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This section is a work in progress and will be updated continually. B Boetius Bolswert, (b. 1580 in Bolsward, d.1633) Netherlandish Baroque Era Engraver, Active 1611-1617 in Haarlem, Amsterdam and Brussels. After 1620 in Antwerp. Pupil of Abraham Bloemart. Died in Antwerp on 25 March 1633. Also known as Boetius Adams Bolswert. Baroque Art developed in Europe around 1600, as a reaction against the intricate and formulaic Mannerism that dominated the late Renaissance. Baroque art is less complex, more realistic and emotionally affecting than Mannerism art. This movement was encouraged by the Catholic Church, the most important patron of the arts at that time, being seen as a return to tradition and spirituality. One of the great periods of art history, Baroque Art was developed by Caravaggio, Gianlorenzo Bernini and Annibale Carraci, among others. In the 18th century, Baroque Art was replaced by the more elegant and elaborate Rococo art style. Works by Bolswert are held in numerous museum collections including the Fine Art Museums of San Francisco; The Brukenthal Museum; Universite de Liege.
D Ken Duncan has been interested in photography since his early teens when he rendered himself temporarily unpopular by dismantling his father's Bellows camera to make a black and white enlarger. He entered the photographic world after leaving school and progressed to become a senior technical representative for Australia's leading photographic supply house. His turning point came when this company imported the 'Widelux' camera. On testing the camera's capabilities he realized he had found a vehicle which could translate onto film exactly what he could see in a landscape. Taking photographs had become a passion, and in 1982 Ken left Sydney to realize his dream of producing a quality book of Australian images. Little did he know that the dream would cost him his house, cars and everything else he had - and take five years to complete. During his travels around Australia, Ken has collected over 80,000 selected images in panoramic format. Unequalled in depth, the library has been hailed as the best collection of Australian landscapes ever seen. Ken sought out places not previously photographed in order to provide a feeling of the real Australia and the pioneer spirit which exists beyond the coastal fringes. In the course of his journey, Ken endured many hardships in order to realize his dream, including taking a fall from Kata Tjuta in the Northern Territory which resulted in damage to his left big toe causing gangrene and the eventual amputation of that toe. The freezing damp of western Tasmania brought about hypothermia causing severe damage to his nervous system from which Ken took many months to recover. In a feature article on Ken and his work, Australian Professional Photography magazine described him as: "The photographer who is now undoubtedly Australia's (and possibly the world's) leading exponent of panoramic landscape photography (certainly the most successful)." Projects: Ken's talent is now in great demand in advertising and photographic circles in Australia and overseas, although these days he only accepts selected assignments due to his hectic travel schedule. Ken has completed assignments for several American magazines including National Geographic and The New York Times, and continues to work on international projects in the United Kingdom and America. In late 1985, Ken was the only Australian chosen to join a team of 40 international photographers who travelled to China for a project which resulted in the book, "CHINA THE LONG MARCH". In 1990 Ken was invited to participate in another international venture. Forty-six top class photographers from all over the world congregated in Malaysia to shoot a book called "MALAYSIA - HEART OF SOUTH EAST ASIA". Ken was chosen for this project because of his specialty in panoramic landscapes. In May 1991, Ken was involved in the shoot for "A DAY IN THE LIFE OF HOLLYWOOD" by Collins Publishers U.S. This involved 76 international photographers, each world leaders in their respective fields, shooting the life and essence of Hollywood. Ken was the only Australian photographer invited to participate. Publications: Ken's first major publication, a timeless coffee table pictorial, was published by Weldon Publishing in October 1987. Titled "The Last Frontier - Australia Wide", it is unique in that all the photos are in panorama format. It has proven enormously successful, with over 65,000 copies sold in Australia to date. The next book from Ken Duncan, "Australia Wide - Spirit of a Nation", was released internationally in early November 1991. Similar in style to his first successful publication, the new book featured dynamic new images and was distributed in America by Collins U.S. After the success of his two exceptional coffee table books, the registration of Ken Duncan's bold new Trademark "Panographs™" signalled a move into publishing for this energetic young photographer. The first three titles, "Spirit of Australia", "The Australia Wide Yearbook" and "Spectacular Sydney" - produced completely in Australia - were released in late 1992. In October 1997, Ken published "The Great South Land", a magnificent 200 page hand-bound volume documenting the many moods and manifestations of Australia's spectacular landscapes. Ken has