MAX See also:

• MAX LIEBERMANN (1849– )

LIEBERMANN (1849– )  , See also:

• GERMAN
• GERMAN, DUTCH AND SCANDINAVIAN

German painter and etcher, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born in See also:

• BERLIN
• BERLIN, CONGRESS AND TREATY OF
• BERLIN, ISAIAH (1725–1799)

Berlin . After studying under Steffeck, he entered the school of See also:

• ART

art at See also:

• WEIMAR

Weimar in 1869 . Though the straightforward simplicity of his first exhibited picture, " See also:

• WOMEN

Women plucking Geese," in 1872, presented already a striking contrast to the conventional art then in See also:

• VOGUE, EUGENE MELCHIOR, COMTE DE (1848- )

vogue, it was heavy and bituminous in See also:

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

colour, like all the artist's paintings before his visit 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 at the end of 1872 . A summer spent at See also:

• BARBIZON

Barbizon in 1873, where he became personally acquainted with See also:

• MILLET (Fr. millet; Ital. miglietto, diminutive of miglio= Lat. mille, a thousand, in allusion to its fertility)
• MILLET (or MILE), JEAN FRANCOIS (c. 1642–1679)
• MILLET, FRANCIS DAVIS (1846- )
• MILLET, JEAN FRANCOIS (1814–1875)

Millet and had occasion to study the See also:

• WORKS

works of See also:

• COROT

Corot, See also:

• TROYON, CONSTANT (5810-1865)

Troyon, and See also:

• DAUBIGNY, CHARLES FRANCOIS (1817–1878)

Daubigny, resulted in the clearing and brightening of his See also:

• PALETTE (the Fr. diminutive of pale, spade, blade of an oar, from Lat. Pala, spade, baker's shovel or peel; cf. pandere, to spread)

palette, and taught him to forget the example of MVIunkacsy, under whose See also:

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

influence he had produced his first pictures in Paris . He subsequently went to See also:

• HOLLAND
• HOLLAND, CHARLES (1733–1769)
• HOLLAND, COUNTY AND PROVINCE OF
• HOLLAND, HENRY FOX, 1ST BARON (1705–1774)
• HOLLAND, HENRY RICH, 1ST EARL OF (1S9o-,649)
• HOLLAND, HENRY RICHARD VASSALL FOX, 3RD
• HOLLAND, JOSIAH GILBERT (1819-1881)
• HOLLAND, PHILEMON (1552-1637)
• HOLLAND, RICHARD, or RICHARD DE HOLANDE (fl. 1450)
• HOLLAND, SIR HENRY, BART

Holland, where the example of Israels See also:

• CON

con-firmed him in the method he had adopted at Barbizon; but on his return to See also:

• MUNICH (Ger. Munchen)

Munich in 1878 he caused much unfavourable See also:

• CRITICISM
• CRITICISM (from the Gr. KpiTrlS, a judge, Kpivew, to decide, to give an authoritative opinion)

criticism by his realistic See also:

• PAINTING

painting of " See also:

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

Christ in the See also:

• TEMPLE
• TEMPLE, FREDERICK (1821-1902)
• TEMPLE, RICHARD
• TEMPLE, SIR RICHARD, BART
• TEMPLE, SIR WILLIAM, BART

Temple," which was condemned by the See also:

• CLERGY (M.E. clergie, O. Fr. clergie, from Low Lat. form clericia [Skean, by assimilation with O. Fr. clergie, Fr. clerge,from Low Lat. clericatus)
• CLERGY, BENEFIT OF

clergy as irreverent and remained his only See also:

• ATTEMPT (Lat. adtemptare, attentare, to try)

attempt at a scriptural subject . Henceforth he devoted himself exclusively to the study of See also:

• FREE

free-See also:

• LIGHT

light and to the painting of the See also:

• LIFE

life of humble folk . He found his best subjects in the orphanages and asylums for the old in See also:

• AMSTERDAM
• AMSTERDAM (NEw AMSTERDAM)

