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Der Sanger Francisco
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Der_Sanger_Francisco
Der Sanger Francisco d'Andrade al Don Giovanni in Mozarts Oper, 1912
One of three paintings by Slevogt that portrait d'Andrade in this role.
The painting depicts the scene when Don Giovanni invites the dead Commendatore to dinner (O statua gentilissima), with Leporello hiding behind him.
Oil on canvas, 210 X 170 cm
Gallery: Alte Nationalgalerie Berlin, A II 36
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Don Juans Begegnung mit dem steinernen Gast,
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Don_Juans_Begegnung_mit_dem_steinernen_Gast,
Don Juans Begegnung mit dem steinernen Gast, 1906
Oil on cardboard, 37.2 X 53.2 cm
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Portrat Nina und Wolfgang Slevogt
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Portrat_Nina_und_Wolfgang_Slevogt
Porträt Nina und Wolfgang Slevogt (Kinder im Wald), 1917
Oil on canvas, 115 X 92 cm
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Don Giovannis Begegnung mit dem steinernen Gast
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Don_Giovannis_Begegnung_mit_dem_steinernen_Gast
Oil on cardboard, 37.2 X 53.2 cm
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Kinder im Wald
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Kinder_im_Wald
1917
Oil on canvas, 115 X 92 cm
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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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