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The Alster at Hamburg (mk09)
new6/Max Slevogt-453769.jpg
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The_Alster_at_Hamburg_(mk09)
1905
Oil on canvas,59 x 76 cm
Berlin,Nationalgalerie,Staatliche Museen zu Berlin-Preussischer Kulturbesitz
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Flower Garden in Neu-Cladow (nn02)
new8/Max Slevogt-295798.jpg
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Flower_Garden_in_Neu-Cladow_(nn02)
1912
Oil on canvas,25 1/4 x 31 7/8'' Westfalisches Landesmuseum fur Kunst und Kulturgeschichte,Munster
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Sunny Garden Corner in Neukastel (nn02)
new8/Max Slevogt-478983.jpg
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Sunny_Garden_Corner_in_Neukastel_(nn02)
1921
Oil on canvas,35 1/2 x 43 1/4'' Bayerische Staatsgemaldesammlungen,Neue Pinakothek,Munich
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The Alster at Hamburg
new9/Max Slevogt-973729.jpg
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The_Alster_at_Hamburg
mk87
1905
Oil on canvas
59x76cm
Berlin,Nationalgalerie,Staatliche Museen zu Berlin Preussischer Kulturbesitz
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The Singer Francisco d-Andrade as Don Giovanni
new12/Max Slevogt-587636.jpg
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The_Singer_Francisco_d-Andrade_as_Don_Giovanni
mk138
1912
Oil on canvas
210x170cm
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Max_Slevogt
German Impressionist Painter, 1868-1932
German painter, printmaker and illustrator. His father, adjutant and friend of the future Prince Regent, Luitpold (1821-1912), died when Slevogt was just two years old. His mother moved to Werzburg, where he spent his schooldays. Even in his childhood and adolescence, family connections brought Slevogt to Pfalz, to an aunt in Landau and to the Finkler family in Neukastel. Initially he had planned to become a musician, but he began to study painting at the Akademie der Bildenden Kenste in Munich in 1885. His fellow students included Gabriel von Hackl (1843-1926), Karl Raupp (1837-1918), Ludwig Herterich (1856-1932) and Wilhelm von Diez (1839-1907). In 1889 he spent a term at the Academie Julian in Paris. At that time Impressionism had very little effect on him. Following a trip to Italy in 1890 with the painter Robert Breyer (1866-1941) who had befriended him at the Akademie, he began to work independently as a painter in Munich. In 1893 he participated in the first exhibition of the newly founded Munich Secession, exhibiting Wrestling School (1893; Edenkoben, Schloss Villa Ludwigshehe); the judges wanted to refuse this painting as immoral since its entwined and naked men caused offence. In the following years his paintings often appeared harsh and non-academic to conservative Munich circles. At this time Slevogt also made contributions to the journals Jugend and Simplizissimus, which were significant in the development of his graphic work.
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