used all his skill to show the beauty of creation so that it first dazzles the eye, then goes deeper to touch the spirit. The Creme de la Creme of all book projects was THE KEN DUNCAN COLLECTION released in the Year 2000. A selection of 77 of Ken's best Australian landscape images (all of which have been produced as Limited Edition prints) was printed using the latest and best technology and leather bound into a magnificent Limited Edition Book. No expense was spared in the production of this publication and, with only 1,000 copies ever being produced, it is destined to become a valuable and highly sought after collectors' piece. The Ken Duncan Collection won a Gold and a Silver Medal at the Australian Print Awards in 2001 and, as a result, wasautomatically entered into the prestigious American National Print Awards where it was honoured with a "Benny" (Best of Category) Award. In the words of the judges of the 5,500 entries received .... "yours was chosen as work which exemplifies the highest standards in the printing industry..." Ken Duncan's first solo international publication America Wide In God We Trust is a celebration of the diversity and natural splendour of a uniquely blessed land. Released in September 2001, this collection represents Ken's three-year journey of discovery to many of America's most beautiful and awe-inspiring locations. Ken was proud to be chosen to roduce a special range of product for the Sydney 2000 Olympic Games. In October 1998 he released two beautifully produced books. Sydney 2000 "The Olympic City presents a wonderful range of urban images while Celebrating Australia" , "Share the Spirit" showcases the Australian landscape in Ken's unique panoramic way. The gorgeous cover shots from these books along with a stunning photo of The Twelve Apostles - were released as Limited Edition Prints with 2000 in each series, featuring the Sydney 2000 Olympic Games mark. Awards: Ken was honored with the top award in the "Travel and Resorts" category of the 1990 Australian Institute Professional Photography Awards. Since then, he has had several other accolades bestowed by this and other photographic institutions. In 1995 one of Ken's books won the print media category of the Central Coast Tourism Awards and an "Award of Distinction" at the prestigious NSW Tourism Awards. Ken's stunning posters received a Gold Medal at the 1990 National Print Awards and a Bronze Medal in the same category at the 1995 National Print Awards. The book "Vision of Hope" received the coveted "Design Award" at the ACLS Awards in 1995 with special mention for the splendid mix of colour and black & white images with exceptional typography. This same ACLS Design Award was also conferred upon "Australia Wide Cookbookâ¤? in 1996. Ken's magnificent Limited Edition Book "The Ken Duncan Collection", received one gold and one silver medal at the Australian National Print Awards in 2001. As a result, it was automatically entered into the American National Prints Awards where it won a 'Benny' (Best of Category) Award. For the Special Edition of his America Wide book Ken was the proud recipient of three separate awards at The Galley Club of Sydney in 2002. The book received a special award for book manufacture and excellence, as well as a Judges commendation for Pre-press and printing in the same category. America Wide also took out the highest honor, the Award for Excellence - at The Galley Club that year. The following year, 2003, the Special Edition of Ken's Australia Wide book again received the Galley Club Award for Excellence. Also in 2002, Ken was honoured with the Rotary International Award for Excellence in his Field. The presentation of this prestigious award was made by the Governor of Rotary District 9680 which comprises 68 individual clubs representing over 2,500 members. Ken Duncan is the still photographer preferred by the highly acclaimed Australian Rock Band, Midnight Oil. All the photography on their very successful "Diesel and Dust" album is Ken's work and that album won the "Best Cover Art" Award at the ARIA presentations in early 1988. Ken's first international award (for work with Midnight Oil) was bestowed in 1988 at the prestigious Diamond Awards Festival. The only Australian photographer nominated for a Diamond Award in 1989, Ken then came away with two coveted titles, one of which was the coveted award for International Music Photographer of the Year. America's Rolling Stone magazine chose Ken's stunning portrait of Midnight Oil for the cover of their March 1990 issue. The Midnight Oil Album "Diesel & Dust" was included in the "Classic 100 Album Covers" by America's Rolling Stone Magazine. Another three of Ken's shots of the band received awards in the 1994 and 1995 FUJI/ACMP "Australian Photographers Collections". In 2006, the Australian Institute of Professional Photographers bestowed upon Ken one of its highest honors. In a moving speech, the President of the AIPP spoke of Ken's years of service to the photographic industry, including his passion for helping up and coming photographers, his prolific publishing and his tremendous success both in Australia and internationally. He then granted Ken the life time title of Honorary Fellow of the Australian Institute of Professional Photographers. Works by Duncan are held in major American and European private collections and corporate collections.
