Word: cranachs
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...however, that Von Hirsch assembled his medieval collection. In 1933, as the political climate in Germany grew ugly, Von Hirsch, a Jew, moved across the Swiss border to Basel. He won permission to take his collection with him on condition he turn over to the German government Lucas Cranach's painting, The Judgment of Paris. After the war, it was returned to him still bearing the label, THE PROPERTY OF REICHSMAR-SCHALL GOERING. Von Hirsch gave it to the Kunstmuseum in Basel...
...German Dada did-but it did carry a strong current of social idealism. This did not show itself so much in Utopian schemes as in a vague aspiration toward spiritual improvement, salvation through sensitivity, the obverse of which was the weird consumptive eroticism of Schiele. If Schiele was the Cranach of the movement, Beckmann was its Goya: a maker of thickly constructed and disturbing fables in which the collective fantasies of postwar malaise were summed...
...nature was not something new, but no one really expected the extent of the early Pre-Raphaelites' imitating nature. Their subject matter was drawn from the Bible, Greek mythology, and, true to their medieval inclinations, Arthurian legend. Stylistically some of the human figures might look like Botticelli angels or Cranach diptychs. Yet the landscape was always painstakingly drawn from real life. They used magnifying glasses to paint weeds properly; they waited patiently year after year for the return of the apple blossoms to complete a single canvas; they would spend nights painting by a small candle in order to capture...
Death in Life. For all the velvety opulence of his colors, it is the human figure that stands at the center of Wunderlich's art. In his earlier works, it was tortured and twisted, shorn of limbs, reduced to a skeleton, provoking comparisons with Dürer and Cranach, Redon and Bellmer. Death, he seemed to say, is in all life, deformity in all beauty, and behind the erotic daydream is the ever-present nightmare of flesh doomed to decay. Today, his figures appear more whole, more sensuous, more magnetic. Love has banished dreadful death...
...number of game taken on such chases can be had from accounts left by two neighboring dukes, Electors Johann George I and II, who together killed no fewer than 228,478 animals, including more than 110,000 deer. Birkner had none of the great compositional powers of Cranach or Velasquez, both of whom painted accounts of the chase. But Casimir could not have wished for a more faithful descriptive artist. Birkner spared no blood or gore, and no detail escaped his eye. At the same time, he had a charming ability to enhance the pageantry and develop from the hunt...