Wednesday, 23 April 2025

Niklaus Stoecklin - part 1

Niklaus Stoecklin 1918
Self-Portrait

Niklaus Stoecklin (19 April 1896 – 1 December 1982) was a Swiss painter and graphic artist was born in Basel as the son of businessman Johann Niklaus Stoecklin (1859–1923). Stoecklin grew up in Basel, but in 1914 went to Munich to study under Robert Engels at the School of Arts and Crafts. It was there that his friendship with the sculptor Alexander Zschokke began.

At the outbreak of war, Stoecklin returned to Switzerland and took courses at Basel School of Arts and Crafts, where his teachers included Burkhard Mangold. He spent his period of active military service in the Canton of Ticino. There he painted his Casa Rossa (1917), a masterpiece of New Objectivity that was sold just a few months later, in 1918. The buyer was Georg Reinhart, an entrepreneur of Winterthur who became the Stoecklin’s first and most important collector, and a lifelong friend. In 1918 Stoecklin, was one of the founding members, alongside Zschokke, Fritz Baumann and Otto Morach, of the artist group Das Neue Leben. Ignaz Epper was another artist to whom he had contact at the time. 1920 saw Stoecklin and Albert Müller sharing a studio in San Gimignano in Tuscany.

Stoecklin was the only Swiss artist to be included in the seminal exhibition Neue Sachlichkeit. Deutsche Malerei seit dem Expressionismus curated by Gustav Friedrich Hartlaub at Kunsthalle Mannheim in 1925. This was the show from which the New Objectivity of the 1920s and 1930s derived its name.


For many decades Stoecklin was also active as a poster designer. Some of his works in this genre were for competitions organized by the Kunstkredit Basel-Stadt. His public works, including his fresco above the public notice board for posting marriage banns on the Münsterplatz in Basel (1920) made him a well-known figure in Basel, as did his involvement in the painting of lanterns for the Basler Fasnacht. He also designed somel postage stamps for the Schweizer Post and illustrated the Schweizerfibel.


This is part 1 of a 4-part series on the works of Niklaus Stoecklin:


1918 The Blind
oil on cardboard mounted on hardboard 82 x 62.5 cm
Kunstmuseum Basel

1918 The Blind
lithograph on Japanese paper 29 x 25 cm

1918 Restaurant La Pusterla
oil on cardboard 41 x 44.5 cm
(Location not given)

1918 Barfüsserplatz
lithograph on paper 47 x 59 cm

c1920 Portrait of a woman with pearl jewellery
watercolour on paper 62.8 x 48.7 cm (sheet)  