E Marie Ellenrieder was born in 1791 in Konstanz on Lake Bodensee, and died in the same town in 1863. She was a daughter of the court watchmaker, Konrad Ellenrieder, and a granddaughter of the court painter Franz Ludwig Herrmann. At the age of 19 years, she began studying portrait miniature painting under miniaturist Joseph Bernhard Einsle. Her long-time patron and sponsor, the Vicar-General of Konstanz, Ignaz Heinrich von Wessenberg persuaded the Director of the Munich Academy to admit Marie as the first female student ever to enter German academies. She commenced her studies (primarily in history and portrait painting) in 1813, and became a pupil of the Director of the Academy, Johann Peter Langer. One year later, Marie Ellenrieder went back to her native Konstanz. Twice again later, in 1816 and 1820, she returned to Munich to continue her studies. Apart from that, she was at different times active in Konstanz, Freiburg in Breisgau, Zurich, and Schaffhausen. In this period, she mainly worked as a portraitist. She painted her first thus far known self-portrait in oil in 1818 (now in the Museum of Karlsruhe). In 1819, in Donaueschingen, she painted portraits of members of Prince Carl Egon von Fuerstenberg's family. In 1820, Ellenrieder painted royal portraits at the court of Duke of Baden in Karlsruhe. Also in 1820, she executed three commissioned monumental altar paintings for the Church of Ichenheim by Offenburg. This Commission caused Ellenrieder to turn to religious painting. In 1822, she traveled to Rome in order to complete her studies. There, she studied old master works, especially those of Fra Angelico, Perugino and Raphael (the latter becoming her ideal). She met German Nazarene painters Julius Schnorr von Carolsfeld, Philipp Veit, Friedrich Overbeck living there at the time, and was greatly influenced by them. In summer of 1824, Ellenrieder left Rome for a year to go to Florence and then back home to Konstanz. From that point on, she decided to render her artistic skills to the service of religion. In 1832, she came to Karlsruhe to the royal family of Baden having the status of their favorite artist. There, she became a member of Baden Artist Union, with which she regularly exhibited until 1862. In 1834, she returned to Konstanz, but in 1838, left again to go to Italy for two years. Works of Marie Ellenrieder can be viewed in many German, Swiss, and other international museums including the Rogarten Konstanz Museum.
F Peter Carl Fabergé: The Fabergé family originated in France, but the Protestant family fled after the Edict of Nantes was revoked in 1685. Eventually, some family members settled in Russia. Peter Carl Fabergé was born in 1846. His education and goldsmith apprenticeship were in Germany. After establishing himself independently in 1866, Carl continued to refine his skills. By age 24, Fabergé had inherited his father's jewelry workshop in St. Petersburg, Russia. For ten years as head of the business, Carl continued to produce goods similar to other jewelry makers. He also volunteered his time to the Hermitage, a treasury which stored all of the precious objects of the Russian czars, including gold artifacts and ancient treasures. All of these pieces Carl helped catalog, appraise and repair. He reorganized the business with the help of his able brother Agathon and forever changed the face of jewelry and art. In 1882 Carl's younger brother Agathon, a trained jeweler full of ideas, appeared on the scene. The two made copies of ancient Russian treasures and sold them. Eric Kollin, a Finnish craftsman, helped the Fabergé brothers make a number of pieces which they decided to feature at a fair in Moscow. Czar, Alexander III, and his wife, Czarina Maria were in attendance and made a purchase at the Fabergé exhibit. There, Carl Fabergé was presented with a gold medal honoring him as "...having opened a new era in jewelry art." Until that time, many felt the value of jewelry was intrinsic, based upon the precious metals and stones. Fabergé felt that the artistic creativity and fine craftsmanship of jewelry made it art that transcended bullion value. Goldsmithing became Carl Fabergé 's primary interest, and he hired Michael Perchin, a Russian goldsmith to assist him in his experiments with gold and enamel. Through careful examination of works of art, the two learned and attempted to replicate techniques of earlier artisans. Their efforts were so successful that even the czar could not distinguish between the original piece and Fabergé 's copy of a snuff box in his own collection. Soon after, Fabergé became the Supplier to the Imperial Court. The Fabergé Workshop: The House of Fabergé was staffed with some of the finest goldsmiths and jewelers available. Interestingly enough, Peter Carl Fabergé did not actually create any of the famous eggs that bear his name. The business was divided into several small workshops, each with its own specialty. In addition to the fabulous easter eggs, the workshop also produced table silver, jewelry, European-style trinkets, and Russian-style carvings. The two master jewlers most responsible for the Fabergé eggs were Michael Evlampievich Perchin and Henrik Wigström. Born in 1860, Perchin became the leading workmaster in the House of Fabergé in 1886 and supervised production of the eggs until 1903. Those eggs he was responsbile for have his MP (MP- Michael Perchin) markings. All signed eggs made after 1903 bear Henrik Wigstrom's HW mark. Of course, not all eggs were stamped, so other goldsmiths may have supervised production of some of the eggs.
