Germany - Drawings and Watercolor Paintings

K2005 (Abstract work on paper) Mixed media and collage on paper - Unframed. Harald Kröner works thoroughly with paper, of which he is a notorious collector. Harald Kröner's work i...

Themistokles von Eckenbrecher (1842 Athens - 1921 Goslar), Norwegian pine grove, 1901. Watercolor on blue-green paper, 30 x 22 cm. Signed, dated and inscribed in his own hand "TvE. Fagermes [i.e. Fagermes]. 26.6.[19]01." - Slight crease throughout at left margin, otherwise in good condition. About the artwork Themistokles von Eckenbrecher often traveled to Norway to study the nature that fascinated him there. On June 26, 1901, near the southern Norwegian town of Fagernes, in the summer evening sun, he saw a small pine grove, which he immediately captured in a watercolor. He exposed the trees growing on a small hill in front of the background, so that the pines completely define the picture and combine to form a tense motif. The tension comes from the contrast of form and color. The trunks, growing upward, form a vertical structure that is horizontally penetrated by the spreading branches and the pine needles, which are rendered as a plane. This structural tension is further intensified by the color contrast between the brown-reddish iridescent trunks and branches and the green-toned needlework. Themistokles von Eckenbrecher, however, does not use the observed natural scene as an inspiring model for a dance of color and form that detaches itself from the motif and thus treads the path of abstracting modernism. Its inner vitality is to be brought to light and made aesthetically accessible through the work of art. It is precisely in order to depict the inner vitality of nature that von Eckenbrecher chooses the technique of watercolor, in which the individual details, such as the needles, are not meticulously worked out, but rather a flowing movement is created that unites the contrasts. The trees seem to have formed the twisted trunks out of their own inner strength as they grew, creatingthose tense lineations that the artist has put into the picture. The inner strength continues in the branches and twigs, culminating in the upward growth of the needles. At the same time, the trunks, illuminated by the setting sun, seem to glow from within, adding an almost dramatic dimension to the growing movement. Through the artwork, nature itself is revealed as art. In order to make nature visible as art in the work, von Eckenbrecher exposes the group of trees so that they are bounded from the outside by an all-encompassing contour line and merge into an areal unity that enters into a figure-ground relationship with the blue-greenish watercolor paper. The figure-ground relationship emphasizes the ornamental quality of the natural work of art, which further enforces the artwork character of the group of trees. With the presentation of Themistokles von Eckenbrecher's artistic idea and its realization, it has become clear that the present watercolor is not a study of nature in the sense of a visual note by the artist, which might then be integrated into a larger work context, but a completely independent work of art. This is why von Eckenbrecher signed the watercolor. In addition, it is marked with a place and a date, which confirms that this work of nature presented itself to him in exactly this way at this place at this time. At the same time, the date and place make it clear that the natural work of art has been transferred into the sphere of art and thus removed from the time of the place of nature. About the artist Themistocles' parents instilled a life of travel in their son, who is said to have spoken eleven languages. His father, who was interested in ancient and oriental culture, was a doctor and had married Francesca Magdalena Danelon, an Italian, daughter of the British consul in Trieste. During a stay in Athens - Gustav von Eckenbrecher was a friend of Heinrich von Schliemann and is said to have given him crucial clues as to the location of Troy - Themistokles saw the light of day in 1842. After an interlude in Berlin, where Themistokles was educated at the English-American School, the journey began again. From 1850 to 1857 the family lived in Constantinople, after which the father opened a practice in Potsdam, where Themistokles, who wanted to become a painter, was taught by the court painter Carl Gustav Wegener. In 1861 the von Eckenbrechers left Potsdam and settled in Düsseldorf. There Themistokles received two years of private tuition from Oswald Aschenbach, who greatly admired the talented young artist. After his artistic training, he undertook extensive travels, often accompanied by Prince Peter zu Sayn-Wittgenstein, which took him to northern and eastern Europe, but above all to the Middle East and even to South America. The paintings that resulted from these journeys established his artistic reputation and led to his participation in large panoramas such as the 118 x 15 metre Entry of the Mecca Caravan into Cairo, painted for the City of Hamburg in 1882. 1882 was also the start of a total of 21 study trips to Scandinavia, most of them to Norway, and the unique Norwegian landscape with its rugged fjords became a central motif in his work. Along with Anders Askevold and Adelsteen Normann...

HK1904YP (Abstract work on paper) Ink, enamel, collage on paper - Unframed. This work is part of one of 4 on-going series of large works on paper...

