Carl Friedrich von Rumohr

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Friedrich Nerly : Portrait of Carl Friedrich von Rumohr, around 1823–1827
Robert Schneider -August Semmler Rumohr portrait (ca.1834) detail

Carl Friedrich Ludwig Felix von Rumohr (born January 6, 1785 in Reinhardtsgrimma ; † July 25, 1843 in Dresden ) was a German art historian, writer, draftsman and painter, agricultural historian, gastrosoph , art collector and patron.

Live and act

Carl Friedrich von Rumohr came from a Holstein nobility family . His father, Henning von Rumohr (1722–1804), landowner on Trenthorst and Schenkenberg , had through his mother Agnete Caecilie, nee. von Wickede (1700–1723) also inherited the Wickedesche Gut Groß Steinrade, which is one of the Lübschen estates today. His mother Wilhelmine, b. von Fersen (1751–1807), was a daughter of the Hanoverian officer Joachim Heinrich von Fersen († 1760).

Rumohr grew up on his father's estate near Lübeck, attended grammar school in Holzminden from 1799 to 1802 and studied at the University of Göttingen from 1802 to 1804 . Here he attended lectures with the classical philologist Christian Gottlob Heyne , the historian Arnold Heeren and the mathematician Bernhard Friedrich Thibaut . Johann Dominik Fiorillo , from whom he took drawing lessons and who introduced him to Vasari's writings , had a lasting influence . He became familiar with the ideas of Romanticism through Ludwig Tieck and joined the Catholic Church in 1804 together with the Riepenhausen brothers . In the same year he inherited a considerable fortune through the death of his father.

Rumohr's first trip to Italy (1805–1806) together with Tieck and the Riepenhausen brothers led to Rome and Naples. In Rome he met Joseph Anton Koch and other German artists and familiarized himself with the works of art there from the Renaissance and antiquity. On the way back via Frankfurt - his friendship with the Riepenhausen brothers had broken - Tieck introduced him to the circle around Clemens Brentano . He spent the next few years partly on his estates near Lübeck, partly on trips, where he made the acquaintance of many cultural personalities of his time. The encounter with Schelling's natural philosophy was of importance to him . He enrolled in the Academy of Fine Arts in Munich and made friends with the son of the director at the time, Johann Peter von Langer . Rumohr published his first important art-historical study in 1812: About the ancient group Castor and Pollux . A historical study dealt with the Vineta problem.

Rumohr: drawing on the spirit of culinary art (1822)
Rumohr: drawing on the spirit of culinary art (1822)

A second trip to Italy from 1816 to 1821 together with the young painter Franz Horny led Rumohr first to Florence and Siena to study the local archives. In Rome he met Koch again and arranged for Horny to be recorded in his workshop. Deeply impressed by the works of the Nazarenes , who had been working in Rome since 1810, he became an important patron of them and supported them with publications and purchases until he rejected Passavant and Schnorr with the younger Nazarenes . He served as a leader in Rome for the later Danish King Christian VIII and the Bavarian Crown Prince Ludwig . He returned to Munich via Venice in 1821 and returned to his Holstein estates the following year.

In 1822, Rumohr published his most successful book, the spirit of the culinary art of Joseph König , a gastrosophic book under the name of his personal cook. It opposes excesses of any kind and advocates traditional and modest national (not only German) and regional cuisine. In many ways it is timeless; it was reissued in the 1970s. The German Gastronomic Academy has awarded the Carl-Friedrich-von-Rumohr-Ring as the highest award since 1963 to personalities who have made a special contribution to the art of cooking and dining culture.

In 1824 Rumohr was made an honorary member of the Hamburger Kunstverein , which had been founded two years earlier . Until his retirement (1831 or 1832), he actively participated in the annual raffles for pictures by young artists who were supported in this way.

Rumohr also advised and supported many of these young Hamburg artists, including Otto and Erwin Speckter , Julius Oldach , Carl Julius Milde , Adolph Friedrich Vollmer , Christian Morgenstern , and in 1823 took over the artistic training of 16-year-old Friedrich Nerly . Dealing with Rumohr, who was around 20 years older than him, was not without difficulties: On the one hand, Rumohr stated in his 1832 memoirs: “But I had no influence on her; they didn't understand me. "(Kegel adds to this quote:" Nerly was of course exempt from this verdict, he had to understand it after all. "). On the other hand, the blind Vollmer, looking back on his life, dictates to his son: “Unfortunately I have to admit that the hasty imposition of his ideas and theory was very damaging to me, because I lacked the solid ground to apply and apply them correctly to process."

His main work, Italian Research, grew out of Vasari's studies . The first two volumes appeared in 1827. Through the use of historical documents and their critical processing, Rumohr becomes with this work a co-founder of the source-critical art history . According to Wilhelm von Humboldt , it is "the first step since Winkelmann towards a more true view of art".

Rumohr and the art historian Gustav Friedrich Waagen took part as consultants in setting up the Berlin Gemäldegalerie , a project for which the archaeologist Aloys Hirt had given the first impetus as early as 1797 and which was supported by Karl Friedrich Schinkel and the Prussian Crown Prince.

On his third trip to Italy from 1828 to 1829, accompanied by Nerly, who went on to Rome and later settled in Venice, he concluded successful negotiations on acquisitions for the Berlin painting collection, served the Prussian crown prince as a guide through Florence and Siena and worked on one Novel.

In the following years Rumohr worked on a wide variety of writings, some of which were never published. The third volume of "Italian Research" appeared in 1831; A critical review by Aloys Hirt led to the break and to numerous pamphlets.

Rumohr's grave in the Inner Neustädter Friedhof in Dresden

In 1834, together with Just Mathias Thiele, he organized the royal collection of copper engravings in Copenhagen, was appointed Danish chamberlain and promoted the young Danish painter Lorenz Frølich .

