Albrecht Dalle: Difference between revisions
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'''{{PAGENAME}}''', born on 1.III.{{AN|1691}}, in [[Walstadt]] ([[Whales]]), was a juvenile painter whose idiosyncratic and impressionistic artwork first came to the notice of a wider audience during the [[Lanzerwaldian-Whaler War]] of {{AN|1709}}. His occasionally fanciful depictions of the [[ESB-Kosaken Afzælt|ESB Cossack]] raids conducted in [[the Green]] of [[Cibola]] were utilised as illustrations by the media in Whales, in the absence of permission for journalists and photographers to follow the [[razzia]] into [[Lanzerwald]]-claimed [[Monovia]]. | '''{{PAGENAME}}''', born on 1.III.{{AN|1691}}, in [[Walstadt]] ([[Whales]]), was a juvenile painter whose idiosyncratic and impressionistic artwork first came to the notice of a wider audience during the [[Lanzerwaldian-Whaler War]] of {{AN|1709}}. His occasionally fanciful depictions of the [[ESB-Kosaken Afzælt|ESB Cossack]] raids conducted in [[the Green]] of [[Cibola]] were utilised as illustrations by the media in Whales, in the absence of permission for journalists and photographers to follow the [[razzia]] into [[Lanzerwald]]-claimed [[Monovia]]. | ||
His early work was notable for a marked reluctance or inability to accurately depict the human form in a true to life manner. This was especially true with regards to the human face, which he would typically either leave formless or depict in the manner of a lumpen and misshapen form of flesh as a grotesquery. | |||
[[Category:Whales]] | [[Category:Whales]] | ||
Revision as of 18:29, 29 June 2022
Albrecht Dalle, born on 1.III.1691 AN, in Walstadt (Whales), was a juvenile painter whose idiosyncratic and impressionistic artwork first came to the notice of a wider audience during the Lanzerwaldian-Whaler War of 1709 AN. His occasionally fanciful depictions of the ESB Cossack raids conducted in the Green of Cibola were utilised as illustrations by the media in Whales, in the absence of permission for journalists and photographers to follow the razzia into Lanzerwald-claimed Monovia.
His early work was notable for a marked reluctance or inability to accurately depict the human form in a true to life manner. This was especially true with regards to the human face, which he would typically either leave formless or depict in the manner of a lumpen and misshapen form of flesh as a grotesquery.
