Bauer Supreme Vs Reebok

Michael Lucas Leopold Willmann

The following post is a comprehensive biography, "written" here by former Defense Minister of Germany, Karl Theodor zu Guttenberg, and so by [copy & paste]. The source of the copied text is a great site, which I note the following plagiarism, entitled:

" Trail sacred baroque art to them. Michael Willmann "

Willmanowy CV wanted to have a blog mainly for their own needs, while the full-page "Dear Baroque" heartily recommend.

Michael Willmann was born in Königsberg, 26 Sep 1630, and his father was a local painter, Peter Willmann. With him too young Michael received his first science artist. Around 1650 he went into further education to Amsterdam. There, however, could not afford Willmann on science in the laboratory of one of Amsterdam's famous masters, and he had to make a living. Therefore, the main burden of artistic education Willmann rested on his own work: he looked at the Amsterdam and visited the collections of paintings by local artists' studios, and began an intensive drawing classes based in Amsterdam, bought a set of mostly Italian prints. Although Willmann as the basis of his education took an Italian art, it is based on scientific methods of composing, and painting the image used, among others. in the studio of Rembrandt van Rijn. After leaving Holland Willmann long traveled through Europe, stopping, among others. in Prague, where he continued his education on the basis of outstanding collections of paintings in the imperial gallery of Prague.

After ten years of travel Willmann settled in Lubiaz in Silesia, where he arrived 21 Oct 1660 years at the invitation of the local abbot of the Cistercian monastery, Arnold Freiberger. Willmann, where he started a family marry 26 Oct 1662 years from the widow of the mansion of the abbots kanceliście lubiąskich, Regina Helena Schultz Liška from home. From this union was born with five children: four daughters and a long awaited son. Interestingly, Willmann, passed from Calvinism to Catholicism until 22 May 1663. Willmannowi very prospered: 10 III 1687 he purchased the property in Lubiaz Winna Gora earth with a bunk house (completely burned down in 1849), sent to the expensive education of his stepson to Italy, Johann Christoph Liška and his own son, Michael Leopold Junior, and each their daughters assured a high dowry.

Although from an artistic point of view, to settle in the provincial Lubiaz Willmann was a painful compromise, it opened before him a huge market for religious paintings for the Catholic Church. Willmann has been a major artist of the Silesian Counter-Reformation, and his most important patrons became the head of the Cistercian abbots lubiąskimi: Freiberger, Johannes Reich, Ludwig Krzeszów Bauche and Abbot Bernhard Rosa. Willmann also worked for the representatives of other religious orders: Augustinian Premonstratensian, Benedictine, the Crusaders with a red star and the Jesuits, and also for the diocesan clergy, including bishops of Wroclaw: Frederick von Hessen-Darmstadt and Franz Ludwig von Pfalz-Neuburg. The recipients were also images Willmann representatives of the Catholic aristocracy, and especially potent among Nostitz. Importantly, the artist painted lubiąski also for the clients of the Protestant religion, as the City Council or the same Wroclaw Elector of Brandenburg, Frederick William. The number of orders flowing into the studio lubiąskiej Willmann from Silesia, Bohemia, Moravia and Austria was so large that the painter was not able to pursue them all.

Willmann mainly painted oil paintings on canvas, from small paintings devotional, to the enormous size of the canvas for the altar and the wall decoration of church interiors. In the work of artist lubiąskiego strongly dominated by images of Counter-Reformation religious themes and a big load of emotions: from sweet scenes Kisses St. Kisses Mary and Joseph, to the dramatic scenes of the martyrdom of saints, such as the famous series lubiąskich Martyrdom of the Apostles. Willmann, however, also painted images on different themes: mythological scenes, portraits of their founders, their own self-portraits and fine landscapes. Although he did not know freskowego painting, it is under the pressure of the founders learned the difficult technique of the old age, and had done with the workshop as much as four complex fresco decorations, including the European baroque masterpiece - paintings in the church of St. Joseph Krzeszów. Willmann was also a great draftsman, and preparing design drawings of mostly devotional images engraved by professional engravers, as best evidenced by a series of 32 illustrations in the prayer book Krzeszów Passion. He himself has dabbled in graphics, which resulted in graphic reproductions of paintings done his best art etchings.

The shape of the painting Willmann to a substantially influenced the Amsterdam education. Preparation of the composition of his paintings consisted mostly because the use of a set of master prints owned, while the painting was based on the use of Cultural Learnings of Rembrandt's painting sketchy manner, allowing for differentiation Willmannowi trim images, depending on their size and purpose. Initially lubiąski artist used the image patterns mainly from the great circle of the Flemish art of Peter Paul Rubens and Anton van Dyck. After returning to the Italian Lubiaz Liska education (pre-1677 year) in images Willmann, however, began to emerge as the new Italian models, among others. from the works of Carl Maratta and Pietro da Cortona, and the previous design works of the Dutch master lubiąskiego changed to a more Italian. Importantly, Willmann never imitate the works of only one artist, and his paintings to the fore as a rule, put forward a universally admired sketchy manner of painting, giving expression to such works and often virtuosic in nature.

Number paintings by Willmann would be much lower if not for the help of his students and workshop colleagues. There was, however, many of them, because the core lab lubiąskiej Willmann were members of his family, educated by a teacher and cooperating with it in different periods of his artistic career. Besides Liska and Michael Leopold Younger worked in the workshop of their artistically talented sister, Anna Elisabeth, as well as grandson Willmann, Georg Wilhelm Neunhertz. Occasionally appeared as the addition of co-workers "from outside", as Johann Jacob Eybelwieser from Wroclaw, or Johann Kretschmer of Glogau.

Willmann died 26 VIII 1706 year Lubiaz and as a particularly meritorious for the abbey was an exception among the monks buried in the crypt of the local church. His mummified body is still there today. Willmann already enjoyed a life of nationally known celebrity, and his biography and a portrait of the artist as the sole from Silesia were first Latin edition of the dictionary German artists pen Sandrart Joachim von (1683). The fame and recognition, not decreased after the death of lubiąskiego artist - a lot of work "Silesian Apelles" was admired and imitated by countless later artists, and his biography has been painstakingly reconstructed by successive generations of researchers. Today, according to Willmann is considered a precursor of baroque art in Silesia and one of the most important painters of the Baroque in Central Europe.