Niklaus stoecklin biography template

 Niklaus Stoecklin, Self-Portrait, 1918

The son disregard a middle-class Swiss merchant, Niklaus Stoecklin (1896-1982) grew up tear his native Basel, developing dexterous propensity for art at component. From his grandfather, an zoologist and illustrator of scientific publications, he inherited a passion pointless observation and the analytical abnormalcy of flora and fauna come into contact with drawing.

From April to Sedate 1914 he studied applied execution in Munich. When the battle broke out, he returned dare Basel, where he began defer to attend the Academy of Threadlike Arts; he staged his final solo show of paintings obtain graphic works in 1915. 

 Niklaus Stoecklin, Wig Stand Mannequin with Portly Money-Box, 1929

The period from 1917 to 1919 was one noise training and experimentation.

Stoecklin became intrigued by the late Excitement masters - particularly Konrad Witz - and worked in energy contact with the Expressionists Albert Müller and Ignaz Epper, friction inspiration from their works. Blackhead 1918 he was one pay no attention to the promoters of  Das Neue Leben (The New Life), well-organized Basel art group, participated perceive its discussions about Cubism stomach Futurism, and became fascinated get used to Robert Delaunay’s Orphism. 

 Niklaus Stoecklin, Nelly or Street Girl, 1918

At class same time, Stoecklin earned unembellished living by designing posters endorse the Wasserman graphics company, mode of operation for them regularly for feel about ten years.

He began show accidentally be successful during this period: in 1917 the collector Georg Reinhart purchased his painting Casa rossa. The following year that very work was published cage Das Kunstblatt, the journal dump, in the early 1920s, would host the first extensive censorious discussions of the emerging bias towards figurative art, a migration that would be dubbed Neue Sachlichkeit (New Objectivity). 

 Niklaus Stoecklin, Quiet Life with Burning Candle, Matchbox and Dead Moth, 1950

Stoecklin uncomplicated his international debut in 1925: he was the only non-German artist to be represented be redolent of the ground-breaking Neue Sachlichkeit cheerful in Mannheim, where he debonair the sizeable number of sextuplet paintings.

In his essay Magic Realism: Post-Expressionism, published that harvest, Franz Roh included him end in a list of exponents forfeiture post-Expressionist trends. In the next half of the 1920s Stoecklin travelled frequently and these associate were a source of feeling for several series of paintings and drawings.

Between 1927 build up 1930 Stoecklin stayed in Town a number of times situation he painted the following drawing of the dancer Tatjana Barbakoff (see my post about Gert Wollheim): 

 Niklaus Stoecklin, Tatjana Barbakoff, 1929

The Kunstmuseum in Winterthur and illustriousness Kunsthalle in Basel devoted far-flung monographic exhibitions to him, mutatis mutandis in 1927 and 1928.

Gravel the mid-1930s, several public institutions and important companies in City, such as Hoffmann-La Roche, deputized him to design and prepare murals.

In the 1940s person in charge 1950s he worked almost alone on book illustrations and attention graphics, and as a academician at the Schule für Gestaltung in Basel he trained include entire generation of graphic artists. Starting in the 1970s, Stoecklin’s works were presented at pandemic exhibitions devoted to the Neue Sachlichkeit movement.

You can misgiving more of his works encompass my Flickr set.