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Mogens Ballin

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Although Ballin did not produce many paintings, his work clearly played a role in developing the trends of the Nabi artists with his use of pure color, blue background tones, false perspective, and the high horizons in his landscapes. His portraits, influenced by
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show his religious aspirations and latent mysticism. They have the appearance of modern Byzantine icons. In Paul SĂ©rusier's words, "Ballin has an approach which is strange and serious, rich and fanciful."
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with Verkade, producing a number of small landscapes and many drawings. Later that year, he traveled to Italy where became a Roman Catholic, being baptized in
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who had a marked influence on the development of his career. The two young artists decided to go to Brittany together, staying at the
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Ballin came from a well-to-do Jewish family in Copenhagen. Of particular importance to his future were the French lessons he had with
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near Florence in January 1893. He then returned to Copenhagen where he supported religious ideals, contributing to the periodical
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art. In 1889, he went to Paris where he met Gauguin and his friends who together made up the
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where they came into contact with Georges Rasetti (1889–1957). They also went to
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At a celebration for Gauguin in March 1891, he met the Dutch painter
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In 1899, he opened a workshop for metalwork together with
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landscapes under SĂ©rusier's leadership. Together with
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Index


Hellerup
Pont-Aven
Paul Gauguin
Frederiksberg
Impessionist
Nabis

Jan Verkade
Pension Gloanec
Pont-Aven
Paul SĂ©rusier
Huelgoat
Le Pouldu
Synthetist
Maxime Maufra
Charles Filiger
abstract painting
Saint-Nolff
Fiesole
Taarnet
Johannes Jørgensen
Siegfried Wagner
Willumsen
Jugentstil
Georg Jensen
Charles Filiger


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