Biography and informationEdit
Johann Liss (German. Johann Liss) (about 1597, Oldenburg — 5 Nov 1631, Venice) was a German painter.
He studied painting in the Netherlands (Amsterdam, Haarlem, Antwerp). Worked in Venice in parallel with Domenico fetti and Bernardo Strozzi. Died during a plague epidemic. Influenced the work of Tiepolo.
Lissa works are presented in museums of Berlin, Bremen, Dresden, Cologne, Munich, Nuremberg, Budapest, etc.
LISS, Johann Liss, Johann
(CA. 1597, Oldenburg - 1631, Venice)
The German artist.
After a stay in Holland in 1615-1619, the Fox no later than 1621 arrived in Venice, where he remained until his death, with the exception of a visit to Rome in 1622. He experienced the influence of the Haarlem painter Hendrick Goltzius and Pieter Brueghel, Batavia and Flemish caravaggism Jordaens. He brought Venetian painting new original concept, Dating back to Northern art. He wrote mostly figure compositions. Many times he repeated the themes of his paintings, and the different chronological stages of its evolution are difficult to determine. However, it can be stated that caravaggisti luminism (the theme of "the Soldiers 'revels", Nuremberg, German NAT. the Museum is directly borrowed from Caravaggio) under the influence of the Venetian masters of the XVI century, converted into coloring, dissolving forms. The Venetian genre ("Fight", Innsbruck Museum; "the Wedding", Budapest, Museum of fine arts; "the Prodigal son", Vienna, meeting of the Academy of arts; "the Game of Morra" (Kassel, State. art collection), Dating from the first years of his stay in Venice, represent groups of characters, Flemish in character, in Venetian gardens in the spirit of fetti and immersed in the light, borrowed from Titian. Themes Lissa is very diverse; among them, along with the genres allocated to religious and mythological scenes ("the Peasant and the Satyr", the Berlin-Dahlem Museum; Washington, NAT. Gal.; "The fall of Phaeton", the London Assembly man; "Judith slaying Holofernes", Vienna, Museum of history of arts; London, NAT. Gal.; "The finding of Moses", Lille, musée des Beaux-arts). A masterpiece of this kind of images is the shining colors of the painting "the toilet of Venus" (Florence, Uffizi; Pommersfelden, schönborn collection-Wiesentheid), which is surrounded by the handmaidens are the goddess seated beneath the imposing silk draperies.
The work of Liss and one of the inherent characteristic of Baroque art is hell - the Union of all elements in a Grand synthesis ("the Ecstasy of the Apostle Paul," the Berlin-Dahlem Museum; "St. Jerome", Venice, C. San Niccolo da Tolentino). In his most recent works the artist is masterfully unites the heavenly vision, ecstasy, and the sensual fullness of life. Irrational, transcendental expressed in radiant space, but the saints appear very material. Secular nature of the figures accentuate the dynamic diagonal compositions, bathed in rainbow light. The diagonal, characteristic of Baroque expressive means of enhancing the movement, dominates the compositions; from the dark zone of the earthly world she is drawn to the shining crown, the symbol of heavenly glory. This picturesque language, light brushstrokes and an unusual rhythm which allowed the color, it seems, already belongs to the XVIII century, Indeed, in the first two decades of the XVII century Fox has renewed Venetian painting, opening like fetti, Strozzi, Tiepolo and the way Palette. In his short life he managed to carry out synthesis between the strength of the Northern expression, Grand forms, inspired by Caravaggio and Roman artists, and harmony of the Venetian colouring, the synthesis, which found its highest expression in luminize Lissa.