Otto Antoine, 19th 20th century art, was a member of the Association of Berlin Artists, which was founded in 1841. Later, he represented his fellow artists as a member of the association’s board and was repeatedly involved in the setting up of the Greater Berlin Art Exhibition. Eventually, he became an honorary member and honorary president of the association.
After democratic pluralism found its way into the officially supported art of Berlin after the end of World War I and the artist associations (Association of Berlin Artists, Berlin Secession, Free Secession, and Novembergruppe) for the first time provided a comprehensive overview of the artistic work in Berlin, Otto Antoine and Hans Harti
After democratic pluralism found its way into the officially supported art of Berlin after the end of World War I and the artist associations (Association of Berlin Artists, Berlin Secession, Free Secession, and Novembergruppe) for the first time provided a comprehensive overview of the artistic work in Berlin, Otto Antoine and Hans Hartig, the members of a jury founded for this purpose, represented the interest of the Association of Berlin Artists.
Otto Antoine was a member of the Association of Berlin Artists, which was founded in 1841. Later, he represented his fellow artists as a member of the association’s board and was repeatedly involved in the setting up of the Greater Berlin Art Exhibition. Eventually, he became an honorary member and honorary president of the association.
In September 1905, the Postal Museum purchased the painting “Personenpost auf den Kanarischen Inseln” (Personal Mail in the Canary Islands), which he completed during the aforementioned study trip.
Antoine enjoyed some special privileges in Berlin and was even allowed to use his office as his studio. From his office, he had a view of the
In September 1905, the Postal Museum purchased the painting “Personenpost auf den Kanarischen Inseln” (Personal Mail in the Canary Islands), which he completed during the aforementioned study trip.
Antoine enjoyed some special privileges in Berlin and was even allowed to use his office as his studio. From his office, he had a view of the Trinity Church (Dreifaltigkeitskirche, also known as Schleiermacherkirche) located at Mauerstrasse, which he painted throughout all seasons and times of the day. The Postal Museum tasked him with the illustration of numerous subjects which were then exhibited at the museum. Among those were his paintings “Ein Hochzeitspaar im Wagen” (Newlyweds in a Vehicle, 1897) and “Augsburger Boten Peter Derffus und Gottfried Thanner” (Augsburg Mail Carriers Peter Derffuss and Gottfried Thanner, 1898).
Among the artists who were friends of Otto Antoine were several other “postal painters,” such as Richard Albitz (1876-1954) and Gustav Fenkohl (1872-1950), who had evolved from Berlin’s art scene. All his life, Otto Antoine was loyal to impressionism. His style barely changed after his training under Skarbina, not even when an “art revo
Among the artists who were friends of Otto Antoine were several other “postal painters,” such as Richard Albitz (1876-1954) and Gustav Fenkohl (1872-1950), who had evolved from Berlin’s art scene. All his life, Otto Antoine was loyal to impressionism. His style barely changed after his training under Skarbina, not even when an “art revolution” occurred in Berlin in 1905 introducing expressionism in lieu of impressionism.