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The Seated Demon
new4/Arnold Bocklin-323969.jpg
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The_Seated_Demon
mk72
1890
Oil on canvas
114x211cm
Tretyakov Gallery,Moscow
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The Seated Demon
new4/Arnold Bocklin-958795.jpg
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The_Seated_Demon
mk72
1890
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Tamara and the Demon
new4/Arnold Bocklin-343222.jpg
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Tamara_and_the_Demon
mk72
1890-91
Illustration for the poem The Demon by Mikhail Lermontov
Black watercolor and white on brown paper pasted on cardboard
66.5x50cm
Tretyakov Gallery,Moscow
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Tamara's Dance
new4/Arnold Bocklin-953766.jpg
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Tamara's_Dance
mk72
1890-91
Illustration for the poem The Demon by Mikhail Lermontov Black watercolor and white on paper
503x4cm
Tretyakov Gallery,Moscow
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The Waves
new9/Arnold Bocklin-977435.jpg
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The_Waves
mk87
1883
Oil on canvas
180.3x237.5cm
Munich,Bayerische Staatsgemalde sammlungen,Neue Pinakothek
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Arnold_Bocklin
Swiss
1827-1901
Arnold Bocklin Locations
Arnold Bocklin was born on Oct. 16, 1827, in Basel. He attended the Dusseldorf Academy (1845-1847). At this time he painted scenes of the Swiss Alps, using light effects and dramatic views subjectively to project emotional moods into the landscape. In 1848 this romantic introspection gave way to plein air (open-air) objectivity after he was influenced by Camille Corot, Eugene Delacroix, and the painters of the Barbizon school while on a trip to Paris. But after the February and June revolutions Bocklin returned to Basel with a lasting hatred and disgust for contemporary France, and he resumed painting gloomy mountain scenes.
In 1850 Bocklin found his mecca in Rome, and immediately his paintings were flooded by the warm Italian sunlight. He populated the lush southern vegetation, the bright light of the Roman Campagna, and the ancient ruins with lonely shepherds, cavorting nymphs, and lusty centaurs. These mythological figures rather than the landscapes became Bocklins primary concern, and he used such themes as Pan Pursuing Syrinx (1857) to express the polarities of life: warm sunshine contrasts with cool, moist shade, and the brightness of womans spirituality contrasts with mans dark sensuality.
When Bocklin returned to Basel with his Italian wife, he completed the painting which brought him fame when the king of Bavaria purchased it in 1858: Pan among the Reeds, a depiction of the Greek phallic god with whom the artist identified. He taught at the Academy of Art in Weimar from 1860 to 1862, when he returned to Rome. Called to Basel in 1866, he painted the frescoes and modeled the grotesque masks for the facade of the Basel Museum.
Bocklin resided in Florence from 1874 until 1885, and this was his most active period. He continued to explore the male-female antithesis and painted religious scenes, allegories of Natures powers, and moody studies of mans fate. He ceased working with oils and began experimenting with tempera and other media to obtain a pictorial surface free of brushstrokes.
Bocklin spent the next 7 years mostly in Switzerland, with occasional trips to Italy; he devoted much of his energy to designing an airplane. Following a stroke in 1892, he returned to Italy, bought a villa in Fiesole, and died there on Jan. 16, 1901. Many of his late works depict nightmares of war, plague, and death.
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