Cut 39 (Abstract work on paper) Ink, laquer, cutting, collage on paper - Unframed This work is part of one of 4 on-going series of large works on paper...

In my pictures I try to combine the visual and the conceptual. For me, drawing is a medium of knowledge which, beyond direct expression, makes visible material and immaterial forces,...

Dashing into the day 3 (Abstract work on paper) Acrylics, ink and oil on paper - Unframed. This artwork is exclusive to IdeelArt. Knaut builds her compositions slowly over time, a...

Black River 11 (Abstract work on paper) Resin varnish, collage on paper - Unframed Many little fragments from different sources exist within these resin works, including natural ma...

Painted plein air adding etheric oils on the beach of Kolberg in Poland. :: Painting :: Expressionism :: This piece comes with an official certificate of authenticity signed by the a...

Hans Richard von Volkmann (1860 Halle (Saale) - 1927 ibid.), Clay jug on a bench. Pencil and Watercolour on paper. 20 x 26,7 cm (visible size), 37 x 45 cm (frame), dated and monogrammed lower left "Februar 1890 - HR. V. V." - Minimally tanned. Framed behind glass in a passepartout. About the artwork Using the technique of his early youth - pencil and watercolour - Hans Richard von Volkmann depicts a still life. However, this is not a conventional indoor still life, but an open-air depiction, painted outdoors and not in the studio. It is therefore an open-air painting, characteristic of von Volkmann's oeuvre, which could have been painted in the Willingshausen colony of painters, where open-air painting was programmatically practised there and the artist stayed there that year. And indeed, this painting is a manifesto of open-air painting. Von Volkmann demonstrates that leaving the studio for the light of nature leads to an entirely new quality of art. To prove this, he uses the genre of still life, which can be described as the studio subject par excellence. Moreover, light plays an essential role in the classical still life. It is the real protagonist of the still life. And it is precisely this moment, essential to the still life, that von Volkmann exploits to demonstrate the potential of plein-air painting: He presents the objects as they appear in the sunlight. The date of February and the bare branches in the foreground make it clear that this is a clear winter day in bright sunlight. The delicate plant in the foreground casts a clearly defined shadow, as does the jug. However, the shadow is most pronounced on the jug itself: The underside of the handle appears almost black, making the top, and therefore the jug itself, shine all the more brightly. The shining of the objects in the sunlight is also visible on the bench. As complementary phenomena to the shadow zones, light edges can be seen on the boards of the seats and the upper foot of the bench shines entirely in the light. To achieve this intensity of light, von Volkmann activated the bright white of the painting ground. By depicting the objects in glistening sunlight, von Volkmann demonstrates that this quality of light is only to be found outdoors. And this light leads to a new way of looking at the objects themselves. The jug on the bench seems like an accidental arrangement, as if the artist had stumbled upon this unintentional still life and captured it with fascination. And in this fascination there is a moment of realisation that refers to the objects themselves. It is only when they shine brightly in the sunlight that their true nature is revealed. In this way, sunlight allows the objects to come into their own, so to speak. Sunlight, which is not present in the studio, gives the still life an entirely new dimension of reality, which is also reflected in the colours interwoven by the sunlight: The bench and the jug stand in a harmonious grey-pink contrast to the green of the implied meadow. The emphasis on the jug as the central subject of the picture also implies that the watercolour has not been completed. This non finito inscribes a processuality into the picture, making it clear that something processual has been depicted, the temporality of which has been made artistically permanent. This is why von Volkmann signed the painting and dated it to the month. About the Artist Von Volkmann made his first artistic attempts at the age of 14. He painted many watercolours of his home town of Halle. This laid the foundation for his later outdoor painting. In 1880 his autodidactic beginnings were professionalised with his admission to the Düsseldorf Art Academy. There he studied under Hugo Crola, Heinrich Lauenstein, Johann Peter Theodor Janssen and Eduard von Gebhardt until 1888. Von Volkmann then moved to the Karlsruhe Academy, where he was Gustav Schönleber's master pupil until 1892. In 1883 he came for the first time to Willingshausen, Germany's oldest painters' colony, at the suggestion of his student friend Adolf Lins...

My paintings and drawings are very personal, they capture my everyday life, my reaction to things I experienced, either yesterday, in my childhood or even events I imagine. My portra...

Spent some time watching the sky and the sea while the weather turned from summer to storm - as did the colors of the sea! A lovely colorful stormy and yet delicate painting with ama...

