Frank Duveneck . ork whichfollowed proved of importance in Duvenecksdevelopment. He learned his craft in the nextfew years, the rough craft of painting on largesurfaces. He decorated churches in many dif-ferent places, even as far away as more and more his artistic ambitionand being strongly advised by his fellow dec-orators to study abroad, he managed to get toMunich, which had at this time taken theplace of Diisseldorf as the leading art schoolin Germany, and entered the Royal was in 1870. After working for threemonths in the Antique Class, Duveneck wasadmitted,
Frank Duveneck . ork whichfollowed proved of importance in Duvenecksdevelopment. He learned his craft in the nextfew years, the rough craft of painting on largesurfaces. He decorated churches in many dif-ferent places, even as far away as more and more his artistic ambitionand being strongly advised by his fellow dec-orators to study abroad, he managed to get toMunich, which had at this time taken theplace of Diisseldorf as the leading art schoolin Germany, and entered the Royal was in 1870. After working for threemonths in the Antique Class, Duveneck wasadmitted, without any of the usual preparatorylife drawings, to the painting class of WilhelmDietz, one of the radicals among the facultywho had become a professor at the Academythe same year that Duveneck entered. Amonghis classmates at this time were two whoafterwards became famous; one of them being YOUNG MAN WITH RUFF1873 Another example of the artists intensely vital construction of thehead with direct brush YOUNG MAN WITH RUFF1873 FRANK DUVENECK 17 Ludwig Loefftz, later a professor and afterthat Director of the Munich Academy; and theother, Wilhelm Triibner, who ranks amongthe strongest modern German painters. It is interesting to linger over the conditionof the art world of Munich at the time youngDuveneck stepped into it. It was a period oftransitions. Within a generation the sounddraughtsmanship, painstakingly built up onGerman soil by schooling received in France,had been followed by a wave of enthusiasmfor color and now again had received a freshimpetus from Paris. At that time in the Frenchcapital, Delacroix and Ingres, the arch-roman-ticist and arch-classicist, still held their these there were masters such as thoseglorifying the Napoleonic legend, Horace Ver-net and Meissonier; the discoverers of theOrient for art, Decamps, Marilhat, Fromen-tin; the genre painters of all kinds; togetherwith the elegant portrayers of feminine beauty,Cabanel, Baudry; th
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