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See also: born at See also: Basel on the 16th of See also: October 1827
.
His See also: father, Christian See also: Frederick See also: Bocklin (b
.
1802), was descended from an old See also: family of Schaffhausen, and engaged in the See also: silk See also: trade
.
His See also: mother, See also: Ursula See also: Lippe, was a native of the same city
.
In 1846 he began his studies at the See also: Dusseldorf See also: academy under Schirmer, who recognized in him a student of exceptional promise, and sent him to See also: Antwerp and Brussels, where he copied the See also: works of Flemish and Dutch masters
.
Bocklin then went to See also: Paris, worked at the Louvre, and painted several landscapes; his " Landscape and Ruin " reveals at the same See also: time a strong feeling for nature and a dramatic conception of scenery
.
After serving his time in the army he set out for See also: Rome in See also: March 185o, and the sight of the Eternal City was a fresh stimulus to his mind
.
So, too, was the influence of
See also: Italian nature and that of the dead See also: pagan See also: world
.
At Rome he married (See also: June 20, 1853) Angela Rosa Lorenza Pascucci
.
In 1856 he returned to See also: Munich, and remained there four years
.
He then exhibited the " See also: Great See also: Park," one of his earliest works, in which he treated See also: ancient See also: mythology with the stamp of individuality, which was the basis of his reputation
.
Of this See also: period, too, are his " Nymph and Satyr," " Heroic Landscape " (See also: Diana Hunting), both of 1858, and " See also: Sappho " (1859)
.
These works, which were much discussed, together with See also: Lenbach's recommendation, gained him his See also: appointment as professor at the See also: Weimar academy
.
He held the office for two years, See also: painting the " See also: Venus and Love," a " Portrait of Lenbach," and a " See also: Saint See also: Catherine." He was again at Rome from 1862 to 1866, and there gave his fancy and his taste for violent colour See also: free See also: play in his " Portrait of Mme Bocklin," now in the Basel gallery, in " An Anchorite in the See also: Wilderness" (1863) ; a " See also: Roman See also: Tavern," and " See also: Villa on the See also: Sea-See also: 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 Christ " (1868); " See also: Anacreon's Muse " (1869); and " A See also: Castle and Warriors " (1871)
.
His " Portrait of Myself," with See also: Death playing a See also: violin (1873), was painted after his return again to Munich, where he exhibited his famous " See also: Battle of the See also: Centaurs " (in the Basel gallery); " Landscape with Moorish Horsemen" (in the Lucerne gallery); and "A See also: Farm" (1875)
.
From 1876 to 1885 Bocklin was working at Florence, and painted
a " Pieta," " Ulysses and See also: Calypso," " See also: Prometheus," and the " Sacred See also: Grove." From 1886 to 1892 he settled at Zurich
.
Of this period are the " Naiads at Play," " A Sea Idyll," and " War." After 1892 Bocklin resided at
See also: San Domenico, near Florence
.
An See also: exhibition of his collected works was held at Basel from the loth of See also: September to the 24th of October 1897
.
He died on the 16th of See also: January 1901
.
His See also: life has been written by See also: Henri Mendelssohn
.
See also F
.
Hermann, See also: Gazette See also: des See also: Beaux Arts (Paris, 1893) ; Max See also: Lehrs, See also: Arnold Bocklin, Ein Leitfaden zum Verstandniss seiner Kunst (Munich, 1897); W
.
Ritter, Arnold Bocklin (Gand, 1895); Katalog der Bocklin Jubilaums Ausstellung (Basel, 1897)
.
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