Hermann Prell (1854 Leipzig - 1922 Dresden-Loschwitz). Half-length portrait of a Pharisee, 1885. Sketch for the right-hand figure in the painting Judas Iscariot, 1886. Pencil drawing heightened with opaque white and black chalk on beige-grey wove paper (papier vélin), 34 x 27.8 cm (visible size), 52 x 45 cm (mount), signed, dated and inscribed "H. PRELL 1885 zu 'Judas'". Minor browning, collection stamp on the reverse. - In the shadow of betrayal - About the artwork This painting is the sketch for the head of the Pharisee offering the coins to Judas in one of Herrmann Prell's major works, the painting Betrayal of Judas, completed in 1886. The painting belongs to the Staatliche Kunstsammlungen Dresden and is illustrated in Adolf Rosenberg: Prell, Bielefeld and Leipzig 1901, p. 21 (Fig. 19). It is especially highlighted in Thieme-Becker (vol. 27, p. 376). Hermann Prell, Betrayal of Judas, 1886 The monumental head, which fills the picture and is distinguished by its ornamented robe, is almost a lost profile, which in the executed painting is justified by the Pharisee's turning towards Judas. Despite the fact that the sitter withdraws from the viewer by turning away, it was necessary to artistically elaborate the motivation for the purchase of one of Christ's disciples, which is why the drawing focuses on the expression of the face, while the 'accessories' are treated in a more summary manner. In characterising the face, Hermann Prell performs a balancing act: since the Pharisee, despite his destructive actions, is an actor in the history of salvation, the head must show a dignity appropriate to the event, but at the same time the physiognomy must also bear witness to the scheming attitude that led to the betrayal. To solve this dilemma, Prell draws on the traditional depictions of the heads of the apostles, shading the face to indicate the obdurate darkness of the spirit and moving the base of the nose slightly upwards while the mouth falls away, thus giving a physiognomic expression to the motivation of the action. The fatal drama of the betrayal is expressed in the monumentalisation of the head and in the thunderous white highlights that contrast with the darkness of the chalk. As a study, considered by the artist to be a work in itself, this drawing reveals the pictorial problems and brainstorming of monumental painting. About the artist In 1872 Prell, who was one of the most important exponents of monumental painting of his time, began studying painting with Theodor Grosse at the Dresden Academy of Art and continued with Carl Gussow at the Berlin Academy in 1876. Hans von Marées taught him in Rome in 1878. More influential on his work, however, were Arnold Böcklin and Max Klinger, with whom Prell had been friends since his student days and with whom he worked together on several occasions. Prell's first major work, which established his reputation as a monumental painter, were the frescoes in the banqueting hall of the Architektenhaus in Berlin in 1881/82, commissioned by the state and depicting the different periods of architecture. Prell then went to Italy for two years to study fresco painting. Other major commissions followed. These included monumental frescoes in the town halls of Worms (1884), Hildesheim (1882-92), Gdansk (1895) and Dresden, the staircase of the Silesian Museum of Fine Arts in Breslau (1893/94), the throne room of the German Embassy in Rome (1896-99) and the staircase of the Albertinum in Dresden (1900-1904). From 1886 Prell taught at the academy of arts in Berlin and in 1892 he was appointed professor at the academy of arts in Dresden. His students included Osmar Schindler and Hans Unger...

Spent the last days watching the sky and the dunes in my favorite place in Ahrenshoop at the Baltic Sea while the weather turned from spring to summer - as did the colors of the sea!...

During Lockdown I started a series of figurative watercolors to explore the many emotions we were faced with when the virus attacked us out of nowhere. This series was shown in an ex...

