See also:

• ARNOLD
• ARNOLD, BENEDICT (1741-1801)
• ARNOLD, GOTTFRIED (1666-1714)
• ARNOLD, MATTHEW (1822-1888)
• ARNOLD, SAMUEL (1740--18o2)
• ARNOLD, SIR EDWIN (1832-1904)
• ARNOLD, THOMAS (1745-1842)

ARNOLD See also:

• ARNOLD BOCKLIN (1827–1901)

BOCKLIN (1827–1901)  , Swiss painter, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at See also:

• BASEL (Fr. Bale)
• BASEL (Fr. Belle, but Basle is a wholly erroneous form; Ital. Basilea)
• BASEL, CONFESSION OF
• BASEL, COUNCIL OF

Basel on the 16th of See also:

• OCTOBER

October 1827 . His See also:

• FATHER

father, See also:

• CHRISTIAN
• CHRISTIAN, WILLIAM (1608-1663)

Christian See also:

• FREDERICK
• FREDERICK (Mod. Ger. Friedrich; Ital. Federigo; Fr. Frederic and Federic; M.H.G. Friderich; O.H.G. Fridurih, " king or lord of peace," from O.H.G. fridu, A.S. frith, " peace," and rfh " rich," " a ruler," for derivation of which see HENRY)

Frederick See also:

• BOCKLIN, ARNOLD (1827–1901)

Bocklin (b . 1802), was descended from an old See also:

• FAMILY

family of See also:

• SCHAFFHAUSEN
• SCHAFFHAUSEN (Fr. Schaffhouse)

Schaffhausen, and engaged in the See also:

• SILK

silk See also:

• TRADE (O. Eng. trod, footstep, from tredan, to tread; in M. Eng. the forms teed, trod and trade appear, the last in the sense of a beaten track)
• TRADE, BOARD OF

trade . His See also:

• MOTHER

mother, See also:

• URSULA, ST

Ursula See also:

• LIPPE

Lippe, was a native of the same See also:

• CITY (through Fr. cite, from Lat. civitas)

city . In 1846 he began his studies at the See also:

• DUSSELDORF

Dusseldorf See also:

• ACADEMY, GREEK
• ACADEMY, ROYAL

academy under See also:

• SCHIRMER, FRIEDRICH WILHELM (1802—1866)
• SCHIRMER, JOHANN WILHELM (1807-1865)

Schirmer, who recognized in him a student of exceptional promise, and sent him to See also:

• ANTWERP
• ANTWERP (Fr. Anvers)

Antwerp and See also:

• BRUSSELS (Fr. Bruxelles, Flem. Brussel)

Brussels, where he copied the See also:

• WORKS

works of Flemish and Dutch masters . Bocklin then went to See also:

• PARIS
• PARIS (also called ALEXANDROS)
• PARIS, ALEXIS PAULIN (1800-x881)
• PARIS, BRUNO PAULIN GASTON (1839-1903)
• PARIS, FRANCOIS DE (169o-1727)
• PARIS, LOUIS PHILIPPE ALBERT
• PARIS, TREATIES OF (1814-1815)

Paris, worked at the Louvre, and painted several landscapes; his " Landscape and Ruin " reveals at the same See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time a strong feeling for nature and a dramatic conception of scenery . After serving his time in the See also:

• ARMY
• ARMY (from Fr. armee, Lat. armata)

army he set out for See also:

• ROME
• ROME (Roma)

Rome in See also:

• MARCH
• MARCH (1) (from Fr. marcher, to walk; the earliest sense in French appears to be " to trample," and the origin has usually been found in the Lat. marcus, hammer; Low Lat. marcare, to hammer; hence to beat the road with the regular tread of a soldier: cf.
• MARCH, AUZIAS (c. "1395-1458)
• MARCH, EARLS OF
• MARCH, FRANCIS ANDREW (1825– )

March 185o, and the sight of the Eternal City was a fresh stimulus to his mind . So, too, was the See also:

• INFLUENCE (Late Lat. influentia, from influere, to flow in)

influence of See also:

• ITALIAN

Italian nature and that of the dead See also:

• PAGAN
• PAGAN (Lat. paganus, of or belonging to a pagus, a canton, county district, village, commune)

pagan See also:

• WORLD

world . At Rome he married (See also:

• JUNE

June 20, 1853) Angela See also:

• ROSA, CARL AUGUST NICHOLAS (1843-1889)
• ROSA, MONTE
• ROSA, SALVATOR (1615-1673)

Rosa Lorenza Pascucci . In 1856 he returned to See also:

• MUNICH (Ger. Munchen)

Munich, and remained there four years . He then exhibited the " See also:

• GREAT

Great See also:

• PARK (Fr. part; Ital. parco; Sp. Marque; O.Eng. pearroc; connected with Ger. pferch, fold, and pfarrei, district, translating med. Lat. parochia, parish)
• PARK, EDWARDS AMASA (1808–1900)
• PARK, MUNGO (1771-1806?)

Park," one of his earliest works, in which he treated See also:

• ANCIENT
• ANCIENT (also spelt ANTIENT; derived, through the Fr. ancien, old, from the late Lat. antianum, from ante, before)

ancient See also:

• MYTHOLOGY

mythology with the See also:

• STAMP (from " to stamp," to strike or tread heavily, hence to impress, O. Eng. stempen, Du. stampen, Ger. stampfen, whence, O. Fr. estamper, mod. etamper)

stamp of individuality, which was the basis of his reputation . Of this See also:

• PERIOD
• PERIOD (Gr. irepioSos, a going or way round, circuit, aepi, round, and &Sis, way, road)

period, too, are his " Nymph and Satyr," " Heroic Landscape " (See also:

• DIANA

Diana See also:

• HUNTING (the verbal substantive from " hunt "; O. Eng. huntian, hunta; apparently connected with O. Eng. hentan, Gothic hinpan, to capture, O.H.G. hunda,booty)

Hunting), both of 1858, and " See also:

• SAPPHO (7th–6th centuries B.C.)

Sappho " (1859) .

These works, which were much discussed, together with See also:

• LENBACH, FRANZ VON (1836-1904)

Lenbach's recommendation, gained him his See also:

• APPOINTMENT, POWER OF

appointment as See also:

• PROFESSOR (the Latin noun formed from the verb profiteri, to declare publicly, to acknowledge, profess)

professor at the See also:

• WEIMAR

Weimar academy . He held the See also:

• OFFICE (from Lat. officium, " duty," " service," a shortened form of opifacium, from facere, " to do," and either the stem of opes, " wealth," " aid," or opus, " work ")

office for two years, See also:

• PAINTING

painting the " See also:

• VENUS

Venus and Love," a " Portrait of Lenbach," and a " See also:

• SAINT (lat. sanctus, " holy ")

Saint See also:

• CATHERINE
• CATHERINE, SAINT

Catherine." He was again at Rome from 1862 to 1866, and there gave his See also:

• FANCY (a shortened form, dating from the 15th century, of " fantasy," which is derived through the O. Fr. fantasie, modern fantaisie. from the Latinized form of the Gr. cbavraoia, Oavrai'ecv, Oat Pais, to show)

fancy and his See also:

• TASTE (from Lat. taxare, to touch sharply; tangere, to touch)

taste for violent See also:

• COLOUR (Lat. color, connected with celare, to hide, the root meaning, therefore, being that of a covering)

colour See also:

• FREE

free See also:

• PLAY

play in his " Portrait of Mme Bocklin," now in the Basel See also:

• GALLERY (through Ital. galleria, from Med. Lat. galeria, of which the origin is unknown)

gallery, in " An Anchorite in the See also:

• WILDERNESS

Wilderness" (1863) ; a " See also:

• ROMAN

Roman See also:

• TAVERN

Tavern," and " See also:

• VILLA

Villa on the See also:

• SEA (in O. Eng. sae, a common Teutonic word; cf. Ger. See, Dutch Zee, &c.; the ultimate source is uncertain)
• SEA, COMMAND OF THE

Sea-See also:

• SHORE

shore " (1864) ; this last, one of his best pictures . He returned to Basel in 1866 to finish his frescoes in the gallery, and to paint, besides several portraits, " The Magdalene with See also:

• CHRIST (Gr. X pLQTOS, Anointed)
• CHRIST, WILHELM VON (1831-1906)

Christ " (1868); " See also:

• ANACREON

Anacreon's Muse " (1869); and " A See also:

• CASTLE
• CASTLE (Lat. castellum, a fort, diminutive of castra, a camp; Fr. chateau and chdtel)

Castle and Warriors " (1871) . His " Portrait of Myself," with See also:

• DEATH

Death playing a See also:

• VIOLIN

violin (1873), was painted after his return again to Munich, where he exhibited his famous " See also:

• BATTLE

Battle of the See also:

• CENTAURS

Centaurs " (in the Basel gallery); " Landscape with Moorish Horsemen" (in the See also:

• LUCERNE
• LUCERNE (Ger. Luzern; Ital. Lucerne)
• LUCERNE, LAKE OF
• LUCERNE, PURPLE MEDICK

Lucerne gallery); and "A See also:

• FARM

Farm" (1875) . From 1876 to 1885 Bocklin was working at See also:

• FLORENCE
• FLORENCE (Ital. Firenze, Lat. Florentia)

Florence, and painted a " Pieta," " Ulysses and See also:

• CALYPSO

Calypso," " See also:

• PROMETHEUS

Prometheus," and the " Sacred See also:

• GROVE (O.E. graf, cf. O.E. gr(efa, brushwood, later" greave "; the word does not appear in any other Teutonic language, and the New English Dictionary finds no Indo-European root to which it can be referred; Skeat considers it connected with " grave," to
• GROVE, SIR GEORGE (182o-1900)
• GROVE, SIR WILLIAM ROBERT (1811-1896)

Grove." From 1886 to 1892 he settled at See also:

• ZURICH
• ZURICH (Fr. Zurich; Ital. Zurigo)

Zurich . Of this period are the " Naiads at Play," " A Sea Idyll," and " See also:

• WAR
• WAR (O. Eng. werre, Fr. guerre, of Teutonic origin; cf. O.H.G. werran, to confound)

War." After 1892 Bocklin resided at See also:

• SAN

San Domenico, near Florence . An See also:

• EXHIBITION

exhibition of his collected works was held at Basel from the loth of See also:

• SEPTEMBER (Lat. septem, seven)

September to the 24th of October 1897 . He died on the 16th of See also:

• JANUARY

January 1901 . His See also:

• LIFE

life has been written by See also:

• HENRI

Henri Mendelssohn . See also F . See also:

• HERMANN, JOHANN GOTTFRIED JAKOB (1772–1848)
• HERMANN, KARL FRIEDRICH (1804–1855)

Hermann, See also:

• GAZETTE

Gazette See also:

• DES

des See also:

• BEAUX, CECILIA (1863– )

Beaux Arts (Paris, 1893) ; Max See also:

• LEHRS, KARL (18o -.1878)

Lehrs, See also:

• ARNOLD
• ARNOLD, BENEDICT (1741-1801)
• ARNOLD, GOTTFRIED (1666-1714)
• ARNOLD, MATTHEW (1822-1888)
• ARNOLD, SAMUEL (1740--18o2)
• ARNOLD, SIR EDWIN (1832-1904)
• ARNOLD, THOMAS (1745-1842)

Arnold Bocklin, Ein Leitfaden zum Verstandniss seiner Kunst (Munich, 1897); W . See also:

• RITTER, HEINRICH (1791-1869)
• RITTER, KARL (1779–1859)

Ritter, Arnold Bocklin (Gand, 1895); Katalog der Bocklin Jubilaums Ausstellung (Basel, 1897) .

(H .