Oil Painting Otto Sievert Still Life 69 x 86 Paris Cagney Firenze Napoli Toledo


Oil Painting Otto Sievert Still Life 69 x 86 Paris Cagney Firenze Napoli Toledo
Oil Painting Otto Sievert Still Life 69 x 86 Paris Cagney Firenze Napoli Toledo
Oil Painting Otto Sievert Still Life 69 x 86 Paris Cagney Firenze Napoli Toledo
Oil Painting Otto Sievert Still Life 69 x 86 Paris Cagney Firenze Napoli Toledo
Oil Painting Otto Sievert Still Life 69 x 86 Paris Cagney Firenze Napoli Toledo
Oil Painting Otto Sievert Still Life 69 x 86 Paris Cagney Firenze Napoli Toledo
Oil Painting Otto Sievert Still Life 69 x 86 Paris Cagney Firenze Napoli Toledo
Oil Painting Otto Sievert Still Life 69 x 86 Paris Cagney Firenze Napoli Toledo
Oil Painting Otto Sievert Still Life 69 x 86 Paris Cagney Firenze Napoli Toledo
Oil Painting Otto Sievert Still Life 69 x 86 Paris Cagney Firenze Napoli Toledo
Oil Painting Otto Sievert Still Life 69 x 86 Paris Cagney Firenze Napoli Toledo
Oil Painting Otto Sievert Still Life 69 x 86 Paris Cagney Firenze Napoli Toledo


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eBay Oil painting Otto Sievert still life 69 x 86 Paris Cagnes Firenze Napoli Toledo « Still life with fruit » – Otto Sievert 1894-1940 – below signed – Danish painter Weilbach information genealogy Sievert, Otto Christian, 1894-1940, painter. *6.7.1894 in Cologne, ?16.3.1940 in Gent., limited i kgs. Lyngby. Forældre: Afd.chef Ernst Christian Joachim S. og Marie Sophie Amalie Jensen. ~9.2.1923 on Fr.berg med account race. Rigmor Thora Waterstradt, *19.3.1897 in Gent., ?5.4.1990, date of handelsgartner Christian Godfred Heinrich W. and Olivia Deleuran. Biography Otto Siverts live and art formede sig uroligere og mere rastløst end den yngre bror Eriks. Hans artistic starting point var ganske vist som broderens, den europæiske ekspressionisme, the søgte at registrere tidens nervøse uro og følsomhed, men S. tog i løbet af sin relativt korte Kunstnerkarriere nogle bratte sving i sine holdninger. He reports that Hans forsøg på at forene en civil karriere with continuing education and studies. Rejserne ud i Europa åbnede Samidig hans øjne for ældre Kunst, bl.a. El Greco and Baroque Mestre. Colors that vermilion, kromgult and ultramarine hentede han from 1500- and 1600-tallets mestre. Denne inspiration ses parallelt hos Otto Dix in Tyskland, who specialt omkring 1930 udviklede en old master style. S’ Hovedværk Gadekamp from 1934-35 synes direct inspireret af Dix’ politiske værker from omkring 1920, foruden af den lidt ældre tyske ekspressionist Ludwig Meidner. Billedet has tæthed og a revolutionary atmosphere, which he ends up in dansk art. Sammenhobningen af Kroppe minder Både om en Række tyske ekspressionister og i ntre grad om Italian futurisme. Formgengivelsen og udtrykkene i visse af figurerne var imidlertid mindre vellykket, hvilket kan være reason to, at han som moden Kunstner søgte vejledning hos Aksel Jørgensen. Samtidte han et polemisk opgør med tendenser in modernismen, og hvad han anså for the æstetiske virkelighedsflugt in politics. With the result that it was seen in Munich in 1937 he artikler Hitler’s art policy, before hanging on to the rescue with politics tolkning af udstillingen degenerate art that tried for the new regimes established over for modern art. S’ final conclusion blev dog, at den tyske art politics var forfejlet. Derimod mente han, at målet måtte defines som en socialaristokratisk opgave. S’ Angreb på tidens Kunstforfladigelse i 1930rne udgør et overset højreidealistisk modstykke til surrealisternes venstreradical criticism. Denne controversial position has sandsynligvis været årsag til, at danske Kunsthistorikere helt has overset brødrene Sievert. Otto S. is the most vanskeligste at following and i mangt og meget en tragic skikkelse. Men han besad et helt usædvanligt temperament, before modsætningen mellem hans idealistic holdninger, the snart synes revolutionære, snart reactionære, and hans subjective-expressionistic artnersjæl aldrig øses. S’ fantasy, sans for the voldsomme og the grotesque he imidlertid umiskendelig, hvilket ikke at least come til udtryk i de efterladete tegninger. Education op. kontorudd., derefter tegner hos en landinsp. including stadsing. i kbh until 1926; today efter plaster hos G. Vermehren o. 1914; elev 1/2 år hos Harald Giersing, formally winter 1915-16; art academy Kbh., graphic sk. (Aksel Jorgensen) 1934-35. travel Paris 1921, 1924; Tyskland 1922; Cagnes, Firenze 1926; Madrid, Toledo, San Sebastian 1936; Italy (Firenze, Rome, Napoli, Venezia), Munich 1937. occupations Scholarships Chr. Dalsgaard 1922; Ronge 1924; Hielmstierne-Rosencrone 1925, 1931; acad. 1931; Benny Claudi-Pedersen 1933; JR Lund 1935, 1937. exhibitions KE 1919-23, 1929; Charles Forar. 1922-23, 1925-27, 1930-31, 1934; Charles Eft. 1922, 1931; Gronningen 1932-33; That there. Kunststævne, Forum 1929; Høst 1934, 1936; Corner 1936; Fyen’s Forum 1936; Aarhushallen 1938; Winterudst. 1939, 1941-42 (at least German); 500 aars there. portrætter, Charl.borg 1961. Art works En model (1919); Selvportræt med Rundpuldet hat (1920); Portrait of Niels Bohr (1920, Fr.borgmus.); Portrait of Erik Sievert (1921); Loths hustru (1921); Sydfransk landskab, Cagnes (1926); Landskab fra Gentofte (ext. of Ghent. Statsk. 1930); Gadekamp (1934-35); Selvportrait (1935); Landskab from Toledo (1936); San Marco, Venice (1937); eventually træsnit, model study and satirical blade. Written works: Articles to collectors 1937-40. Source: kid.dk – painted 1. half 20 century Technique: oil on canvas To the condition: – Surface is slightly dirty – Color losses – see photos Dimensions: 69 x 86 cm PLEASE CHECK OUT MY OTHER ITEMS! _gsrx_vers_856 (GS 7.0.20 (856)) Otto Siverts live and art formede sig uroligere og mere rastløst end den yngre bror Eriks. Hans artistic starting point var ganske vist som broderens, den europæiske ekspressionisme, the søgte at registrere tidens nervøse uro og følsomhed, men S. tog i løbet af sin relativt korte Kunstnerkarriere nogle bratte sving i sine holdninger. He reports that Hans forsøg på at forene en civil karriere with continuing education and studies. Rejserne ud i Europa åbnede Samidig hans øjne for ældre Kunst, bl.a. El Greco and Baroque Mestre. Colors that vermilion, kromgult and ultramarine hentede han from 1500- and 1600-tallets mestre. Denne inspiration ses parallelt hos Otto Dix in Tyskland, who specialt omkring 1930 udviklede en old master style. S’ Hovedværk Gadekamp from 1934-35 synes direct inspirere

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