Excerpt from Paintings by Frank Duveneck, 1848-1919: April 13 to May 15, 1938<br><br>It was a strange chance that brought Duveneck to l\iunich just at the moment when his natural, spontaneous talent, his delight in painting forthe sheer joy of painting, should have been most appreciated. With his thickly sculptured, blond shock of hair, keen eyes, and tall massive physique, he looked like a true Viking. He intuitively joined the rebellion, and with Leibl adopted the new method of boldly modeling in paint, without the customary careful, tight under-drawing. At the Academy his brilliant young teacher Wilhelm Diez brought aesthetic control to the impetuous blood of young Duveneck by leading him into the at that time neglected galleries in the Pinakothek containing the earlier naturalists, the great Dutch masters, where Duveneck at once recognized his temperamental affinity with Frans Hals.<br><br>Duveneck's rise at the Munich Academy was meteoric. Prizes flowed to him, and professors, students and friends begged, borrowed or even stole his pictures. Without bothering about approval or applause, he went his own way, attracting an ever-growing, unsolicited following among older painters and fellow students. These'were exciting years, in which Duveneck painted literally hundreds of pictures, which were scattered in all directions, for he was generous to a fault. He did, however, manage to take back home to Cincinnati in 1873, a thin roll of portraits. With these he scored his wholly unexpected first American success in Boston, where all of them were sold with the exception of the finest, his Professor Loefitz. This portrait, incredible though it seems, was painted in one Sitting, last ing all day, and to the point of exhaustion of both painter and sitter.<br><br>About the Publisher<br><br>Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com<br><br>This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.