Despite a short life that came to an abrupt end in a trench in Flanders during World War I, Albert Weisgerber left behind a considerable collection of paintings, sketches and graphic works. His artistic work was constantly changing and cannot be limited to one particular style. Influences of Impressionism as well as Expressionism can be found in his works. His contacts with the Munich avant-gardists are also recognizable. If we look at the works in chronological order, we can see a clear development. In the earlier paintings are often self-portraits, everyday scenes and portraits. Portraits of famous contemporaries such as Theodor Heuss and Ludwig Scharf testify to Weisgerber's affiliation with the artistic scene in Munich, where the painter had completed his studies. Albert Weisgerber was also inspired by numerous visits to Paris and his acquaintance with Henri Matisse. He was part of the Parisian bohemian crowd that frequented the infamous Café du Dôme - a meeting place for painters, sculptors, poets and thinkers of the turn of the century. Famous paintings Weisgerber created during this period include Paris Café I and II. The print "The Friends of the Café du Dôme" and various vaudeville paintings and portraits also come from this creative period.
A remarkable turn in Weisgerber's late work came to light during a visit to Florence. Here he came into contact with the art of the Italian Renaissance and henceforth devoted himself to religious themes. It is no longer social images, but themes such as death and transience that now characterize his painting. Among other things, he dealt with figures from the Old Testament, and the paintings radiate a heaviness that had not been so evident in his early creative period. He was particularly influenced by the figure of St. Sebastian, to whom he devoted an entire cycle. It can be observed that Weisgerber pursued certain themes over several years, always making improvements and changes to explore the perfect form of expression.
Since Weisgerber's works were considered Modern Art on the one hand and he had been married to a Jewish woman on the other, the collection met the same fate of many other German artists and was classified as "degenerate" by the Nazis. However, Weisgerber's life's work escaped destruction and was sold at various auctions. This led to the fact that so many of his works are still preserved for posterity today. The mayor of Weisgerber's birthplace, St. Ingbert, located in what is now the Saarland, acquired most of the paintings and made them accessible to the public again. The people of Saarland not only honor their famous son through regular exhibitions, but also award a highly endowed and prestigious art prize in his name every three years.
Despite a short life that came to an abrupt end in a trench in Flanders during World War I, Albert Weisgerber left behind a considerable collection of paintings, sketches and graphic works. His artistic work was constantly changing and cannot be limited to one particular style. Influences of Impressionism as well as Expressionism can be found in his works. His contacts with the Munich avant-gardists are also recognizable. If we look at the works in chronological order, we can see a clear development. In the earlier paintings are often self-portraits, everyday scenes and portraits. Portraits of famous contemporaries such as Theodor Heuss and Ludwig Scharf testify to Weisgerber's affiliation with the artistic scene in Munich, where the painter had completed his studies. Albert Weisgerber was also inspired by numerous visits to Paris and his acquaintance with Henri Matisse. He was part of the Parisian bohemian crowd that frequented the infamous Café du Dôme - a meeting place for painters, sculptors, poets and thinkers of the turn of the century. Famous paintings Weisgerber created during this period include Paris Café I and II. The print "The Friends of the Café du Dôme" and various vaudeville paintings and portraits also come from this creative period.
A remarkable turn in Weisgerber's late work came to light during a visit to Florence. Here he came into contact with the art of the Italian Renaissance and henceforth devoted himself to religious themes. It is no longer social images, but themes such as death and transience that now characterize his painting. Among other things, he dealt with figures from the Old Testament, and the paintings radiate a heaviness that had not been so evident in his early creative period. He was particularly influenced by the figure of St. Sebastian, to whom he devoted an entire cycle. It can be observed that Weisgerber pursued certain themes over several years, always making improvements and changes to explore the perfect form of expression.
Since Weisgerber's works were considered Modern Art on the one hand and he had been married to a Jewish woman on the other, the collection met the same fate of many other German artists and was classified as "degenerate" by the Nazis. However, Weisgerber's life's work escaped destruction and was sold at various auctions. This led to the fact that so many of his works are still preserved for posterity today. The mayor of Weisgerber's birthplace, St. Ingbert, located in what is now the Saarland, acquired most of the paintings and made them accessible to the public again. The people of Saarland not only honor their famous son through regular exhibitions, but also award a highly endowed and prestigious art prize in his name every three years.
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