Amsterdam, among the peasants in the See also:

• FIELDS, JAMES THOMAS (1817-1881)

fields and See also:

• VILLAGE

village streets of Holland, and in the See also:

• BEER

beer-gardens, factories, and workrooms of his own See also:

• COUNTRY (from the Mid. Eng. contre or contrie, and O. Fr. cuntree; Late Lat. contrata, showing the derivation from contra, opposite, over against, thus the tract of land which fronts the sight, cf. Ger. Gegend, neighbourhood)

country . See also:

• GERMANY
• GERMANY (Ger. Deutschland)

Germany was reluctant, however, in admitting. the merit of an artist whose See also:

• STYLE
• STYLE (from Gr. a-6'1ms, a column; a different word from that used in literature, see below)

style and method were so markedly at variance with the 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-honoured See also:

• ACADEMIC

academic tradition . Only when his fame was echoed back from See also:

• FRANCE
• FRANCE, ANATOLE (1844– )

France, See also:

• BELGIUM
• BELGIUM (Fr. Belgique; Flem. Belgic)

Belgium, and Holland did his compatriots realize the eminent position which is his due in the See also:

• HISTORY

history of German art . It is hardly too much to say that See also:

• LIEBERMANN, MAX (1849– )

Liebermann has done for his country what Millet did for France . His pictures hold the fragrance of the See also:

• SOIL

soil and the breezes of the heavens . His See also:

• PEOPLE

people move in their proper See also:

• ATMOSPHERE (Gr. fir µ6r, vapour; orkaipa, a sphere)

atmosphere, and their life is stated in all its monotonous simplicity, without artificial pathos or melodramatic exaggeration .

His first success was a See also:

• MEDAL (Fr. medaille, from Lat. metallum)

medal awarded him for " An See also:

• ASYLUM (from Gr. b.-, privative, arid earl, right'of seizure)
• ASYLUM, RIGHT OF (Fr. droit d'asile; Ger. Asylrecht)

Asylum for Old Men " at the 1881 See also:

• SALON

Salon . In 1884 he settled again in Berlin, where he became See also:

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

professor of the See also:

• ACADEMY, GREEK
• ACADEMY, ROYAL

Academy in 1898 . He became a member of the Societe nationale See also:

• DES

des See also:

• BEAUX, CECILIA (1863– )

Beaux Arts, of the Societe royale beige des Aquarellistes, and of the Cercle des Aquarellistes at the See also:

• HAGUE, THE (in Dutch, 's Gravenhage, or, abbreviated, den Haag; in Fr. La Haye; and in Late Lat. Haga Comitis)

Hague . Liebermann is represented in most of the German and other See also:

• CONTINENTAL

continental galleries . The Berlin See also:

• NATIONAL

National See also:

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

Gallery owns " The See also:

• FLAX

Flax-Spinners "; the Munich Pinakothek, " The Woman with Goats "; the See also:

• HAMBURG

Hamburg Gallery, " The See also:

• NET

Net-Menders "; the See also:

• HANOVER
• HANOVER (Ger. Hannover)

Hanover Gallery, the " Village See also:

• STREET
• STREET, GEORGE EDMUND (1824-1881)

Street in Holland." ." The Seamstress " is at the See also:

• DRESDEN

Dresden Gallery; the " See also:

• MAN
• MAN, ISLE OF (anc. Mona)

Man on the See also:

• DUNES

Dunes " at See also:

• LEIPZIG

Leipzig; " Dutch See also:

• ORPHAN

Orphan Girls " at See also:

• STRASSBURG, or STRASBURG (French Strasbourg)

Strassburg; " Beer-cellar at See also:

• BRANDENBURG

Brandenburg " at the Luxembourg Museum in Paris, and the " Knopflerinnen " in See also:

• VENICE
• VENICE (continued)
• VENICE (Venezia)

Venice . His etchings are to be found in the leading See also:

• PRINT

print cabinets of See also:

• EUROPE

Europe .