Adolph Eduard Otto von Faber du Faur (1828 Ludwigsburg - 1901 Munich). Man sitting in the studio. Watercolour painting, 43 x 27 cm (visible size), 73 x 53 cm (frame), monogrammed at lower right, estate stamp. Upper right corner neatly repaired, small tear in the wall to the left of the sitter. - Thinking about art - About the artwork The sitter, an elderly man, is seated in a studio on a pedestal reminiscent of an academy hall. The earthy, dark tones give the scene a weighty quality. The lightest tones are found in the incarnate parts of the figure, which do not stand out from the other colours of the picture, but are linked to them. As a result, the sitter's face is both part of and the highlight of the colour references in the picture. The colour of the sitter's skin is reflected in his pink coat, while his white-grey hair matches the colour of the wall next to him. This almost monochrome wall surface, in turn, is connected across the portrait to the framed picture standing on the floor, which seems to have been erased by this correspondence with the empty wall surface. Through the palette, which is positioned directly behind the sitter's head, the reference to painting, which is already given by the studio space, is explicitly linked to the sitter, who thus seems to be contemplating the question of the meaning of art. This raises the question of whether Faber Du Faur, who had become lonely in his old age, might have painted a self-portrait here in his later years. In addition to the studio setting, the sitter's explicit reference to the palette and the fact that the picture was part of his estate, the only summary elaboration of the body suggests a self-portrait, while the representation of the face is concretised with the wide-open eyes typical of a self-portrait. This concentration on the face gives the impression of the artist's melancholy introspection, captured by the palette and related to the meaning of painting, whose dark character is reinforced by the concealment of the palette hanging on the right of the picture in the light tones so characteristic of Faber Du Faur. In the course of this resignation, Faber du Faur advises his son Hans, who has also become a painter: "Promise me one thing: never move to Munich, they'll kill you here!" Whoever the sitter may be, the references to painting make the portrait a resigned self-contemplation by Faber Du Faur, focused on art. About the artist After leaving school, Otto Faber du Faur entered the service of the Württemberg army, at the same time cultivating his artistic talent. In 1851, on the recommendation of his father Christian Wilhelm, who was himself a battle painter, he spent six months in Munich as an apprentice to Alexander von Kotzebue. In 1852 he was granted a year's leave of absence from military service to study battle painting in the studio of Adolphe Yvon...

This is a special watercolor on board painting - watercolors on a museum quality acid free clay on wood panel. This means that the painting can be framed without glass just like a no...

This powerful emotional abstract watercolor painting is exploring thoughts, emotions.... Watermarks and lines, scratches and other watercolor effects are important to my work and ...

This powerful emotional abstract watercolor painting is exploring storm, rain, sea, light.... and so is a metaphor for feelings and emotions and the light behind it all. Watermark...

Charles Edward Brittan Jr (1870 Plymouth - 1949). High moor landscape in the fog. Gouache, signed at lower left "Charles E. Brittan", 18 x 34.5 cm (passepartout), 45 x 62 cm (frame)....

Theodor Scheerbaum (1897 Reichenbach im Vogtland), Wind Dodgers at the Baltic Sea. Watercolor on strong yellowish grained paper, 44 x 56 cm, signed by hand "Th[eodor] Scheerbaum" at ...

Hans Dvořák (19th century). Shady hollow way in a sunny forest. Watercolour and pen-and-ink drawing, 58.5 x 43 cm (visible size), 70 x 55.5 cm (frame), signed and dated "Hans Dvořák ...

One of my new mixed watercolor paintings, done at the Baltic Sea, where we had a lot of changing lights, water, wind, clouds... This painting shows lots of thin shadowy layers, gi...

In my pictures I try to combine the visual and the conceptual. For me, drawing is a medium of knowledge which, beyond direct expression, makes visible material and immaterial forces,...

This bright, colorful and expressive abstract watercolor catches what means spring to me! It shows a loose and expressive idea of the beautiful shapes of fresh tulips in March! 36...

Paul Friedrich Meyerheim (1842 Berlin - 1915 ibid.). Sketch of a female torso with hands and an umbrella. Pencil on paper, 27.5 x 22.5 cm (visible size)...

One of my mixed ink and watercolor paintings done in the colors of Ukraine that I see everywhere now. The times are rough and demanding for us all with democracy being threatened, a ...

In my pictures I try to combine the visual and the conceptual. For me, drawing is a medium of knowledge which, beyond direct expression, makes visible material and immaterial forces,...

A monochromatic contemporary watercolor about the fantastic atmosphere in the North near the Baltic Sea. I always feel the landscape is talking to me through their colors and structu...

A 19th-century watercolor depicting the Arco della Pace in Milan, which was constructed in 1806 to honor Napoleon. The work portrays the triumphal arch in detailed execution, offerin...

I use my photos as a starting point. I change them up significantly to get a final composition that best conveys my sense of a work. :: Drawing :: Expressionism :: This piece comes w...

In my pictures I try to combine the visual and the conceptual. For me, drawing is a medium of knowledge which, beyond direct expression, makes visible material and immaterial forces,...

Southern Landscape with View of a Castle and Ships passing by Pen and brush in brown and black over pencil, brown and grey wash, 17,5 x 22,7cm Plain black moulding with golden pearl ...

Skizze - a look from behind :: Drawing :: Expressionism :: This piece comes with an official certificate of authenticity signed by the artist :: Ready to Hang: No :: Signed: Yes :: S...