Francois-Xavier Fabre (b. 1766 d. 1837) Romanticism, studied at the Montpellier Art Academy before joining the Paris studio of Jacques-Louis David. He won the Prix de Rome in 1787 and remained in Italy because of the French Revolution. Fabre settled in Florence in 1793 and received the patronage of Italian aristocrats. He was a member of the Florentine Academy and an art teacher, collector, and dealer. When the trends began to change, Fabre dropped history painting and focused on the more popular portraiture, landscape, and printmaking. In 1824, Fabre's companion, the countess of Albany, died and left him her fortune. He returned to France and founded an art school in his hometown of Montpellier. Romanticism might be best described as anticlassicism - a reaction against Neoclassicism. It is a deeply-felt style which is individualistic, exotic, beautiful and emotionally wrought. Although Romanticism and Neoclassicism were philosophically opposed, they were the dominant European styles for generations, and many artists were affected to a lesser or greater degree by both. Artists might work in both styles at different times or even combine elements, creating an intellectually Romantic work using a Neoclassical visual style. Obvious successors of Romanticism include the Pre-Raphalite movement and the Symbolist painters. But Impressionism, and through it almost all of 20th centruy art, is also firmly rooted in the indiviualism of the Romantic tradition. Some art scholars will classify Fabre as a Neoclassic artist. This classification is only partially correct as Fabre worked in the Romantic style as well. Works by Fabre are held in numerous major museum collections including the J. Paul Getty Museum; Museum of Fine Arts Boston; National Galleries of Scotland.
K Clyde Leon Keller was born in Salem, Oregon on February 22, 1872, California Impressionism, he studied at Willamette College and for a while was a cartoonist for the Oregon Statesman in his native city. He studied art in Munich with Bridges and with Knowles in Boston. From 1896 to 1906, Keller lived in San Francisco where he studied painting with Ernst W. Christmas while working as a cartoonist for the Examiner. Keller lost many of his early art works in the earthquake and fire of 1906. Returning to Oregon, he established an art store in Portland, where he was known as "Keller, the Art Man." He continued to make sketching trips to California. He died in Cannon Beach, Oregon on August 7, 1962. During his career he did about 4,500 paintings which won more than 250 prizes. Both Presidents Hoover and Roosevelt were among his prestigious customers. He was a member of the Oregon Society of Artists. On December 9, 1929, the Society incorporated, with Clyde Leon Keller, as Vice President. The Society met at his art studio on SW Washington Street near 13th Avenue for many years. He later became the third president of the Society, and did much to see that the control of the Society was kept in the artists' hands. Keller exhibited at the Great Crystal Palace, New York City, in 1924; Meier and Frank, Portland, 1937; Oregon-California Artists, 1946-47. Clyde Leon Keller's paintings maybe seen at the Elk's Club, Liberty Theater and Press Club, all in Portland, Oregon.
Wilhelm Klein was born in 1821 in Dusseldorf. He died in 1897. He was pupil of J.W.Schirmer at the Dusseldorf Academy until 1840, and then went on study journeys to Germany, Tyrol, Upper Italy, Switzerland, Belgium and Holland. His favorite motifs were evening and storm atmospheres. His works were exhibited at various German art exhibitions, especially regularly (after 1838) at the Berlin Academical Exhibitions. Many of his works were purchased by the German Aristocracy. Art literature mentions that paintings by him were purchased by Prince von Hohenzollern-Sigmaringen.
P Giovanni Battista Pasqualini (b.1585 d.1635) Painter and printmaker, born in Cento near Bologna; active around 1619-1634. Pasqualini studied painting with Ciro Ferri. Works by Pasqualini are held in major museum collections including the Fine Arts Museum of San Francisco.
