Adeline Jaeger

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Adelheid Jaeger , née Heuser , nickname Adeline (born March 31, 1809 in Gummersbach , † December 17, 1897 in Oberkassel , today Bonn ), was a German portrait , landscape and still life painter from the Düsseldorf School .

Life

Jaeger was born as Adelheid Heuser in Gummersbach. Her father was the Protestant merchant Heinrich Daniel Theodor Heuser (1767–1848), son Johann Peter Heuser and wholesaler for paints and wine, who had married her mother Katharina Luisa Jügel (1776–1841) on August 21, 1804 in Gummersbach. Adeline , her nickname and nickname, was the couple's third child and had at least five siblings: Louise (1805-1875), Henriette Emma (1807-1875), Daniel (* 1814), Ida (1817-1880) and Alwine . Her aunt, Henriette Jügel , who came to Gummersbach in 1806, introduced her to knitting, painting and drawing. Her father initially countered her early wish to become a painter with the remark, "The girls must learn housekeeping well." In 1831 she was sent to her uncle Carl Christian Jügel in Frankfurt am Main to help his underage sons after death to provide for his wife.

In 1834 she succeeded in convincing her uncle of her desire to become a painter, so that he found her a place at the Städel Institute , where she took lessons from the portrait painter Joseph Binder . After a picture with the portrait of his sister Alwine, who was also in Frankfurt, convinced her father of his daughter's talent for painting in 1835 , she was allowed to take lessons in Düsseldorf with Hermann Stilke and Wilhelm Schadow , the director of the Düsseldorf Art Academy , from spring 1836 . At various meetings and festivals of the Düsseldorf artists she got to know the painters Adolph Schroedter , Carl Friedrich Lessing , their later brothers-in-law, as well as Julius Hübner , Eduard Bendemann , Karl Ferdinand Sohn , Johann Wilhelm Schirmer and Theodor Hildebrandt . By the end of the 1830s she was so well established as a portrait painter that the art historian Hermann Püttmann mentioned her in his book about the Düsseldorf School of Painting.

When she returned to Gummersbach in the summer of 1837 to visit her father, who had suffered an accident, she met the pastor Friedrich Wilhelm Jaeger, whom she married on March 1, 1838 under pressure from her parents. She bore him five children: Carl Eduard (* 1839), Louise Adeline, called Adele (1841–1929), Clara Emma Maria (1844–1916), later also a painter, Friedrich Wilhelm (* 1846) and Ida (1848–1929) ). In 1848, even before Ida was born, the Jaeger family moved from Gummersbach to Cologne , where Friedrich Wilhelm Jaeger took up the pastor's post in a newly divided Protestant parish and subsequently made a career that made him rise to the church office of superintendent in 1859 . From Cologne, Adeline Jaeger could occasionally go to Düsseldorf to pursue her painting, for example in the studio of Karl Ferdinand Sohn. In 1864 the Frankfurter Kunst-Verein exhibited two of her paintings.

After her husband died on December 4, 1869, she moved from Antoniterstraße to relatives in Neumarkt in the Richmodis House in Cologne , where she earned her living by painting portraits, giving "lessons" and taking in pensioners until 1879 . Then she moved first to Bonn and in 1887 to her unmarried daughters Adele and Ida in Oberkassel. Although she was plagued by gout there , she did not let herself be stopped from painting. Adeline Jaeger died of catarrh of the lungs at the age of 88 . She was buried in the Oberkassel cemetery three days after her death.

A portrait painted by her daughter Clara shows Adeline Jaeger in 1875.

Works (selection)

Couple in the Woods , 1875

Jaeger was a painter who, due to the middle-class understanding of roles in the 19th century, was denied an independent artistic career as a woman . The academic painter training she received, which takes up a large part of her memoirs, made her a portrait painter of classicism and realism , whose aim was to attract the sitters - mostly members of her family or close circle of friends, including members of well-known Rhenish families to grasp the essence of their individual personality and in real-life situations. To do this, she increasingly used light effects and tonal colors. She left lines less clear and surfaces less smooth than was still the case in Biedermeier classicism painting.

  • Portrait of Sister Alwine, 1835
  • Girl in prayer chair
  • Girl with a jewelry box , 1846
  • Double portrait of their children Fritz and Clara, 1848
  • Double portrait of their children Adele and Carl Eduard
  • Landscape on the lake shore with boathouse and rowing boat
  • Still life with fruit , 1851
  • Portrait of a Young Italian Woman with a Basket of Grapes , 1858
  • Portrait of a child by Carl Emil Wittiche, 1870
  • Couple in the Woods , 1875
  • Portrait of Alwine Wittichen, 1881
  • Plate painted with roses, between 1887 and 1897

literature

  • Antje Bosselmann: Adeline Jaeger 1809–1897. A 19th century portrait painter . In: Heimatverein Bonn-Oberkassel (Ed.): Oberkassel personalities , Bonn-Oberkassel 1993, p. 40 ( online )
  • Hans Paffrath (Ed.): Lexicon of the Düsseldorf School of Painting 1819–1918. Volume 2: Haach – Murtfeldt. Published by the Kunstmuseum Düsseldorf in the Ehrenhof and by the Paffrath Gallery. Bruckmann, Munich 1998, ISBN 3-7654-3010-2 , p. 171.

Web links

Commons : Adeline Jaeger  - collection of pictures, videos and audio files

Individual evidence

  1. German Gender Book , Volume 195, Limburg an der Lahn 1989, p. 36
  2. ^ Heinrich Daniel Theodor Heuser , website in the portal heidermanns.net , accessed on July 11, 2015
  3. ^ Hermann Püttmann : The Düsseldorf school of painting and its achievements since the establishment of the art association in 1829. A contribution to modern art history . Verlag von Otto Wigand, Leipzig 1839, p. 235
  4. ^ Didaskalia. Leaves for Mind, Mind and Publicity , No. 232, August 21, 1864 ( Google Books )
  5. Reiner Thies: What is behind the Jügel picture . Article from June 22, 2015 in the portal ksta.de , accessed on July 12, 2015