Works
A larger collection are Rahl's compositions which Griepenkerl carried out with the help of Eduard Bitterlich in the new municipal opera house. They worked for four years on the ceiling of the auditorium and on the drop curtain of the tragical opera. It was only after the death of Rahl in 1865 that Griepenkerl took on his own monumental assignments. The architect Hansen employed him to decorate the Palace Ephrussi and Palace Epstein, Franz Klein hired Griepenkerl for the castle of Hornstein and for the palace of Sina in Venice. There he made the ceiling fresco Poseidon's Wedding Procession, Demons of the Storm, and Protective Ghosts of the Sea, which are of noble form and very graceful, but have some insufficiencies concerning the clothing and the illumination. Of the same importance are the wall paintings in the mansion of the grand duchess of Tuscany in Gmunden and his painting The Wedding of Aphrodite and Adonis in the dining hall of the Mansion Simon near Hietzing.
Griepenkerl also made the decorative oil paintings (finished in 1878) in the stairway hall of the Augusteum in Oldenburg, on the ceiling depicting the Venus Urania as the ideal of all beauty, surrounded by four themes from the myth of Prometheus; and on three walls (similar to the hémicycle of Paul Delaroche) is depicted an ideal gathering of the all-time heroes of art in historical sequence.
It was followed by a cycle of paintings — once again employing themes from the Prometheus myth — that are distinguished by a great concept of forms and a swinging composition, in the conference hall of the new Academy of Sciences in Athens.
Read more about this topic: Christian Griepenkerl
Famous quotes containing the word works:
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Is passed in sleep; at night he hunts;
God works in a mysterious way—
The Church can sleep and feed at once.”
—T.S. (Thomas Stearns)
“Most works of art, like most wines, ought to be consumed in the district of their fabrication.”
—Rebecca West (1892–1983)
“The discovery of Pennsylvania’s coal and iron was the deathblow to Allaire. The works were moved to Pennsylvania so hurriedly that for years pianos and the larger pieces of furniture stood in the deserted houses.”
—For the State of New Jersey, U.S. public relief program (1935-1943)