1920 San Gimignano
watercolour and charcoal on paper 21.5 x 31.4 cm

1921 St. Jakobsmatte cross-country and patrol ride,
show-jumping competition, Basel
colour lithograph poster130 x 91 cm

1921 Basel Theatre Day in aid of the City Theatre-Persona poster

1922 Wealth tax, state economy
colour lithograph advertisement 128 x 90 cm

1922 Carpets Matzinger
colour lithograph advertisement 128 x 90 cm

1922 Cinema Wittlin, Masked Ball
2-colour lithograph

1922 The Printing Press, Gewerbemuseum Basel
colour lithograph poster 126.5 x 89 cm

1923 Helmgasse, Basel
oil on cardboard 51.5 x 24 cm

1923 The wood turning shop - Gewerbemuseum Basel
lihographic poster 128 x 91 cm

1923 Bell "the best of the good"
colour lithograph poster 128 x 90 cm

1924 Sandreuter, carpets fabrics
colour lithograph poster 128 x 90 cm

1924 Oriental Carpets Sandreuter & Co, Basel
colour lithograph poster 127 x 90.5 cm

1924 Horticultural Exhibition, Basel
colour lithograph poster 127.5 x 90.25 cm

c1925 Clus Ironworks: Transmissions
colour lithograph poster 127 x 90.1 cm

1925 Castello San Pietro
oil on cardboard 33 x 24 cm 

1925 Post buses in the Swiss Alps
colour lithograph poster 128 x 90 cm

1925 Animal Protection
colour lithograph poster (size not given)

1926 Vim, Clean Everything
colour lithograph poster 128 x 90 cm

1926 Still life with lilies in blue vase
oil on wood panel 73 x 51 cm

1926 Sanary-sur-Mer, Var, France
oil on painting board 50 x 65 cm

1926 Buebezigli
colour lithograph on paper 48 x 65 cm

1926 Basel consumer society BKG-LIGA
colour lithograph poster 128 x 90 cm

1926 Balair Line
colour lithograph poster 128 x 90 cm

1927 Schöntal Abbey (Germany)
oil on wood panel 52.5 x 45.5 cm

1927 Gaba for coughs!
two-colour lithograph poster 127.5 x 90 cm

1927 Forta silk fabrics
colour lithograph poster 127 x 89 cm

1928 Still Life
oil on wood panel 16 x 23.8 cm

1928 Lilies
oil on fibreboard 54 x 42 cm

1928 First snow, Autumn
oil on canvas 41.5 x 33 cm

1928 Capitol Theater C Eröffnet 15.Dez
two-colour lithograph popster 127.5 x 89.7 cm

1929 Tatjana Barbakoff
oil on card 55 x 40 cm

1929 Basel Artists' Festival, Summercasino
mono lithograph poster 129 x 90 cm

1929 Basel Quodlibet Masquerade Ball
colour lithograph poster 127 x 90 cm

1929 Arabian woman
oil on canvas 60 x 48 cm

1929-30 Biedermeier Miss
 oil on panel 193 x 74 cm

1929-30 Appenzeller-Senn
oil on panel 197 x 74.5 cm

1930-31 Masked Ball
gouache & coloured pencil 127 x 90 cm




Tuesday, 22 April 2025

Théodore Géricault - part 7

 Jean-Louis-André-Théodore Géricault is now identified as a pioneer of Romanticism in French painting. He loved horses, and dramatic images of rearing horses feature in his work. He was born at Rouen, and from 1808 trained in Paris with Carle Vernet. But after two years he left Vernet - saying 'One of my horses would have devoured six of his' - to go to the Neo-classican painter Pierre Guérin, with whom his friend Delacroix later studied.

Géricault was influenced by the military subjects of Baron Gros and by works in the Louvre, notably those by Rubens and Renaissance Venetian painters. A visit to Italy in 1816-7 intensified Géricault's appreciation of Michelangelo. On his return to Paris he painted his most famous work, 'The Raft of the Medusa' (Paris, The Louvre), a scene of modern drama on a vast scale and executed in the heroic manner, which he exhibited at the Salon of 1819.


An admirer of English art, like Delacroix, he visited England in 1820-1, returning in a state of poor health. From his last years date an exceptional series of portraits, commissioned by a friend, of the inmates of a lunatic asylum.


For earlier works see parts 1 - 6 also. This is part 7 of a 7-part series on the works of Théodore Géricault. Note: Dates were not found for the remainder of posts in this series:

n.d. Guard Artillery in action
Black pencil, white gouache, brown wash, & brown watercolour on paper 21 x 28.3 cm
Louvre, Paris

n.d. Gericault's left hand
black pencil.red chalk & watercolour 22.5 x 29.5 cm
 Louvre, Paris

n.d. General of the First Empire giving his cavalry orders to charge
watercolour, with red chalk and graphite, on cream wove paper 53.5 x 45 cm
Art Institute of Chicago, IL

n.d. Frightened horse
pen and brown ink on grey-green laid paper 23.2 x 31.1 cm
Detroit Institute of Arts, MI.

n.d. French horse tied in front of arcades
black pencil. brown wash, & watercolour on paper
10.9 x 14.5 cm
Louvre, Paris

n.d. Horse race
pen and brown ink, white highlights on beige paper, glued to cardboard 15.5 x 24.4 cm
Louvre, Paris

n.d. Horse in training
graphite, watercolour & gouache on paper 24.4 x 30.8 cm
Louvre, Paris

n.d. Head of a man
pen and brown ink over traces of graphite on wove paper
16.3 x 13,1 cm
National Gallery of Art, Washington, DC

n.d. Head and hindquarters of a racing horse
graphite on ivory laid paper 17.4 x 13.6 cm
Art Institute of Chicago, IL

n.d. Guard Artillery in action
black pencil, white gouache, brown wash, & brown watercolour on paper 21 x 28.3 cm
 Louvre, Paris

n.d. Lion hunt (attributed to Géricault)
watercolour, brush and brown ink, and gouache over graphite on blue-grey modern laid paper 32.2 x 40.8 cm
Harvard Art Museums / Fogg Museums, Cambridge, MA

n.d. Lion and lioness
black pencil, brown wash & watercolour on paper
14.8 x 22.7 cm
 Louvre, Paris

n.d. Leaving the stable
graphite & watercolour on paper 20.3 x 25.8 cm
Louvre, Paris