Pablo Picasso was born on October 25, 1881 in Malaga, Spain, as the son of an art and drawing teacher. He was a brilliant student. He passed the entrance examination for the Barcelona School of Fine Arts at the age of 14 in just one day and was allowed to skip the first two classes. According to one of many legends about the artist's life, his father, recognizing the extraordinary talent of his son, gave him his brushes and palette and vowed to paint never again in his life. The Blue Period and The Rose Period: During his lifetime, the artist went through different periods of characteristic painting styles. The Blue Period of Picasso lasted from about 1900 to 1904. It is characterized by the use of different shades of blue underlining the melancholic style of his subjects - people from the grim side of life with thin, half-starved bodies. His painting style during these years is masterly and convinces even those who reject his later modern style. During Picasso's Rose Period from about 1905 to 1906, his style moved away from the Blue Period to a friendly pink tone with subjects taken from the world of the circus. Picasso and Georges Braque: After several travels to Paris, the artist moved permanently to the "capital of arts" in 1904. There he met all the other famous artists like Henri Matisse, Joan Miro and George Braques. He became a great admirer of Henri Matisse and developed a life-long friendship with the master of French Fauvism. Inspired by the works of Paul Cezanne, he developed together with Georges Braque and Juan Gris developed the Cubist style. In Cubism, subjects are reduced to basic geometrical shapes. In a later version of Cubism, called synthetic cubism, several views of an object or a person are shown simultaneously from a different perspective in one picture. Picasso and Guernica: In 1937 the artist created his landmark painting Guernica, a protest against the barbaric air raid against a Basque village during the Spanish Civil War. Picasso's Guernica is a huge mural on canvas in black, white and grey which was created for the Spanish Pavilion of the Paris World's Fair in 1937. In Guernica, Picasso used symbolic forms - that are repeatedly found in his works following Guernica - like a dying horse or a weeping woman. Guernica was exhibited at the museum of Modern Art in New York until 1981. It was transferred to the Prado Museum in Madrid/Spain in 1981 and was later moved to the Queen Sofia Center of Art, Madrid in 1992. Picasso had disallowed the return of Guernica to Spain until the end of the rule of Fascism by General Franco. Pablo Picasso and Women: Picasso changed his companions at least as often as his painting styles. The relationships with women influenced his mood and even his art styles. The shift from the "blue" to the "rose period" was probably a result of meeting Fernande Olivier, his first companion. The artist made numerous portraits of his wives and companions and of his children. During his early years in Paris, he lived with Fernande Olivier for seven years. During World War I, from 1914 to 1918, Picasso worked in Rome where he met his first wife, Olga Koklova, a Russian ballet dancer. In 1927 he met Marie Therese Walther, a seventeen year old girl and began a relationship with her. In 1936 another woman, Dora Maar, a photographer, stepped into his life. In 1943 he encountered a young female painter, Francoise Gilot. In 1947 she gave birth to Claude, and in 1949 to Paloma, Picasso's third and fourth child. The artists's last companion was Jacqueline Roque. He met her in 1953 and married her in 1961. In 1965 Pablo Picasso underwent a prostrate operation. After a period of rest, he concentrated on drawings and a series of 347 etchings. In spite of his health problems, he created a number of paintings during his last years. On April 8, 1973 he died at the age of 91. Picasso said of death, "I think about Death all the time. She is the only woman who never leaves me." Picasso as a Printmaker: Picasso was not only a very prolific printmaker, but also a very diverse one in the use of a great variety of different techniques. He created lithographs, etchings, drypoints, lino cuts, woodcuts and aquatints. Always on the search for something new, he experimented a lot with these techniques. Some of Picasso's graphic works are combinations of several techniques. Picasso created his first prints in 1905 - a series of 15 drypoints and etchings, Les Saltimbanques, published by the art dealer Vollard in 1913. More graphic works were produced in the early 1930's. But it was in the years after World War II that most of Picasso's prints were created. Like Chagall, Picasso worked with the Atelier Mourlot, a renowned art publisher and print workshop in Paris. Pablo Picasso created about 200 lithographs from 1945 to 1949 in close cooperation with Henri Deschamps, a professional printmaker from the Mourlot studio. Cubism: Cubism was developed between about 1908 and 1912 in a collaboration between Georges Braque and PIcasso. Their main influence is said to have been tribal art (although Braque later disputed this) and the work of Paul Cezzane. The movement itself was not long-lived or widespread, but it began an immense creative explosion which resonated through all of 20th century art. The key concept underlying Cubism is that the essence of an object can only be captured by showing it from multiple points of view simultaneously. Cubism ran its course by the end of World War 1, but among the movements directly influenced by it were Orphism, Precisionism, Futurism, Purism, Constructivism, and, to some degree, Expressionism. Was Picasso a Charlatan?: There are numerous books and articles with anectodes, citations and interviews by Picasso. It is hard to figure out what is real and what are inventions or fakes. Picasso did not seem to care too much what the press wrote about him as long as they wrote about him at all. Whether by intuition or carefully planned, he was a marketing genius, spinning his own legend at lifetime. Picasso had an excellent business sense. He paid even small amounts by check: "People would rather keep the cheque for my famous signature than to cash it." He enjoyed being famous and rich. He was charming and witty and he liked to confuse, to provoke and to have his fun with the public. After visiting an exhibition of children's drawings: "When I was their age I could draw like Raphael, but it took me a lifetime to learn to draw like them." About art: "You expect me to tell you what art is? If I knew it, I would keep it for myself." About abstract art: "There is no abstract art. You must always start with something. Afterwards you can remove all traces of reality."
