Arnold Böcklin

The Swiss painter Arnold Böcklin (1827-1901) rejected the naturalistic trends of his time and created symbolic, mythological works.

Arnold Böcklin was born on Oct. 16, 1827, in Basel. He attended the Düsseldorf Academy (1845-1847). At this time he painted scenes of the Swiss Alps, using light effects and dramatic views subjectively to project emotional moods into the landscape. In 1848 this romantic introspection gave way to plein air (open-air) objectivity after he was influenced by Camille Corot, Eugène Delacroix, and the painters of the Barbizon school while on a trip to Paris. But after the February and June revolutions Böcklin returned to Basel with a lasting hatred and disgust for contemporary France, and he resumed painting gloomy mountain scenes.

In 1850 Böcklin found his mecca in Rome, and immediately his paintings were flooded by the warm Italian sunlight. He populated the lush southern vegetation, the bright light of the Roman Campagna, and the ancient ruins with lonely shepherds, cavorting nymphs, and lusty centaurs. These mythological figures rather than the landscapes became Böcklin's primary concern, and he used such themes as Pan Pursuing Syrinx (1857) to express the polarities of life: warm sunshine contrasts with cool, moist shade, and the brightness of woman's spirituality contrasts with man's dark sensuality.

When Böcklin returned to Basel with his Italian wife, he completed the painting which brought him fame when the king of Bavaria purchased it in 1858: Pan among the Reeds, a depiction of the Greek phallic god with whom the artist identified. He taught at the Academy of Art in Weimar from 1860 to 1862, when he returned to Rome. Called to Basel in 1866, he painted the frescoes and modeled the grotesque masks for the facade of the Basel Museum.

Böcklin resided in Florence from 1874 until 1885, and this was his most active period. He continued to explore the male-female antithesis and painted religious scenes, allegories of Nature's powers, and moody studies of man's fate. He ceased working with oils and began experimenting with tempera and other media to obtain a pictorial surface free of brushstrokes.

Böcklin spent the next 7 years mostly in Switzerland, with occasional trips to Italy; he devoted much of his energy to designing an airplane. Following a stroke in 1892, he returned to Italy, bought a villa in Fiesole, and died there on Jan. 16, 1901. Many of his late works depict nightmares of war, plague, and death.

Further Reading

The major works on Böcklin are in German. In English, volume 7 (1906) in the "Masters in Art" series contains a biography and criticism. General works that discuss Böcklin are Bernard S. Meyers, The German Expressionists: A Generation in Revolt (1957); Peter Selz, German Expressionist Painting (1957); and Marcel Brion, German Painting (trans. 1959). See also H. W. Janson, History of Art (1962). □

Böcklin, Arnold (b Basle, 19 Oct. 1827; d San Domenico, nr. Fiesole, 16 Jan. 1901). Swiss painter. With Hodler he ranks as the most important Swiss painter of the 19th century, and in the 1880s and 1890s he was the most influential artist of the German-speaking world, even though from 1850 he had spent most of his time in Italy. He established his reputation with Pan in the Reeds (1857, Neue Pin., Munich), the beginning of his preoccupation with the world of nymphs and satyrs, naiads, and tritons, the results of which are sometimes slightly absurd. Later his style became more sombre and charged with mystical feeling, bringing him into the orbit of Symbolism, as in his best-known picture, The Island of the Dead, of which he painted five versions between 1880 and 1886 (an example of 1880 is in the Met. Mus., New York). This haunting work, which inspired a symphonic poem by Rachmaninov (1909), shows a rocky mausoleum-island approached by a boat carrying spectral figures; such morbid imagery appealed to the Surrealists. A curious aspect of Böcklin's career is that like Leonardo—whom he disliked—he spent much of his time experimenting with flying machines.

Böcklin, Arnold (1827–1901). Swiss painter. With Hodler he ranks as the most important Swiss painter of the 19th century, and in the 1880s and 1890s he was the most influential artist of the German-speaking world, even though from 1850 he had spent most of his time in Italy. He established his reputation with Pan in the Reeds (1857, Neue Pin., Munich), the beginning of his preoccupation with the world of nymphs and satyrs, naiads, and tritons, the results of which are sometimes slightly absurd. Later his style became more sombre and charged with mystical feeling, bringing him into the orbit of Symbolism, as in his best-known picture, The Island of the Dead, of which he painted five versions between 1880 and 1886 (an example of 1880 is in the Met. Mus., New York). This haunting work, which inspired a symphonic poem by Rachmaninov (1909), shows a rocky mausoleum-island approached by a boat carrying spectral figures; such morbid imagery appealed to the Surrealists. A curious aspect of Böcklin's career is that like Leonardo—whom he disliked—he spent much of his time experimenting with flying machines.

Arnold Böcklin , 1827–1901, Swiss painter. Most of his life was spent in Italy. With Feuerbach he led the group of painters known as "German Romans," who attempted to express an idealistic philosophy through art. His carefully constructed works are largely classical in theme and often theatrical in sentiment. Among his paintings are Island of the Dead (Metropolitan Mus.) and mythological frescoes (Basel).

Böcklin, Arnold. See HODLER.