n.d. Laura wounded
lithograph (size not given)
Harvard Art Museums / Fogg Museums, Cambridge, MA

n.d. Horses and riders
pen and brown ink on grey-green laid paper 23.2 x 31.1 cm
Detroit Institute of Arts, MI

n.d. Man, seen from behind, raising his arm and man's head
pen & brown wash on paper 19.3 x 11.6 cm
Louvre, Paris

n.d. Man on horseback, and study of a horse's head
black chalk on paper 21.4 x 28.2 cm
Metropolitan Museum of Art, New York

n.d. Man in a smock and a horse
pen and brown ink 18.5 x 22.4 cm
Louvre, Paris

n.d. Man holding a horse
black stone: white highlights on grey paper 26.6 x 36 cm
Louvre, Paris

n.d. Mameluke holding back his horse
black pencil, brush and brown wash and white gouache highlights on brown paper 19.7 x 24.8 cm
 Louvre, Paris

n.d. Louis XVIII reviewing the Champ de Mars
pen, brown ink, brush and watercolour over graphite pencil 25.8 x 35.5 cm
Louvre, Paris

n.d. Seated Carabiniere holding a newborn child: naked man kneeling
black pencil on paper (size not given)
Louvre, Paris

n.d. Rearing horse
lead pencil on paper 22.1 x 29 cm
Louvre, Paris

n.d. Portrait of Mustapha, Géricault's Turkish servant
black pencil & watercolour 30 x 20 cm
Louvre, Paris

n.d. Portrait of Admiral Baron Guy-Victor Duperré
graphite on paper 26.4 x 21 cm
Detroit Institute of Arts, MI

n.d. Nymph and Satyr
black pencil, brown wash, brown paper, white highlights
19 x 23 cm
Louvre, Paris

n.d. Sketch of a swan (?)
graphite on paper 7 x 5.2 cm
The British Museum, London

n.d. Sketch of a lion's head: facing front
Graphite? on paper 8 x 6.5 cm
The British Museum, London

n.d. Sketch of a fight with horses and men
(atributed to Géricault)
medium not given: graphite & watercolour? 15.6 x 20.3 cm
The British Museum, London 

n.d. Sketch of a dog
graphite on paper 6.7 x 11.2 cm
The British Museum, London

n.d. Sketch of a bulldog: sitting upright and facing front
Graphite? on paper 9.7 x 4.7 cm
The British Museum, London

n.d. Seated Carabiniere holding a newborn child: naked man kneeling
black pencil on paper (size not given)
Louvre, Paris

n.d. Studies: naked men pulling on a cable: military scene
 brown ink with pen, wash highlights 18.6 x 14.3 cm
Louvre, Paris

n.d. Studies: child, woman; officer, seated figure, seen from behind
graphite & watercolour on paper 29 x 21.2 cm
Louvre, Paris

n.d. Studies of men in various positions
pen & brown ink on paper 11 x 23.2 cm
Louvre, Paris

n.d. Study of two horses
black pencil on paper 19 x 24 cm
Louvre, Paris

n.d. Study of a standing woman
graphite, pen and brown ink, brush and brown and blue-grey wash, heightened with white gouache, on brown paper
20.8 x 13.3 cm
The British Museum, London

n.d. Study of a man
black chalk with stumping on wove paper 16.3 x 13.1 cm
National Gallery of Art, Washington, DC 

n.d. Study of a lion
oil on canvas 38.7 x 50.2 cm
Brooklyn Museum, New York

n.d. Study of a horse
black pencil on paper 19.7 x 24.8 cm
Louvre, Paris

n.d. Two hauling horses, seen from behind, and a third shown at mid-body level
graphite on beige paper 19.2 x 23.9 cm
Louvre, Paris

n.d. The walk: English groom walking two horses
graphite & watercolour on beige paper 22 x 31 cm
Louvre, Paris

n.d. The Piper
lithograph on wove paper 42.4 x 34 cm
National Gallery of Art, Washington, DC

n.d. The horse market: five horses on the stake
black pencil, white gouache, brown wash & red chalk on paper 23 x 30 cm
Louvre, Paris

n.d. The French Blacksmith
lithograph (size not given)
Harvard Art Museums / Fogg Museums, Cambridge, MA

n.d. The drinking trough
lithogrpah (size not given)
Harvard Art Museums / Fogg Museums, Cambridge, MA

n.d. Sketchbook: Studies of figures and compositions based on antiquity. Pen & brown ink, brown wash on paper 14.7 x 19 cm, Louvre, Paris: