Max Nonnenbruch (25.01.1857 in Viersen; † 13.03.1922 in München, Munich) was a famous German painter🎨 in the Art Nouveau🎨 Jugendstil Early 1900s Period.
Nonnenbruch was one of the most widely exhibited and popular painters of fin de siecle Germany; his work was frequently reproduced in woodcut or photogravure and appeared in the great journals and newspapers of the day.
A member of the Munich School, the name given to a group of artists who studied at the Royal Academy of Fine Arts in Munich during its most influential period, Nonnenbruch originally concentrated on history and genre painting🎨, the specialty of Wilhelm Lindenshmit the Younger (1829-1895), his professor at the Academy.
He was soon inspired by the less constricting tenets of the Symbolist movement, then becoming more prevalent in Europe, and began to move away from the grand historicizing scenes favored by the Academy.
Nonnenbruch started to create seemingly simple, yet carefully planned, compositions of idealized feminine forms, employing a striking use of light and shadow, a clear rich color palette, and precise, carefully controlled brush strokes.
His figures are often in classically inspired costume which helps to create a sense of timelessness. Nonnenbruch exhibited regularly including at the Royal Academy of Art Shows in Berlin, the Munich Annual Exhibitions, the International Art Exhibitions in Berlin, and the Exposition des Beaux-Arts, among others. He was named an officer of the Order of St. Michael by the Bavarian government.
Figlio di un proprietario terriero del Basso Reno, Max Nonnenbruch (1857-1922), sin da adolescente sviluppa il desiderio di diventare un pittore. Studia presso l'Accademia di Monaco di Baviera, allievo di Guglielmo di Lindenschmit.
Viene classificato come "Pittore di seduzione sorprendentemente e di stile".
Nel 1884, lasciato il servizio militare a Monaco di Baviera, dove fù membro della Associazione Economica degli artisti visivi nonché Associazione degli Artisti.
Dopo aver vinto ampi riconoscimenti sui primi lavori di genere nazionale, si dedicò quasi esclusivamente a soggetti idilliache e semi-classici, simile a sentirsi a "La Favorite", in cui ha trovato la vera direzione per il suo talento, e con il quale è rappresentato nelle più grandi collezioni private della Germania.
L'intero lavoro dell'artista viene considerato dagli esperti come contributo importante ed originale al Simbolismo nella pittura tedesca.
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