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Arnold Böcklin


Sappho Print by Arnold Boecklin


Moonlit Landscape Print by Arnold Boecklin

Moonlit Landscape

The Isle Of The Dead Print by Arnold Boecklin

The Isle of the Dead

Summer Day Print by Arnold Boecklin

Summer Day

Ruin By The Sea Print by Arnold Boecklin

Ruin by the Sea

Self-portrait With Death As A Fiddler Print by Arnold Boecklin

Self-Portrait with Death as a Fiddler

Odysseus And Polyphemus Print by Arnold Boecklin

Odysseus and Polyphemus

Spring Evening Print by Arnold Boecklin

Spring Evening

Battle On The Bridge Print by Arnold Boecklin

Battle on the Bridge

A Nymph At The Fountain Print by Arnold Boecklin

A Nymph at the Fountain

Pan Chasing A Nymph Print by Arnold Boecklin

Pan chasing a Nymph

Nymph And Satyr Print by Arnold Boecklin

Nymph and Satyr

Sleeping Diana Watched By Two Fauns Print by Arnold Boecklin

Sleeping Diana watched by two Fauns

Ruggiero And Angelica Print by Arnold Boecklin

Ruggiero and Angelica

Sea Idyll Print by Arnold Boecklin

Sea Idyll

Two Fishing Pan's Print by Arnold Boecklin

Two fishing Pan's

The Deposition Print by Arnold Boecklin

The Deposition

The Sanctuary Of Hercules Print by Arnold Boecklin

The Sanctuary of Hercules

Arnold Böcklin

The game of the naiads

Arnold Böcklin

The war

Arnold Böcklin


Arnold Böcklin

Sacred Grove

Arnold Böcklin


Arnold Böcklin

Isle of the Dead

Arnold Böcklin

Centaurs fight

Arnold Böcklin

Odysseus and Calypso

Arnold Böcklin

Isle of the Dead

Arnold Böcklin

The plague

Arnold Böcklin


Arnold Böcklin

Attack by Pirates

Arnold Böcklin (16 October 1827 – 16 January 1901) was a Swiss symbolist painter.

Life and art

He was born at Basel. His father, Christian Frederick Böcklin (b. 1802), was descended from an old family of Schaffhausen, and engaged in the silk trade. His mother, Ursula Lippe, was a native of the same city.[1] Arnold studied at the Düsseldorf academy under Schirmer,[1] and became a friend of Ludwig Andreas Feuerbach. He is associated with the Düsseldorf school of painting. Schirmer, who recognized in him a student of exceptional promise, sent him to Antwerp and Brussels, where he copied the works of Flemish and Dutch masters. Böcklin then went to Paris, worked at the Louvre, and painted several landscapes.[1]

After serving his time in the army, Böcklin set out for Rome in March 1850. At Rome, he married Angela Rosa Lorenza Pascucci in 1853. The many sights of Rome were a fresh stimulus to his mind. These new influences brought allegorical and mythological figures into his compositions. In 1856 he returned to Munich, and remained there for four years. He then exhibited the Great Park, one of his earliest works, in which he treated ancient mythology. Of this period are his Nymph and Satyr, Heroic Landscape (Diana Hunting), both of 1858, and Sappho (1859). These works, which were much discussed, together with Lenbach's recommendation, gained him appointment as professor at the Weimar academy. He held the office for two years, painting the Venus and Love, a Portrait of Lenbach, and a Saint Catherine.[1]

He returned to Rome from 1862 to 1866, and there gave his fancy and his taste for violent colour free play in his Portrait of Mme Böcklin, and in An Anchorite in the Wilderness (1863), a Roman Tavern, and Villa on the Seashore (1864). He returned to Basel in 1866 to finish his frescoes in the gallery, and to paint, besides several portraits, The Magdalene with Christ (1868), Anacreon's Muse (1869), and A Castle and Warriors (1871). His Portrait of Myself, with Death playing a violin (1873), was painted after his return again to Munich, where he exhibited Battle of the Centaurs, Landscape with Moorish Horsemen and A Farm (1875). From 1876 to 1885 Böcklin was working at Florence, and painted a Pietà, Ulysses and Calypso, Prometheus, and the Sacred Grove.[1]

From 1886 to 1892 he settled at Zürich. Of this period are the Naiads at Play, A Sea Idyll, and War. After 1892 Böcklin resided at San Domenico , near Florence.[1]


Böcklin died on 16 January 1901 in Fiesole. He is buried in the Cimitero Evangelico degli Allori in the southern suburb of Florence, Galluzzo (Italy).

