Studio scene
|
| Studio scene |
|---|
| Johann Peter Hasenclever , 1836 |
| Oil on canvas |
| 72 × 88 cm |
| Museum Kunstpalast Düsseldorf |
The painting Atelierszene by Johann Peter Hasenclever (1810–1853) was created in 1836 and is 72 cm by 88 cm in size (oil on canvas). It belongs to the holdings of the Museum Kunstpalast Düsseldorf and is one of the most important creations of the Düsseldorf School of Painting .
Description and meaning
A scene is depicted among students from the Düsseldorf Art Academy , which at the time was housed in the Düsseldorf Palace . The room is like a studio . Various objects lying on the floor give an untidy impression. The atelier servant has just come in with a coffee tray, behind her Carl Engel von der Rabenau , miming the plaster statue of the Borghese fencer opposite him. A letter with five seals peeks out of the attendant's apron. The stunted Anton Greven with the extra-long cane hands Joseph Wilms , who is dressed in robber's civilian clothes, a bottle of wine. The pose is drawn by Otto Grashof on the left and commented, criticized and observed by the others - especially in the form of Wilhelm Joseph Heine , who is casually sitting on the chair . Since one works according to nature here, the aids of academic teaching are superfluous. Hasenclever himself is dragging the mannequin away with obviously programmatic intent. His programmatic ideas already indicate realism .
A large-format painting is demonstratively turned towards the wall and used as a vestibule, since the genre painters gathered here preferred medium and smaller formats. As such, they were referred to atelier no. 1 in the academy , which they named Siberia - probably with a feeling of " Siberian exile" . The title Sibiriae altera pars on the open book alludes to this. A map lying on the floor shows the coffee houses and wine bars in the Düsseldorf area.
The pathetic gestures and the posture in which the simple wine bottle is presented in the studio scene are clearly intended to be satirical . They satirize Carl Friedrich Lessing's painting The Hussite Sermon (1836), in the center of which a Hussite preacher holds up a goblet in religious zeal.
Since the studio scene completely contradicts the then prevailing ideas about a decent image content and the Nazarene ideals, which the head of the art academy Wilhelm von Schadow represented as director and teacher, it represents that group of painters who have controversial social and political issues in the spirit of the Vormärz , criticized the academism of the Düsseldorf Art Academy, broke away from academic teaching content and thus formed an opposition within the Düsseldorf School of Painting .
literature
- Wolfgang Hütt : The Düsseldorf School of Painting 1819–1869. EA Seemann, Leipzig 1995, ISBN 3-363-00634-9
- Anton Fahne : The Düsseldorf school of painters in the years 1834, 1835 and 1836. Düsseldorf 1837, pp. 130–132. Excerpts from Fahnes remarks on Hasenclever's studio scene, who understands the whole thing as “harmlessly naive”, republished in: Bernd Füllner et al .: Düsseldorf as City of Art 1815–1850. In: Documentation on the history of the city of Düsseldorf (Pedagogical Institute of the State Capital Düsseldorf), Düsseldorf 1987, Volume 10, p. 61
Individual evidence
- ↑ Ekkehard Mai : "Joke, irony, satire and deeper meaning" - The touching and comical in the people of Düsseldorf . In: Roland Kanz (ed.): The comical in art . Böhlau Verlag, Cologne / Weimar / Vienna 2007, ISBN 978-3-412-07206-3 , p. 146
- ↑ Ekkehard Mai, p. 146