(22 October 1865 in Kirikukela, Viru-Jaagupi Parish C 22 November 1930 in Tallinn) was an Estonian painter. The twin brother of painter Kristjan Raud, he studied in Desseldorf beginning in 1886, becoming influenced by the work of Eduard Gebhardt. After his return to Estonia, he painted mainly portrait commissions for some time, before traveling with his brother and Amandus Adamson to the islands of Muhu and Pakri in 1896. His works of this period are reminiscent of those of Max Liebermann. In 1899 he returned to work in Germany, taking on some of the stylistic trappings of Impressionism; this, coupled with time spent working with Ilya Repin, influenced his later style. Later in his career, most especially during and after World War I, he began to teach, from 1915 working as a drawing instructor at the Tallinn Institute of Commerce and from 1923 at the State School of Industrial Art in Tallinn.
Måleriet identifieringen:: 71888
A Landscape 1906-1911
Oil on canvas
37.7 x 50.2 cm (14.84 x 19.76 in)
(22 October 1865 in Kirikukela, Viru-Jaagupi Parish C 22 November 1930 in Tallinn) was an Estonian painter. The twin brother of painter Kristjan Raud, he studied in Desseldorf beginning in 1886, becoming influenced by the work of Eduard Gebhardt. After his return to Estonia, he painted mainly portrait commissions for some time, before traveling with his brother and Amandus Adamson to the islands of Muhu and Pakri in 1896. His works of this period are reminiscent of those of Max Liebermann. In 1899 he returned to work in Germany, taking on some of the stylistic trappings of Impressionism; this, coupled with time spent working with Ilya Repin, influenced his later style. Later in his career, most especially during and after World War I, he began to teach, from 1915 working as a drawing instructor at the Tallinn Institute of Commerce and from 1923 at the State School of Industrial Art in Tallinn.
konrad magi(1878 to 1925),was an Estonian landscape painter. He was one of the most colour-sensitive Estonian painters of the first decades of the 20th century, and Magi works on motives of the island of Saaremaa are the first modern Estonian nature paintings.
Magi received his elementary art education from the drawing courses of the German Artisans Society of Tartu (1899?C1902.) At the same time, he was keenly engaged in theater, violin, and various sports.
Magi continued his art education as an unattached student in Saint Petersburg (1903?C1905.) In the autumn of 1907, he went to Paris. There Magi studied at a free academy. From 1908 to 1910, he lived in Norway. In 1912, Magi returned to Tartu, where he worked as an art teacher.
In Åland, he created delicate plant vignettes in the style of Art Nouveau: Kahekesi (Two together; 1908; China ink drawing). In Paris, Magi was influenced by Impressionism and Fauvism, which had a significant impact on his colours: Lilleline vali majakesega (A flower field with a little house; 1908?C1909), Norra maastik manniga (A Norwegian landscape with a pine; 1910).
From 1918, the influence of Expressionism is manifest, fostered by Mägi extreme sensitivity and emotional response to the anxious times: Puhajarv (Lake Puha, ', ', ', ', ', ', ', '); 1918?C1920), Otepaa maastik (Landscape of Otepaa; 1918?C1920). Also influenced by Expressionism are his big figure compositions Piet?? (1919), Kolgata (Golgatha; 1921).
Konrad Magi - Rannamaastik (Beach landscape)Magi new artistic period, begun on a trip to Italy, brought calmer tempers: Varemed Capril (Ruins in Capri; 1922?C1923). Along with nature pictures, he painted flowers and portraits. Magi mostly beautiful female models express the Art Nouveau ideal of beauty: Holsti (1916). In his later portraits from the 1920s, a more serious temper is expressed: Madonna (1923?C1924).
Måleriet identifieringen:: 72764
A landscape Oil on carton. 25.8 x 50.1 cm
cyf konrad magi(1878 to 1925),was an Estonian landscape painter. He was one of the most colour-sensitive Estonian painters of the first decades of the 20th century, and Magi works on motives of the island of Saaremaa are the first modern Estonian nature paintings.
Magi received his elementary art education from the drawing courses of the German Artisans Society of Tartu (1899?C1902.) At the same time, he was keenly engaged in theater, violin, and various sports.