Isle of the Dead ("Die Toteninsel"), acquired by the Gottfried Keller Foundation in 1920.[2]

Influenced by Romanticism his painting is symbolist with mythological subjects often overlapping with the Pre-Raphaelites. His pictures portray mythological, fantastical figures along classical architecture constructions (often revealing an obsession with death) creating a strange, fantasy world.

Böcklin is best known for his five versions (painted in 1880-1886) of Isle of the Dead, which partly evokes the English Cemetery, Florence, close to his studio and where his baby daughter Maria had been buried. An early version of the painting was commissioned by a Madame Berna, a widow who wanted a painting with a dream-like atmosphere.[3]

Clement Greenberg wrote in 1947 that Böcklin's work "is one of the most consummate expressions of all that was now disliked about the latter half of the nineteenth century."[4]


Böcklin exercised an influence on Giorgio de Chirico,[5] and on Surrealist painters like Max Ernst and Salvador Dalí. When asked who was his favorite painter, Marcel Duchamp controversially named Arnold Böcklin as having a major influence on his art. Whether Duchamp was serious in this assertion is still debated.

H. R. Giger has a picture called Hommage to Boecklin, based upon Isle of the Dead.

In music
The Homecoming ("Die Heimkehr")

Böcklin's paintings, especially Isle of the Dead, inspired several late-Romantic composers.

Sergei Rachmaninoff (see Isle of the Dead (Rachmaninoff)) and Heinrich Schulz-Beuthen both composed symphonic poems after it. Rachmaninoff was also inspired by Böcklin's painting Die Heimkehr ("The Homecoming" or "The Return") when writing his Prelude in B minor, Op. 32, No. 10.[6][7]
In 1913 Max Reger composed a set of Four Tone Poems after Böcklin of which the third movement is "The Isle of the Dead" (The others are "The Hermit playing the Violin", "At play in the Waves" and "Bacchanal").
In Mark Robson's film Isle of the Dead (1945), Disney composer Leigh Harline's somber score makes use of Sergei Rachmaninoff's music.
Hans Huber's second symphony is entitled Böcklin-Sinfonie, after the artist and his paintings.


Otto Weisert designed an Art Nouveau typeface in 1904 and named it "Arnold Böcklin" in his honor.

Adolf Hitler was fond of Böcklin's work, at one time owning 11 of his paintings.[8]

Roger Zelazny titled one of his novels Isle of the Dead after Böcklin's paintings, and an Ace books edition featured a cover painting by Dean Ellis that was deliberately reminiscent of Böcklin's work.[9]


One or more of the preceding sentences incorporates text from a publication now in the public domain: Frantz, Henri (1911). "Böcklin, Arnold". In Chisholm, Hugh. Encyclopædia Britannica 4 (11th ed.). Cambridge University Press. This cites:

His life, written by Henri Mendelssohn
F. Hermann, Gazette des Beaux Arts (Paris, 1893)
Max Lehrs, Arnold Böcklin, Ein Leitfaden sum Verständniss seiner Kunst (Munich, 1897)
W. Ritter, Arnold Böcklin (Gand, 1895)
Katalog der Böcklin Jubiläums Ausstellung (Basel, 1897).

"Gottfried Keller-Stiftung: Ausleihe und Reproduktionen" (in German). Retrieved 2014-12-05.
Burroughs, Bryson. "The Island of the Dead by Arnold Böcklin." The Metropolitan Museum of Art Bulletin, Vol. 21, No. 6 (Jun., 1926), pp. 146–148.
Greenberg, Clement. Nation. 3/22/1947, Vol. 164 Issue 12, p340–342.
Holzhey, Magdalena (2005). Giorgio de Chirico, 1888-1978: the Modern Myth. Köln: Taschen. p. 11. ISBN 3822841528.
Jonathan Yungkans: Liner notes to the complete Benno Moiseiwitsch Rachmaninoff recordings 1937-43
Ates Orga: Liner notes to Demidenko plays Rachmaninov
Vinocur, John. "The Burlesque, and Rigor, of Arnold Böcklin." International Herald Tribune. 12 January 2002.
"...And Call Me Roger"": The Literary Life of Roger Zelazny, Part 2, by Christopher S. Kovacs. In: The Collected Stories of Roger Zelazny, Volume 2: Power & Light, NESFA Press, 2009.

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