Adolf Pirsch was born on July 4th, 1858 in Gradaz in Krain, which at the time was part of the Austro-Hungarian Empire, known today as, Slovenia. His first teacher was Heinrich Schwach, Academy and Gallery Director in Graz, a protogé of Baron Leys in Antwerp. Adolf Pirsch concluded his studies at the Graz Academy in 1879 and at the age of 21, traveled to Italy where he spent a year in Venice, Florence and Rome. His first commissioned works were altar paintings for churches in Graz and Marburg. His first major portrait exhibition took place in 1896 in Graz, when Pirsch was 38. During this period, he met his close friend and future model, a Belgian woman named Olga Legros. His most famous works of this period were portraits of the Austrian Emperor Franz Josef and Pope Leo XIII, which can be seen today in the Vatican. He then lived in Vienna for many years, where his female portraits were of great popularity. After several years in Dresden, he moved to England where for the next 14 years, Pirsch became a requested portrayer of the English high society. Pirsch dedicated his studies to the English portrait painting of the 18th century, the influence of which is clearly noticeable in his portraits. With the beginning of World War I, the Austrian artist was seen as "the enemy" in England, and lost a great part of his fortune. He retreated to Holland to his second partner and future wife, the painter Hanna Fieke. From 1916 on, he lived in Haarlem with Hanna and their daughter Ada. In the Netherlands, he achieved the height of his career, again noticed as a talented portrait painter. He became - as he had been in England - the high society's favorite. From this period came the portraits of the Dutch monarchs and the various portraits of Wilhelm II, the former German Emperor, exiled in the Netherlands. In 1926, a very large and successful Pirsch-exhibition took place, with very prominent visitors including; Heads of State and Royalty. Three years later, in 1929, Adolf Pirsch died at the age of 71 in Graz, Austria.
S Virgil Solis (b.1514 d.1562) Printmaker, hailed from Nuremberg and with an uotput of over 2,000 prints and drawings, Solis was one of Nuremberg's most prolific printmakers and book illustrators. He becoming a master in 1539. Although he was a self-proclaimed painter, he is known for his work as a printmaker and book illustrator. He created prints based on German and Italian master paintings and also produced biblical and decorative woodcuts that were published in eleven editions from 1562 to 1606. Other decorative artists often used his prints as models for furniture, architecture, jewelry and other crafts. His woodblocks and plates were printed by their owners after his death and until the 1650's. Works by Solis are held in numerous major museum collections including the J. Paul Getty Musuem; National Gallery of Art; Schleswig-Hotstein Museum.
Erwin Stolz (b. 1896 d. 1987) was a highly talented Viennese artist active between the two World Wars. He was one of the young artists of the early 20th century Austria forming the group "Hagenbund". The Hagenbund members, such as the Secessionists, presented modernist trends in the Viennese art of the early 20th century. Apparently Stolz carried out most of his works between the years 1920 and 1940 and after the year 1945 was hardly active as artist.
Johann Chistopher Sysang (b.1703 d.1757), a well-known German artist whose works are held in major museum collections including the Fine Arts Musuems of San Francisco and the National Maritime Musuem.
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