Magi continued his art education as an unattached student in Saint Petersburg (1903?C1905.) In the autumn of 1907, he went to Paris. There Magi studied at a free academy. From 1908 to 1910, he lived in Norway. In 1912, Magi returned to Tartu, where he worked as an art teacher.
In Åland, he created delicate plant vignettes in the style of Art Nouveau: Kahekesi (Two together; 1908; China ink drawing). In Paris, Magi was influenced by Impressionism and Fauvism, which had a significant impact on his colours: Lilleline vali majakesega (A flower field with a little house; 1908?C1909), Norra maastik manniga (A Norwegian landscape with a pine; 1910).
From 1918, the influence of Expressionism is manifest, fostered by Mägi extreme sensitivity and emotional response to the anxious times: Puhajarv (Lake Puha, ', ', ', ', ', ', ', '); 1918?C1920), Otepaa maastik (Landscape of Otepaa; 1918?C1920). Also influenced by Expressionism are his big figure compositions Piet?? (1919), Kolgata (Golgatha; 1921).
Konrad Magi - Rannamaastik (Beach landscape)Magi new artistic period, begun on a trip to Italy, brought calmer tempers: Varemed Capril (Ruins in Capri; 1922?C1923). Along with nature pictures, he painted flowers and portraits. Magi mostly beautiful female models express the Art Nouveau ideal of beauty: Holsti (1916). In his later portraits from the 1920s, a more serious temper is expressed: Madonna (1923?C1924).
(22 October 1865 in Kirikukela, Viru-Jaagupi Parish C 22 November 1930 in Tallinn) was an Estonian painter. The twin brother of painter Kristjan Raud, he studied in Desseldorf beginning in 1886, becoming influenced by the work of Eduard Gebhardt. After his return to Estonia, he painted mainly portrait commissions for some time, before traveling with his brother and Amandus Adamson to the islands of Muhu and Pakri in 1896. His works of this period are reminiscent of those of Max Liebermann. In 1899 he returned to work in Germany, taking on some of the stylistic trappings of Impressionism; this, coupled with time spent working with Ilya Repin, influenced his later style. Later in his career, most especially during and after World War I, he began to teach, from 1915 working as a drawing instructor at the Tallinn Institute of Commerce and from 1923 at the State School of Industrial Art in Tallinn.
Måleriet identifieringen:: 73167
A Landscape Date 1906?C1911
Medium Oil on canvas
Dimensions 37.7 X 50.2 cm (14.84 X 19.76 in)
cyf (22 October 1865 in Kirikukela, Viru-Jaagupi Parish C 22 November 1930 in Tallinn) was an Estonian painter. The twin brother of painter Kristjan Raud, he studied in Desseldorf beginning in 1886, becoming influenced by the work of Eduard Gebhardt. After his return to Estonia, he painted mainly portrait commissions for some time, before traveling with his brother and Amandus Adamson to the islands of Muhu and Pakri in 1896. His works of this period are reminiscent of those of Max Liebermann. In 1899 he returned to work in Germany, taking on some of the stylistic trappings of Impressionism; this, coupled with time spent working with Ilya Repin, influenced his later style. Later in his career, most especially during and after World War I, he began to teach, from 1915 working as a drawing instructor at the Tallinn Institute of Commerce and from 1923 at the State School of Industrial Art in Tallinn.
Paul Raud (22 October 1865 in Kirikukela, Viru-Jaagupi Parish C 22 November 1930 in Tallinn) was an Estonian painter. The twin brother of painter Kristjan Raud, he studied in Desseldorf beginning in 1886, becoming influenced by the work of Eduard Gebhardt. After his return to Estonia, he painted mainly portrait commissions for some time, before traveling with his brother and Amandus Adamson to the islands of Muhu and Pakri in 1896. His works of this period are reminiscent of those of Max Liebermann. In 1899 he returned to work in Germany, taking on some of the stylistic trappings of Impressionism; this, coupled with time spent working with Ilya Repin, influenced his later style. Later in his career, most especially during and after World War I, he began to teach, from 1915 working as a drawing instructor at the Tallinn Institute of Commerce and from 1923 at the State School of Industrial Art in Tallinn.
A Landscape
