DAWN IN THE LANDSCAPE
Description dimensions: 36 x 57,5 cm (h x w) period: Before 1900 Oil on cardboard. Signed lower right: “J. Ullmann”. This impressive painting with a high horizon line and quiet water’s edge capturing the reflection of the rising sun is an early work that Ullmann made after he graduated from the landscape painting school under Professor Julius Marák at the Academy of Fine Arts in Prague. Ullmann did not start to study in Prague, however; rather his studied began in Munich, where he arrived in 1894 (he studied at the Academy under Prof. Herterich). From 1900 his paintings regularly appeared on the pages of Zlatá Praha and other periodicals, and he exhibited often in Prague and throughout Bohemia. Artistically, Ullmann was formed by the Chittussi landscape and by the landscape trends of the Art Nouveau movement, with which he was able to become more intimately acquainted in Munich. In 1895 he saw the exhibition of Worpswede artists and their atmospheric, melancholic canvases at the Glaspalast, and thus his earliest works bring together Romantic Realism with decorative Art Nouveau. As his brushwork became more relaxed, the visuals in his paintings became bolder and Ullmann’s technique moved towards larger and smaller spots; the paint is spread dry into the support or piled up in impastos, combining oils and temperas and achieving true technical mastery.
DAWN IN THE LANDSCAPE
Description dimensions: 36 x 57,5 cm (h x w) period: Before 1900 Oil on cardboard. Signed lower right: “J. Ullmann”. This impressive painting with a high horizon line and quiet water’s edge capturing the reflection of the rising sun is an early work that Ullmann made after he graduated from the landscape painting school under Professor Julius Marák at the Academy of Fine Arts in Prague. Ullmann did not start to study in Prague, however; rather his studied began in Munich, where he arrived in 1894 (he studied at the Academy under Prof. Herterich). From 1900 his paintings regularly appeared on the pages of Zlatá Praha and other periodicals, and he exhibited often in Prague and throughout Bohemia. Artistically, Ullmann was formed by the Chittussi landscape and by the landscape trends of the Art Nouveau movement, with which he was able to become more intimately acquainted in Munich. In 1895 he saw the exhibition of Worpswede artists and their atmospheric, melancholic canvases at the Glaspalast, and thus his earliest works bring together Romantic Realism with decorative Art Nouveau. As his brushwork became more relaxed, the visuals in his paintings became bolder and Ullmann’s technique moved towards larger and smaller spots; the paint is spread dry into the support or piled up in impastos, combining oils and temperas and achieving true technical mastery.
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