Lyonel Feininger (1871-1956)
 

Lyonel Feininger was born in New York in a family of emigrants Jews of German descent, famous musicians. In 1887 his family decided to return to Germany. His parents wanted him to be followed in their footsteps and devoted himself to music. But the thirst for art was stronger. In Berlin, he entered the Academy of Arts. He has worked has worked with many German and American journals, giving them his cartoons and comic books created. From 1901 to 1903. exhibited at the Berlin Secession.

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Generally Feininger took up painting only 36 years after dvadtsvtiletnego experience cartoonist. In his early works noticeably vlinie illustrative graphics, where he earned his living.

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In 1911 he went to Paris, where he became acquainted with the works of the French Cubists. Cubism had a marked influence on him, but Feininger has developed his own version of Cubism, I want to say, a mixture of cubism with Rayonism - whom he had known, of course, could not. He refused anecdotal elements that previously prevailed in his paintings. His new work - urban landscapes with an ever-present churches and bell towers - are almost abstract. He also refused to and from the perspectives, recreating it with destrukturatsii forms. His landscapes are geometric (he said that with five years of drawing vertical architecture of New York, which greatly impressed him, this vertikalizm traced throughout his work).

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He joined the group "Most", and later - to the November Group, the "Group of 1919 and, finally, to the" Blue rider "and" Blue Quartet. He is also from 1919 to 1932. taught at the Bauhaus.

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After the Nazis came to power Feininger returned to the United States. That did not stop the Nazis included his work in the exhibits degenerative art. In the U.S., he worked for the cinema industry, drawing for animated films.
It should be noted that Feininger was a composer and pianist.

Generally Feininger took up painting only 36 years after dvadtsvtiletnego experience cartoonist. In his early works noticeably vlinie illustrative graphics, where he earned his living.

In 1911 he went to Paris, where he became acquainted with the works of the French Cubists. Cubism had a marked influence on him, but Feininger has developed his own version of Cubism, I want to say, a mixture of cubism with Rayonism - whom he had known, of course, could not. He refused anecdotal elements that previously prevailed in his paintings. His new work - urban landscapes with an ever-present churches and bell towers - are almost abstract. He also refused to and from the perspectives, recreating it with destrukturatsii forms. His landscapes are geometric (he said that with five years of drawing vertical architecture of New York, which greatly impressed him, this vertikalizm traced throughout his work).

He joined the group "Most", and later - to the November Group, the "Group of 1919 and, finally, to the" Blue rider "and" Blue Quartet. He is also from 1919 to 1932. taught at the Bauhaus.

After the Nazis came to power Feininger returned to the United States. That did not stop the Nazis included his work in the exhibits degenerative art. In the U.S., he worked for the cinema industry, drawing for animated films.
It should be noted that Feininger was a composer and pianist.

In 2007, many of Feininger once recalled, and many rushed to look for it in the references. Of course, the same
And indeed, Jesuiten III (Jesuits III) (in your message number 2 Photo 3) was sold for a record amount:
Hammer price USD 20 750 000
EUR 15 251 250 - USD 20 750 000 - GBP 10 401 980
Estimate USD 7 000 000 - 9 000 000

   
Medium Oil /canvas
Sales date 08 май 2007
Location New York NY (US)
Size 75x60 cm - (29,4 x23, 5 in)
Auction house Sotheby's
Dated 1915
Lot number 22
Distinguishing marks signed «Feininger» Bas Gauche

Important role, I think, played what he considered an American artist and the auction was held in NY.

fross, I also thought about ETM. :)