Null Carl Joseph Schwenn (1888-1973), Danish landscape painter, Impressionist vi…

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Carl Joseph Schwenn (1888-1973), Danish landscape painter, Impressionist village view, oil on canvas, signed and dated (19)34 lower left, 44 x 56 cm

7343

Carl Joseph Schwenn (1888-1973), Danish landscape painter, Impressionist village view, oil on canvas, signed and dated (19)34 lower left, 44 x 56 cm

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Estim. 6 000 - 7 000 EUR

DARÍO DE REGOYOS (Asturias, 1857 - Barcelona, 1913). "Forest". ca.1897 Oil on canvas adhered to cardboard. Signed in the lower right corner. The work will be included in the next catalog raisonné of the artist. It was owned by the draftsman Manuel Feliú. We thank Mr. Juan San Nicolás for his help in cataloguing the work. You can attach a certificate of authenticity at the request and expense of the buyer. Measurements: 18 x 18 cm; 30 x 30 cm (frame). Next to a narrow sand road grow trees of leafy crown. A Roman bridge is outlined in the distance. In this landscape, Regoyos uses a juicy brushstroke, rich in shades ranging from emerald green to lemon green. With subtle iridescence he translates the play of light that filters the branches and is projected with skill and poetic wisdom on the grass. Through small touches of the brush Regoyos reveals a composition where the colorful and shady atmosphere of this place is faithfully reflected. Regoyos was one of the impressionist masters in the capture of fleeting light. Trained at the San Fernando Academy of Fine Arts in Madrid, where he studied landscape painting with the Belgian artist Carlos de Haes as his teacher. It was then that the Asturian artist's knowledge began to expand towards Belgian landscape trends, a taste and interest that he developed by traveling to Belgium in 1879. The stay in Brussels was enriching for Regoyos, attending the Royal Academy of Fine Arts in Brussels as a student. However, the academicism integrated in the institution caused the artist to leave, and he turned to the former teacher of Carlos de Haes, Joseph Quinaux, in order to acquire new techniques.Regoyos became perfectly integrated in his new place of residence, he met a large number of artists, poets and writers, from whom he learned and completed himself as an artist. His recognition advanced thanks to his dynamism and artistic skill, which allowed him to enter the famous Circle of the XX (act. 1883-1894). It could be said that it was from then on when Regoyos' artistic career began to mature. In 1886, the Asturian artist developed a pointillist stage promoted by George Seurat's participation in one of the exhibitions held at the Circle of the XX. The commotion and impact caused by Seurat's treatment provoked the creation of a pointillist group, in which Darío de Regoyos participated. This innovative movement attracted French impressionist artists such as Paul Signac, another reference in the artistic technique of Regoyos. After the dissolution of Los XX in 1893, Regoyos decided to return to Spain where the artistic panorama was limited, since the new tendencies had not yet arrived from France. It could be said that this was the end of his apprenticeship period, becoming a teacher of artists liberalized from the "sorollismo" rooted in the field of landscape painting, and encouraging them to spread his ideas through the media of the time. The Asturian artist's exhibition career covered a large number of cities, such as Bilbao, Frankfurt, Berlin, The Hague, Venice, Bayonne, San Sebastian, London, Mexico City, Bordeaux and Buenos Aires, among others. It is also represented in institutions such as the Prado Museum, the Thyssen-Bornemisza, the Museo Nacional de Arte de Cataluña in Barcelona, the Museo de Bellas Artes in Bilbao and the Gerstenmaier Collection, among many other museums and institutions.

Estim. 50 - 80 EUR

Joseph Carl SCHULLER (1852-1920) The flower garden Oil on panel Signed lower left 27 x 17 cm

Otto, H. - Otto, Heinrich, 1858 Wernswig (Hessen) - 1923 Düsseldorf, animal painter, lithographer, etcher, "Liegender Frauenakt", gouache/paper, approx. 33,5x42cm, RhG several times dam, parts missing, c. 47x54cm, at the age of 14 Heinrich Otto began an apprenticeship as a sculptor with Joseph Grassegger and then with Heinrich Echtermeyer (1802-1876) in Kassel, in 1878 he was accepted into the sculpture class of Karl Hassenpflug (1824-1890), the young artist then studied for two years at the Kassel Academy (today the Kassel Art Academy) under Louis Kolitz and Carl Wünnenberg. Already at this time, in 1881, he visited the Schwälmer Willingshäuser painters' colony, of which he later became a member. In 1901, Heinrich Otto received the Golden State Medal in Dresden for his lithograph "Moonlit Night". Since then, he has been regarded as one of the most important German draughtsmen and etchers, and his prints have been increasingly included in private collections and in many German state collections of engravings. His last journey took him to Düsseldorf, where he had meanwhile been appointed professor of art at the Düsseldorf Art Academy.

Pohle, Leon Friedrich - 1841 Leipzig - 1908 Dresden, "Portrait of Agnes Böhme", oil/wood, youth portrait of Agnes Böhme, married Albrecht, she is depicted in a blue and white striped dress with a low-cut back, she wears a black ribbon around her neck and a red flower in her hair, she is looking directly at the viewer over her left shoulder, on the reverse inscribed in pencil " Agnes Albrecht about 18 - 20 years old, painted by Leon Pohle in Weimar between 1865-1870", restored, partially minimal retouching, approx. 49x36cm, frame minimally bumped, approx. 64x51cm. Pohle was a German genre, history and portrait painter, studied at the Dresden Academy of Art from 1856 to 1860, supported by his teachers he then became a pupil of the painter Joseph van Lerius in Antwerp, where he remained until 1864, after returning to Germany Pohle came to Weimar, where he joined the Weimar School of Painting as a pupil of Ferdinand Pauwels at the Grand Ducal Saxon School of Art for two years; in the summer of 1866 he left Pauwels' studio and returned to his home town, making study trips to France, Holland and Vienna; Pohle's early works were still very much rooted in genre painting, partly due to his teachers. He later found his own style in history painting and settled as a freelance artist in Weimar in 1868, where he turned away from genre paintings and historical compositions and devoted himself to portrait painting. In 1877, Pohle accepted a professorship at the Dresden Academy of Art and was appointed full professor there, producing numerous portraits, some of them of other artists such as the painters Ludwig Richter and Carl Gottlieb Peschel or the sculptor Ernst Hähnel. Literature: Internet

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