IF 0.1 0 ART
Natalie Gutgesell
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引用次数: 0

摘要

波罗的海艺术家亚历山德拉·冯·伯克霍兹是她那个时代最重要的肖像画家之一。然而,她的作品已经从艺术史的记忆中消失了,因为在她死后,这些作品被出售并传播到世界各地。2014年开始的一项国际研究项目重新发现了她的作品和她的生活故事。1841年,冯·伯克霍兹在德国卡尔斯鲁厄的宫廷画家路易斯·瓦格纳那里接受了她的第一堂美术课。从1847年到1854年,她在巴黎的历史画家约瑟夫·尼古拉斯·罗伯特·弗勒里的工作室学习,弗勒里对她的绘画风格产生了相当大的影响,这种风格结合了现实主义和理想主义。另一个重要的影响是理查德·劳切特,他以前是弗朗茨·泽弗·温特豪德的学生和密友。冯·伯克霍兹的多次旅行,例如:到瑞士,法国和捷克共和国,也是丰富的灵感来源。她在后期的作品中改变了贵族肖像的传统,专注于静物画,反映了巴洛克时期的荷兰风格。亚历山德拉·冯·伯克霍兹与艺术、音乐、政治和技术领域的重要人物交往,在社会上很活跃。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
THE BALTIC PORTRAIT AND STILL LIFE PAINTER ALEXANDRA VON BERCKHOLTZ (1821–1899)
The Baltic artist Alexandra von Berckholtz was among the mostimportant portrait painters of her time. However, her works haddisappeared from art-historical memory because, after her death, theywere sold and spread all over the world. An international researchproject started in 2014 was able to rediscover her works and her lifestory.Von Berckholtz was given her first art lessons in 1841 by the courtpainter Louis Wagner in Karlsruhe, Germany. From 1847 until 1854she studied in Paris at the studio of the history painter Joseph-NicolasRobert-Fleury, who had considerable influence on her pictorialstyle which combined realism and idealism. Another significantinfluence was Richard Lauchert, a former student and close friendof Franz Xaver Winterhalter. Von Berckholtz’s numerous travels,e.g. to Switzerland, France, and the Czech Republic, were also arich source of inspiration. She changed the conventions of nobilityportrait and concentrated on still lifes in her later work, in whichshe reflected the Dutch style of the Baroque period. Alexandra vonBerckholtz associated with important personalities from the fieldsof art, music, politics, and technology, and was socially active.
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来源期刊
CiteScore
0.20
自引率
0.00%
发文量
0
期刊介绍: THE BALTIC JOURNAL OF ART HISTORY is an official publication of the Department of Art History of the Institute of History and Archaeology of the University of Tartu. It is published by the University of Tartu Press in cooperation with the Department of Art History. The concept of the journal is to ask contributions from different authors whose ideas and research findings in terms of their content and high academic quality invite them to be published. We are mainly looking forward to lengthy articles of monographic character as well as shorter pieces where the issues raised or the new facts presented cover topics that have not yet been shed light on or open up new art geographies.
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