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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Max Slevogt Red Pergola with Dog oil painting


Red Pergola with Dog
mk141 1897 Oil on cardboard mounted on Wood 68.2x98.1cm
Painting ID::  38833
Max Slevogt
Red Pergola with Dog
mk141 1897 Oil on cardboard mounted on Wood 68.2x98.1cm
   
   
     

Max Slevogt Penthesilea oil painting


Penthesilea
mk184 ]1905/06 chalk-and Tuschlithographie on carton 29x41.2cm
Painting ID::  44970
Max Slevogt
Penthesilea
mk184 ]1905/06 chalk-and Tuschlithographie on carton 29x41.2cm
   
   
     

Max Slevogt Symbols of the time as well as long yet oil painting


Symbols of the time as well as long yet
mk184 Lithographie 45x34.5cm
Painting ID::  44971
Max Slevogt
Symbols of the time as well as long yet
mk184 Lithographie 45x34.5cm
   
   
     

Max Slevogt Selbstbidnis with hat and cane oil painting


Selbstbidnis with hat and cane
mk184 1908 Lithographie 31.3x29.9cm
Painting ID::  44972
Max Slevogt
Selbstbidnis with hat and cane
mk184 1908 Lithographie 31.3x29.9cm
   
   
     

Max Slevogt Dacne of Death oil painting


Dacne of Death
mk235 1896 Oil on canvas 102x123cm
Painting ID::  54310
Max Slevogt
Dacne of Death
mk235 1896 Oil on canvas 102x123cm
   
   
     

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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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