Early Life, Family and Training

Bernhard Borchert began his life in Riga, where he was born in 1863. His early years were spent immersed in the local art scene of the city, where he first began his studies. This foundation in Riga led him toward the Imperial Academy of Arts in Saint Petersburg. His time in the academy was marked by a steady progression of skill, culminating in 1885 when he was awarded a silver medal from the institute.

Beyond the studio and the classroom, his personal life was anchored by his marriage to Eva-Margarete Schweinfurth. Together, they had two sons, Nils and Bernhard Wilhelm. These domestic ties remained a constant as his professional life moved through different cities and changing political landscapes.

Teaching and Professional Career in Riga

In Riga, Borchert’s life was shaped by the steady rhythm of the classroom and the studio. From 1894 to 1909, he taught at the Riga German Craftsmen's Association Crafts School. His influence moved through the city's educational circles, leading him to the Riga City Art School between 1909 and 1915. By 1915, he had reached the position of professor at the Riga Polytechnic, a role he held until 1917. Many Latvian artists found their way into his studio, learning under his guidance during these years.

Beyond the lecture halls, he maintained a constant presence in the local art scene. He was the author of the "Baltic artists’ painting exhibition" (Baltijas mākslinieku gleznu izstāde), helping to organize a space for regional expression. His daily work involved the quiet, repetitive tasks of a freelance painter, draftsman, and illustrator. He moved between these roles, working in oil, watercolor, and pastel to meet the demands of his various commissions.

Artistic Style and Subject Matter

His brushwork often moved between the structured lines of Jugendstil and the softer, light-focused approach of Impressionism. He worked with oil, watercolor, and pastel, choosing mediums that allowed for a wide range of textures. Much of his output focused on symbolic allegorical compositions. These works drew heavily from mythology, ancient history, and the logic of fairy tales. He had a particular way of rendering fantasy characters, giving form to Vikings, fauns, devils, witches, and mermaids.

Beyond these imaginative realms, he maintained a steady practice of capturing the tangible world. His portfolio includes portraits and landscapes that show a different side of his technical skill. He was also a frequent hand in the world of print, producing various book and magazine illustrations. His ability to move from a detailed, mythological scene to a straightforward portrait suggests a versatile hand. He focused on the way light and form interacted, whether he was sketching a person or a mythical creature.

Later Years and Death

The shifting tides of the First World War pulled Borchert away from his established life in Riga. Between 1915 and 1918, he lived in Moscow with his family. This period of displacement preceded his move from Riga to Berlin in 1919. In the German capital, he continued his work as a freelance painter, draftsman, and illustrator. His practice also took him to Gollnow in Pomerania, where he maintained his creative output through various technical mediums.

The final years of his life coincided with the immense turmoil of the Second World War. He disappeared during these chaotic times, with some accounts suggesting he was lost in the movements of the war in Pomerania. He died in 1945.