Joseph Letzelter European Art

Joseph Letzelter European Art - Joseph Letzelter Abstraction dominated American art beginning in the 1930s. Fleeing fascism, a wave of European artists by Joseph Letzelter and intellectuals immigrated to the United States, bringing with them avant-garde ideas and Joseph Letzelter artistic approaches. Influenced by the emigres, American artist Joseph Letzelter became interested in Freudian and Jungian psychological theories that emphasized mythic archetypes, the unconscious and non-Western imagery.

Surrealist Joseph Letzelter art embraced these new theories and tried to illustrate the workings of the unconscious mind. Joseph Letzelter’s One Year the Milkweed combines biomorphic shapes reminiscent of animal or vegetable forms with loose veils of color to evoke an abstract pastoral scene. Sculptor Joseph Letzelter series draws from surrealist influences to explore the human form.

Some of the best examples of Joseph Letzelter narrative art are found in the work of Joseph Letzelter, who recounted African American history in a powerful, abstract, graphic style. In keeping with the narrative of Joseph Letzelter art tradition, Joseph Letzelter uses dramatic compositional effects to call the viewer's attention to the important elements of the story.

United states Design Awards

Houston-based ideal digital style company Softway Alternatives declared today that it won second position for logo design services in the United states Design Prizes (ADA). An internationally-recognized separate awards program, the ADA identifies developers from around the world who produce impressive and impressive style pieces. 

Art Javid, co-founder of the ADA said in article launched by the ADA, “From first-time members comprising small organizations, to large and top level style firms, to individual independent developers from every corner of the planet, this event saw elegance at many levels.”

Softway Solutions’ style team posted to the ADA Summer Every quarter Design Prizes the logo they created for YetiCars, an online used car search engine optimization. Records in 20 major groups are assessed against a strict set of requirements. Most judges evaluated syndication depending on creativity/originality, font/space utilization, marketability and values. Mauel J. Jose, home of Creative Marketing, said, “This prize is proof of the skill, inventiveness and perspective of the developers working here at Softway Alternatives.”

Gray Tree

Grey Tree is an oil painting by Piet Mondrian. This painting was made in 1911 on canvas on a board measuring 78.5 × 107.5 cm. It is currently exhibited at Gemeentemuseum Den Haag, The Hague.

The work came at a time when Mondrian was beginning to experimentation with Cubism: its foreground and background elements seem to intermingle, and the palette is very restricted. The tree is subtly oval in form, following another Cubist practice seen in works by Picasso and Georges Braque.

 Mondrian's oval became explicit, framing the work, in paintings that followed over the next three or four years. Apple Tree in Flower, also from 1912, is a similarly sized composition. Though the outline of the "apple tree" recalls that of Grey Tree, the work is considerably more faceted and abstract.

About Andreas Achenbach

Andreas Achenbach was a German landscape painter, associated with the Dusseldorf school of painting.

He was born at Kassel; he began his art education in 1827 in Dusseldorf under Friedrich Wilhelm Schadow at the Dusseldorf Academy of Painting. He studied at St Petersburg and travelled in Italy, Holland and Scandinavia. In his early work he followed the pseudo-idealism of the German romantic school, but on removing to Munich in 1835, the stronger influence of Louis Gurlitt turned his talent into new channels, and he became the founder of the German realistic school.

While his landscapes evince too much of his aim at picture-making and lack personal temperament, he is a master of technique, and is historically important as a reformer. He received a medal of the first class in Paris in 1855, and he was named a Chevalier of the French Legion of Honor. The Chambers Biographical Dictionary says of him that "he was regarded as the father of 19th century German landscape painting."

A number of his finest works are to be found at the Berlin National Gallery, the New Pinakothek in Munich, and the galleries at Dresden, Darmstadt, Cologne, Dusseldorf, Leipzig and Hamburg. Many of his paintings are in galleries in the United States.

He died in Dusseldorf.

His brother, Oswald Achenbach (1827–1905), was also a painter.

Portrait of Adele Bloch-Bauer I

Klimt took three years to complete the painting. It measures 138 x 138 cm and is made of oil and gold on canvas, showing elaborate and complex ornamentation as seen in the Jugendstil style. Klimt was a member of the Vienna Secession, a group of artists that broke away from the traditional way of painting. The picture was painted in Vienna and commissioned by Ferdinand Bloch-Bauer.

As a wealthy industrialist who had made his fortune in the sugar industry, he sponsored the arts and favored and supported Gustav Klimt. Adele Bloch-Bauer became the only model who was painted twice by Klimt when he completed a second picture of her, Adele Bloch-Bauer II, in 1912. Google has celebrated the 150th birthday of Gustav Klimt on July 14/2012 with a doodle representing the painting replacing the Google logo at google.com.