In my pictures I try to combine the visual and the conceptual. For me, drawing is a medium of knowledge which, beyond direct expression, makes visible material and immaterial forces,...

Gary Hume (English, born 1962) Misery, 2012 Medium: Collage made of silver paper and acrylic paint on hand made paper Dimensions: 49.8 x 32 cm Edition of 25: Hand-signed, numbered an...

I register it and then part of it automatically goes to work. I'm not trying to paint literally, but I'm trying to bring the emotions being exerted on me closer to the viewer. A feel...

This colorful and expressive tulips watercolor catches what flowers mean to me! Whenever winter leaves, spring takes over and tulips are my absolute favourite flowers as they are bea...

In my pictures I try to combine the visual and the conceptual. For me, drawing is a medium of knowledge which, beyond direct expression, makes visible material and immaterial forces,...

A stormy day at the sea can be a metaphor for inner feelings and emotions.... I love the beautiful traces and marks that come from this mixed media watercolor technique... this pain...

This delicate watercolor painting was done near the Baltic Sea - it is always fascinating to see the sun rise or set at sea and reflect about the dreams we have.... Watermarks and...

Painted plein air in Himmelpfort with watercolor and reservage. :: Painting :: Expressionism :: This piece comes with an official certificate of authenticity signed by the artist :: ...

Painted plein air by a small river in North italy in a National park. :: Painting :: Expressionism :: This piece comes with an official certificate of authenticity signed by the arti...

In my pictures I try to combine the visual and the conceptual. For me, drawing is a medium of knowledge which, beyond direct expression, makes visible material and immaterial forces,...

In my pictures I try to combine the visual and the conceptual. For me, drawing is a medium of knowledge which, beyond direct expression, makes visible material and immaterial forces,...

In my pictures I try to combine the visual and the conceptual. For me, drawing is a medium of knowledge which, beyond direct expression, makes visible material and immaterial forces,...

Painted plein air on location in Klopotowo, Poland adding etheric oils. :: Painting :: Expressionism :: This piece comes with an official certificate of authenticity signed by the ar...

Fine Watercolour Drawing by Alexandre Jules Monthelier. He was a French Artist who worked in France and created many drawings of famous landscape and sceneries (e.g. the cathedral of...

Painted plein air by the wild River Parseta adding Etheric Oils. :: Painting :: Expressionism :: This piece comes with an official certificate of authentici...

One of my new paintings, done at my recent residency at the Baltic Sea, where we had a lot of changing lights, dramatic skies and wind... and a lot of tranquility. This abstract ...

A Landscape Scene, perhaps in a Parc, with a great tree and an Obelisk. in The foreground two figures are shown. English School inscribed "Pieter Rysbraeck?" on paper, with passepart...

Painted plein air addind etheric oils on the beach of Kolberg in Poland. :: Painting :: Expressionism :: This piece comes with an official certificate of authenticity signed by the a...

A big size contemporary watercolor about the fantastic light at the Baltic Sea, where the wild green wood touches the coast... I love this beautiful blue-green-yellow light that is s...

A big size contemporary watercolor about the fantastic light at the Baltic Sea, when the autumn storms are coming, a real statement piece. I love this beautiful blue atmosphere and t...

Signed and dated 'S. Schüffler 2021' lower right. From the series 'An Experiment on a Bird'. On white Mi-Teintes paper, Canson.

Emil Wachter (1921 Neuburgweiser - 2012 Karlsruhe), Rebekka, 1987. Watercolor mounted on cardboard, 13.5 (height) x 14 cm (width). Signed “E.[mil] Wa[chter]” in pencil within the ima...

K1993 (Abstract work on paper) Ink, collage, cutting on paper - unframed Harald Kröner works thoroughly with paper, of which he is a notorious collector. Harald Kröner's work is ve...

K1901 / Whitewater (Abstract work on paper) Lacquer, collage on paper - unframed This artwork will be shipped rolled in a dent-resistant tube. Harald Kröner works thoroughly with ...

In my pictures I try to combine the visual and the conceptual. For me, drawing is a medium of knowledge which, beyond direct expression, makes visible material and immaterial forces,...

In my pictures I try to combine the visual and the conceptual. For me, drawing is a medium of knowledge which, beyond direct expression, makes visible material and immaterial forces,...

In my pictures I try to combine the visual and the conceptual. For me, drawing is a medium of knowledge which, beyond direct expression, makes visible material and immaterial forces,...