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艺术家:阿德里恩路德维格里

2011-07-19
引自世界名画苑
艺术家:阿德里恩路德维格里
Adrian Ludwig Richter (September 28, 1803 – June 19, 1884), a German painter and etcher, was born at Dresden, the son of the engraver Karl August Richter, from whom he received his training; but he was strongly influenced by Erhard and Chodowiecki. 阿德里恩路德维格里(年9月28日,1803 - 1884年的6月19日),一位德国画家和将来,出生在德累斯顿,卡尔的儿子,从8月雕刻级就是他收到了他的训练,但埃哈德来说,Chodowiecki强烈影响。He was the most popular, and in many ways the most typical German illustrator of the middle of the 19th century. 他是最受欢迎的,在很多方面最典型的德国插画家的中间19th世纪。His work is as typically German and homely as are the fairy-tales of Grimm. 他的工作是德国人的典型和家常的格林童话中的魔术师的。Richter visited Italy from 1823–1826, and his Thunderstorm in the Sabine Mountains at the Staedel Museum in Frankfurt is one of the rare Italian subjects from his brush. 从1823-1826里拜访过意大利,他在讲雷雨山在法兰克福的Staedel博物馆是一个罕见的意大利受试者的刷子。In 1828 he worked as designer for the Meissen factory, and in 1841 he became professor and head of the landscape atelier at the Dresden Academy, (now Hochschule für Bildende Künste Dresden). 在1828年,他担任设计师Meissen工厂,并在1841年他成为教授兼国家元首在德累斯顿景观工作室学院,(现在Hochschule皮毛Bildende Kunste德累斯顿)。The Dresden Gallery owns one of his best and most characteristic paintings: Bridal Procession in a Spring Landscape. 德国德累斯顿画廊拥有一只他最好的和最富有个性的婚礼队伍绘画:在一个春天的风景。An eye disease put a stop to the practice of his art in 1874;[1] he was pensioned in 1877, and died at Loschwitz, near Dresden. 一种眼病制止他的艺术实践;1874年他不再使用[1],1877年逝世,享年Loschwitz,靠近德累斯顿城。The interest of his uneventful life centres within the circle of his art.[1] As a painter Richter aimed at a thorough blending of the figure element with the landscape and may be judged by the following examples: "Harvest Procession in the Campagna" (1833) and three others in the Leipzig Museum: "Ferry at the Schreckenstein" (1836) and "Bridal Procession in Springtime" (1847), in the Dresden Gallery; "View of the Riesengebirge" (1839), in the National Gallery, Berlin. 他的兴趣在风平浪静的生活中心圆艺术。[1]他作为画家旨在彻底混合级人物的元素与景观,可以从以下的例子:“庄稼游行队伍在平原”(1833),三人在莱比锡博物馆在Schreckenstein:“渡口”(1836)和“新娘游行在春天》(1847),在德累斯顿画廊”的观点;Riesengebirge》(1839)中,在全国的画廊,柏林。One of his most notable proteges was Hermann Lungkwitz. 他的一个最显著的是Lungkwitz无量暖暖的火炉边呷口美酒。Among his 240 etchings are about 140 views in Saxony, others of Salzburg, Rome, and the Campagna. 在他240年的蚀刻画大约有140,有的观点在萨克森萨尔茨堡、罗马和平原。His individuality is most completely revealed in his 3000 or more drawings for woodcuts, of which art he was one of the most influential revivers. 他的个性最完全的说明3000或更多的图,其中艺术木刻所印刷出来的他是一个最有影响力的revivers。Of special charm are his illustrations for The Vicar of Wakefield (1841), for Musäus' Volksmärchen (1842) and for numerous other fairy tales, for the Goethe Album (1855), and for Schiller's Glocke (1857), and those cyclical publications which reveal the most brilliant side of the artist's inexhaustible fancy, such as Beschauliches und Erbauliches (1851); Kinderleben (1852); Fürs Haus (1858–1861); Der gute Hirt (1860); Unser täglich Brot (1866); Bilder und Vignetten (1874).他的独特魅力的牧师插图的威克费尔德时(1841),“Volksmarchen Musaus(1842)和许多其他的童话故事,为歌德专辑(1855),和席勒的Glocke(1857),而那些周期性出版物显示最灿烂的一侧的艺术家的无穷无尽的遐想,如Beschauliches和Erbauliches Kinderleben(1851)、(1852)、(1858-1861毛皮房子);这个祝Hirt(1860);我们的面包(1866年),每天和Vignetten张照片(1874)。




















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