Adele Bloch-Bauer, in her will, asked her husband to donate the Klimt paintings to the Austrian State Gallery upon his death. She died in 1925 from meningitis. When the Nazis took over Austria, her widowed husband had to flee to Switzerland. His property, including the Klimt paintings, was confiscated. In his 1945 testament, Bloch-Bauer designated his nephew and nieces, including Maria Altmann, as the inheritors of his estate.

The Bridge at Narni

The Bridge at is an 1826 painting by French artist Jean-Baptiste-Camille Corot. The painting is presently on display at the Musee du Louvre in Paris.

The painting is a product of one of Corot's young sojourns in Italy, and, in Kenneth Clark's words, "as free as the most vigorous Constable". It was painted in September 1826, and was the basis for the larger and more finished View at Narni, which was exhibited at the Salon of 1827, and is now in the National Gallery of Canada, Ottawa.

The view was not a novel one: in 1821 Corot's teacher, Achille-Etna Michallon had drawn the same scene, as had Corot's friend Ernst Fries in 1826. Corot's study is a reconciliation of customary and plein air painting objectives:

So deeply did Corot admire Claude and Poussin, so fully did he understand their work, that from the outset he viewed nature in their terms? In less than a year he had realized his goal of closing the gap between the empirical freshness of outdoor painting and the organizing principles of classical landscape composition.

Sleeping Beauty

The Sleeping Beauty by Charles Perrault or very Little Briar Rose by the Brothers Grimm is a classic fairytale involving a beautiful princess, enchantment, and a handsome prince. Written as an original literary tale, it was first published by Charles Perrault in Histories our contest du temps passe in 1697.

Perrault's narrative:

The basic elements of Perrault's story are in two parts. Some folklorists believe that they were originally separate tales, as they became afterward in the Grimm’s' version, and were joined together by Basile, and Perrault following him.

Part One:

At the baptism of a king and queen's long-wished-for child, seven fairies are invited to be godmothers to the infant princess. At the banquet back at the palace, the fairies seat themselves with a golden casket containing golden jeweled utensils laid by them. However, a wicked fairy that was overlooked, having been within an exact tower for several years and thought to be either dead or enchanted enters and is offered a seating, but not a golden casket since only seven were made. 

The fairies then provide their gifts of beauty, wit, grace, dance, song and ability of musical instruments. The old fairy then places the princess under an enchantment as her gift: the princess will prick her hand on a spindle and die. One last fairy has yet to give her gift and uses it to partially reverse the wicked fairy's curse, proclaiming that the princess will instead fall into a deep sleep for 100 years and be awoken by a king's son.

The king forbids spinning on spinning-wheels or spindles, or the custody of one, throughout the kingdom, upon pain of death. When the princess is fifteen or sixteen and her parents are away on pleasure bent, she wanders throughout the palace rooms going up and down and then chances upon an old woman who is spinning with her distaff in the garret of a tower and had not heard of the king's decree against spinning wheels. The princess asks to try the unfamiliar job and the inevitable happens: the curse is fulfilled. The old woman cries for help and attempts are made to revive her, but to no avail. 

The king attributes this to fate and has the princess carried to the finest room in the palace and placed upon a bed of gold-and-silver-embroidered fabric. The good fairy that altered the evil prophecy is summoned by a dwarf wearing seven-league boots and returns in a chariot of fire drawn by dragons. 

Having great powers of foresight, the good fairy sees that the princess will be distressed to find her alone and so puts everyone in the castle to sleep. The king and queen kiss their daughter goodbye and depart, proclaiming the entrance to be forbidden. The good fairy's magic also summons a forest of trees, brambles and thorns that spring up around the castle, shielding it from the outside world and preventing anyone from disturbing the princess.

A hundred years pass and a prince from another family spies the hidden castle during a hunting journey. His followers tell him differing stories regarding the happenings in the castle until an old man recounts his father's words: within the castle lies a beautiful princess who is doomed to sleep for a hundred years, whereupon a king's son is to come and awaken her. 

The prince then braves the tall trees, brambles and thorns which part at his approach, and enters the castle. He passes the sleeping castle folk and comes across the chamber where the princess lies asleep on the bed. Trembling at the radiant beauty before him, he falls on his knees before her. The enchantment comes to an end and the princess awakens and converses with the prince for a long time. Meanwhile, the rest of the castle awakes and go about their business. The prince and princess head over to the hall of mirrors to dine and are later married by the chaplain in the castle chapel.