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Albert von
Keller

Germany 
1844−1920
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Albert von Keller received his artistic education at the Munich Academy under the leadership of Munich and Ramberg. At first, he wrote scenes from the life of middle and high society and great portraits; later became to take his paintings of historical, mythological, fantastic, and other topics. Smart composer and a great colorist, it is tastefully possessed a bold and juicy brushwork. Its main works: "the Resurrection of Jairus's daughter" (Munich new Pinakothek), "Sleeping witch" (1888), "Roman bath", "Chopin for piano", "the Empress Justina in Prenestino the temple of Juno, Transfer bones Delatour-d Verna", "judgment of Paris", "After dinner" portrait of the artist's wife.

Albert von Keller belonged to an ancient and influential Swiss family (Keller, called Steinbock). After the death of the father of the mother of albert, absorbed in the upbringing of the only extremely gifted child, moved to Munich. After graduating from high school, the young man was undecided what profession to choose from their varied interests, and finally, on the advice of his uncle, the Berlin law Professor F. von Keller, highlighted the law, not neglected, however, preferences for art, music, foreign languages and mechanical engineering (they made the machine he received the award at the industrial exhibition in Bayreuth). Under the influence of their eminent teachers of painting Ludwig von Hagna and Arthur von Keller Ramberg in 1865 decided to abandon the study of law and devote themselves to the fine arts. By this time he was already well known for all the artistic centres of Europe; thanks to the background Hagno he owned colorful, full of flavor palette. For some time Keller attended the Academy (in the fall of 1866 included in a class of Hiltensperger), but mainly to further development of his talent he is obliged von Ramberg with whom she had shared a Studio and made a trip (for example, in 1869 in Italy, where enthusiastically copied Veronese). Keller moved closer to known pupils Piloty – Makarem and Lensam. .. .. Also brings to the work of Keller kind of romantic-decorative spray.

Style creative activity of Keller is based on his lifestyle. In the fall of 1869, after a big art exhibition, which Keller sent the painting "Faun and Nymph", he removes his Atelier and starts with small sketches elegant interiors and high society, portraits of aristocratic ladies, images of gardens, and scenes in the parks. These works demonstrate perfectly educated sense of color and refined taste of the favorite of the aristocratic society. The audience and critics took these pictures with enthusiasm, Keller became one of the first German artists who in a few years after the war, he achieved success in Paris. Characteristic of his creative activity of that period: "In 70-e years he belonged to the very few artists who were not historical or genre painting, and painting about painting" (Mutter). Around 30 years of the artist in society formed an extraordinary aura, which became even greater when, in the summer of 1878 Keller married welcome by many beautiful Baroness Irene, Eichthal, after a romantic abduction in England and against the will of her parents.

Around the middle of 80-ies is the second a period of creativity Keller. He turned to the mystical-religious, spiritual and occult topics. This orientation differed decorative objectivity, replacing charm coloristic-sensitive painting. There are a number of peculiar images ecstatic visions and supernatural States of the soul. Along with this, continues the writing of portraits, above all the noble ladies in their boudoirs and interiors. Thanks to the exhibition in the Studio in April 1886, Keller finds himself at the center of fashion. Gradually, the ideas and innovations of pleneristov, in 1892, he joined the Secession, to which his contribution in social attitude is a great benefit. His Studio on Kaulbachstrasse was no less than an Atelier in Munich, the meeting place of the powerful men and famous women. As an unconditional admirer of Richard Wagner, Keller was close to home at Wanfried. In 1898 he was granted nobility. Unbroken until the last years of his life, was struck by an unusually fine presence of Keller in the social life of Munich.

Despite their belonging to the Secession, Keller remained true to the traditions of the Munich Studio. In most of his works present a combination of visual and psychological interests, as well as, virtuoso, well thought-out color dialectic, is always attractive and intriguing, reminiscent of rare hothouse plants.

In 1906 and 1907, the aging artist understands the heavy family grief – the death of her only son and, soon after, the couple. At the same time, most organized by the Secession exhibition with nearly a hundred and fifty paintings, becoming the most important event of the Munich artistic life.

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