ADOLF HIRÉMY-HIRSCHL 1860-1933 Timișoara-Roma - Video

Adolf Hirémy-Hirschl (1860–1933) was a Hungarian, Jewish artist[1] known for historical and mythological painting, particularly of subjects pertaining to ancient Rome. Some of his major history paintings have been lost, and many of his smaller works were retained by his heirs until the early 1980s. Although he was one of the most successful artists of fin-de-siècle Vienna, these circumstances, along with the rise of Gustav Klimt and the Vienna Secessionists, put his reputation in eclipse.
Hirémy-Hirschl is regarded as an accomplished draughtsman. His numerous figure and drapery studies in charcoal or chalk were mostly intended to be preparatory studies for paintings. His studies for Souls on the Banks of the Acheron and Sic Transit … were often executed on blue, lavender, or orange paper that enhanced the play of light in relation to the forms he drew. His female nudes are known for their "directness and overt sexuality". He also produced landscape studies in pastel, watercolor and gouache. Fragmentation is characteristic of his drawings, "the sustained attempt to perfect the single part" which at the same time represented a "means of escape from completion and synthesis".

Some of his paintings are considered Symbolist.[4] Ahasuerus at the End of the World (1888) is executed in a restricted palette of blue, gray, black, white, with touches of gold and lingering warmth in the flesh of the foregrounded female nude. The title figure "is the last man in the polar wilderness, caught between the angel of hope and the specter of death. Before him lies a fallen female figure, the personification of dead humanity, as crows circle ominously. … The primary light appears to radiate from the distant angel, who hovers before a stormy sky.