Munich School in the context of "Nikiforos Lytras"

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⭐ Core Definition: Munich School

The Munich school (Greek: Σχολή του Μονάχου) is a group of painters who worked in Munich or were trained at the Royal Academy of Fine Arts of Munich (German: Münchner Akademie der Bildenden Künste) between 1850 and 1918. In the second half of the 19th century the Academy became one of the most important institutions in Europe for training artists and attracted students from across Europe and the United States.

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👉 Munich School in the context of Nikiforos Lytras

Nikiforos Lytras (Greek: Νικηφόρος Λύτρας; 1832 – 13 June 1904) was a Greek painter. He was born in Tinos and trained in Athens at the School of Arts. In 1860, he won a scholarship to Royal Academy of Fine Arts of Munich. After completing these studies, he became a professor at the School of Arts in 1866, a position he held for the rest of his life. He remained faithful to the precepts and principles of the Munich School, while paying greatest attention both to ethnographic themes and portraiture. His most famous portrait was of the royal couple, Otto and Amalia, and his most well-known landscape a depiction of the region of Lavrio.

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Munich School in the context of Georgios Jakobides

Georgios Jakobides (Greek: Γεώργιος Ιακωβίδης; 11 January 1853 – 13 December 1932) was a Greek painter and medallist, one of the main representatives of the Greek artistic movement of the Munich School. He founded and was the first curator of the National Gallery of Greece in Athens.

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Munich School in the context of Greek academic art of the 19th century

The most important artistic movement of Greek art in the 19th century was academic realism, often called in Greece "the Munich School" (Greek: Σχολή του Μονάχου) because of the strong influence from the Royal Academy of Fine Arts of Munich (German: Münchner Akademie der Bildenden Künste), where many Greek artists trained. The Munich School painted the same sort of scenes in the same sort of style as Western European academic painters in several countries, and did generally not attempt to incorporate Byzantine stylistic elements into their work.

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