The work of albert welti It is found in the collections of major Swiss museums and is the subject of various books and exhibitions, and it is not for less, since it is one of the most important brushes in the country.
He was also a brush who based his art on dreams and nightmares.
Born in Zurich in 1862, he was the eldest of seven children of Jakob Albert Welti-Furrer (1833-1906), a carrier.
Source: ArtFrtiz
When I was young, much of the Armée de l'Est he stayed at his grandfather's estate in 1871, and observing his activities inspired his later interest in historical scenes.
After completing his primary education, he attended the industries school where he studied engraving with Johann Conrad Werdmuller.
In 1880, he began an apprenticeship in photography with his uncle Oswald Welt (1843-1932) and Lausanne, but stayed with him only a year. Two years later, in 1882, she was able to enroll in the Academy of Fine Arts in Munich and was under the influence of Arnold Bocklin, whom he met in 1885. After graduating, he obtained financial support from Franz-Rose (1854-1912), a generous patron of the arts
met and married Emmeline Wildbolz in 1894 and settled in Hongg, a suburb of Zurich. After his father's death, he soothed his grief by visiting Innertkirchen and Vättis, where he created numerous pastel nature studies.
After that, he worked at Munich until 1908. While there, he befriended the author, Herman Hesse, that would profoundly influence his work.
Several features of his family portrait works reflect the use of tempera, a verista style and a pale Rubenesque palette with white highlights.
The artist, in the middle of his life and at the height of his career, paints leaning on his elbows in front of architectural elements that include a staircase and a bridge that reflect his awareness that he is at a turning point in life.
On the other hand, his landscapes, inspired by the countryside around Locarno, reflect his love for his Switzerland native.
Source: Village Antiques
His work displays a lifelong fondness for local color, harmonious hues, and accentuated contrasts of light and dark.
He was on the fringes of the modernist movement of his day, whose leading lights included Ferdinand Hodler, Giovanni Giacometti and Cuno Amiet. His skillful use of iconography hints at affinities with the Symbolist movement.
He died in 1912.