Symbolism
Strumpelpeter, front view (Balthus)
Balthus (1908–2001) made Strumpelpeter, front view. It belongs to the Symbolism movement.
Strumpelpeter, front view, in brief
High-resolution images of Strumpelpeter, front view
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Balthus, Strumpelpeter, front view.
Questions on Strumpelpeter, front view, answered
What does "Strumpelpeter, front view" by Balthus depict?
The themes present in "Strumpelpeter, front view" by Balthus include characters, scenes. Together they summarize the artwork's subject matter.
Can the image of "Strumpelpeter, front view" by Balthus be freely reproduced?
"Strumpelpeter, front view" by Balthus is still protected by copyright. This status governs how the image of the work may be reproduced.
Which artist is "Strumpelpeter, front view" attributed to?
"Strumpelpeter, front view" was created by Balthus. The information on this page describes Balthus's original work.
What art movement does "Strumpelpeter, front view" by Balthus belong to?
"Strumpelpeter, front view" by Balthus belongs to the Symbolism movement. This movement provides the stylistic context of the work.
What explains the copyright situation of "Strumpelpeter, front view" by Balthus?
"Strumpelpeter, front view" by Balthus is still protected by copyright. Copyright duration runs from the artist's death, which occurred in 2001.
About the artist, Balthus
1908–2001, France
Balthus
A World Apart: The Enigmatic Vision of Balthus Balthasar Klossowski de Rola, known to the world as Balthus, remains one of the most compelling and controversial figures in 20th-century art. Born in Paris on February 29, 1908, into a family steeped in intellectual and artistic circles, his life was marked by an early immersion in culture and a deliberate rejection of prevailing artistic trends. His father, Erich Klossowski, was a respected art historian, while his mother, Baladine Klossowska, was a painter herself, fostering an environment where aesthetic contemplation was not merely encouraged but lived. This upbringing instilled in the young Balthus a deep reverence for the Old Masters and a skepticism towards the burgeoning avant-garde movements that dominated the Parisian scene.