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Max Slevogt Max Slevogt oil painting


Max Slevogt
Painting ID::  54316
Max Slevogt
Max Slevogt
mk235 1901 Oil on canvas 81.5x65.7cm

   
   
     

Max Slevogt The Alster at Hamburg oil painting


The Alster at Hamburg
Painting ID::  54319
Max Slevogt
The Alster at Hamburg
mk235 1905 oil on canvas

   
   
     

Max Slevogt At the Races oil painting


At the Races
Painting ID::  54324
Max Slevogt
At the Races
mk235 1909 Oil on canvas 52.5x74cm

   
   
     

Max Slevogt Steinbart Villa oil painting


Steinbart Villa
Painting ID::  54326
Max Slevogt
Steinbart Villa
mk235 1911 Oil on canvas 85.5x105.5cm

   
   
     

Max Slevogt tiger in the jungle oil painting


tiger in the jungle
Painting ID::  56504
Max Slevogt
tiger in the jungle
mk247 1917,oil on canvas,22.625x27.625 in,57.4x70 cm,hamburger kunsthalle,hamburg,germany

   
   
     

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     Max Slevogt
     German Impressionist Painter, 1868-1932 German painter, printmaker and illustrator. His father, adjutant and friend of the future Prince Regent, Luitpold (1821-1912), died when Slevogt was just two years old. His mother moved to Werzburg, where he spent his schooldays. Even in his childhood and adolescence, family connections brought Slevogt to Pfalz, to an aunt in Landau and to the Finkler family in Neukastel. Initially he had planned to become a musician, but he began to study painting at the Akademie der Bildenden Kenste in Munich in 1885. His fellow students included Gabriel von Hackl (1843-1926), Karl Raupp (1837-1918), Ludwig Herterich (1856-1932) and Wilhelm von Diez (1839-1907). In 1889 he spent a term at the Academie Julian in Paris. At that time Impressionism had very little effect on him. Following a trip to Italy in 1890 with the painter Robert Breyer (1866-1941) who had befriended him at the Akademie, he began to work independently as a painter in Munich. In 1893 he participated in the first exhibition of the newly founded Munich Secession, exhibiting Wrestling School (1893; Edenkoben, Schloss Villa Ludwigshehe); the judges wanted to refuse this painting as immoral since its entwined and naked men caused offence. In the following years his paintings often appeared harsh and non-academic to conservative Munich circles. At this time Slevogt also made contributions to the journals Jugend and Simplizissimus, which were significant in the development of his graphic work.

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