In the spring of 1837 Rumohr began his fourth trip to Italy to Milan, where he mainly studied the Lombard irrigation system. A fifth, shorter and final trip took him to Nerly in Venice in 1841 and then back to Milan. Returning to Copenhagen, he asked the Danish King Christian VIII in vain for the office of director of the art collections, declined the offered position as director of the copper engraving collection and settled in Lübeck to devote himself to his extensive art collection. In 1842 he bought the house at Kapitelstrasse 8.

Rumohr died in Dresden in 1843. The doctor, natural philosopher and painter Carl Gustav Carus had his death mask removed and carried out an autopsy .

His grave is in the inner Neustädter Friedhof there . Christian VIII donated the grave monument designed by Gottfried Semper ; It was restored in 2010.

Rumohr's art collection was auctioned on October 19 and 20, 1846 in Dresden. A catalog was published by Johann Gottfried Abraham Frenzel .

Rumohr in the judgment of his contemporaries

Johann Georg Rist (1775–1847), diplomat and long-time friend of Rumohr:

“This highly original and gifted man has always aroused all the livelier interest in me, since his manner was quite different from that which is common in this country. With a certain comical awkwardness on the outside, he was dominated by a passionate love for the fine arts, which he himself practiced irregularly with ingenuity, but whose finest relationships he did not miss. He is an astute art connoisseur, a learned scholar of antiquity, an exact steward, an Epicurean with consciousness. He tried a lot, including the Catholic Church. He is deeply rooted in the south, in Italy, but he keeps a loyal memory of his friends back home. "

Just Mathias Thiele (1795–1874), Danish art historian and writer:

“But with an almost repugnant idiosyncrasy and beefy vehemence, the outbreak of which made him terrible for some, he combined, when nothing was in the way, a delicacy and attentiveness in interaction and conversation that made it easy to overlook the less comfortable character of his being. [...] [He could] start violently [...] when he heard a wrong statement about something that was sacred to him. But in the next moment he could [...] show himself enthusiastic when something happened that met his approval. And so he turned out to be the same whether he was looking at me or the highest-ranking people. Those who knew and understood him smiled and accepted it; but no one else dared to approach him, and therefore there weren't many who stayed near him. "

Fonts

literature

  • Heinrich Wilhelm Schulz: Karl Friedrich von Rumohr, his life and his writings with an afterword by CG Carus , FA Brockhaus, Leipzig 1844 Google .
  • Gustav Paul Poel:  Rumohr, Karl von . In: Allgemeine Deutsche Biographie (ADB). Volume 29, Duncker & Humblot, Leipzig 1889, pp. 657-661.
  • Antonie Tarrach: Studies on the importance of Carl Friedr. v. Rumohrs for the history and method of art history. In: monthly journals for art history. 14 1921, Abhandlungen, Volume I, pp. 97-138 ( Textarchiv - Internet Archive ).
  • Gerhard cone: Carl Friedrich von Rumohr. In: Society f. Schleswig-Holstein. History (Hrsg.): Schleswig-Holsteinisches Biographisches Lexikon. Volume 3, Neumünster 1974, pp. 230-235 ( shlb.de ).
  • Schleswig-Holstein State Museums (ed.): Friedrich Nerly and the artists around Carl Friedrich von Rumohr. Mainz 1991, DNB 920027725 .
  • Gerhard Kegel (Ed.): Carl Friedrich von Rumohr: Letters to Johann Georg Rist. Annotated and with three supplements, self-published, Buchholz / Nordheide 1993.
  • Thomas M. Hauer: Carl Friedrich von Rumohr and the spirit of the bourgeois kitchen. University of Karlsruhe, dissertation 2000. ( digbib.ubka.uni-karlsruhe.de ).
  • Enrica Yvonne Dilk: A practical aesthetist - studies on the life and work of Carl Friedrich von Rumohrs. Olms Verlag, 2000, ISBN 3-487-11053-9 . doi: 10.1515 / ARBI.2001.319 .
  • Art, cuisine, calculation. Carl Friedrich von Rumohr (1785–1843) and the discovery of cultural history. Edited by Alexander Bastek and Achatz von Müller . Petersberg 2010.
  • Enrica Yvonne Dilk:  Rumohr, Carl Friedrich Ludwig Felix von. In: New German Biography (NDB). Volume 22, Duncker & Humblot, Berlin 2005, ISBN 3-428-11203-2 , p. 250 f. ( Digitized version ).
  • Alexander Auf der Heyde: Carl Friedrich von Rumohr e il discorso sul restauro nella Germania d'inizio Ottocento . In: La cultura del restauro , Rome 2013, ISBN 978-88-98229-17-8 , pp. 73-84 online

Web links

Wikisource: Karl Friedrich von Rumohr  - Sources and full texts
Commons : Carl Friedrich von Rumohr  - Collection of images, videos and audio files

Individual evidence

  1. ↑ See G. Kegel: Carl Friedrich von Rumohr. In: Schleswig-Holsteinisches Biographisches Lexikon , ed. vd society f. Schleswig-Holstein. History, Vol. 3, Neumünster 1974, pp. 230-235. Slightly revised reprint in: Kegel (1993) and after EY Dilk: Rumohr, Carl Friedrich Ludwig Felix von. In: Neue Deutsche Biographie, Vol. 22, Berlin 2005, pp. 250-251.
  2. ↑ a contemporary critical review: Allgemeine Literaturzeitung \ Volume 1813 \ Volume 2 \ Numero 153 \ Rumohr, CF of: About the ancient group Castor and Pollux (1812) Digitized from the Thuringian University and State Library Jena
  3. ↑ CF von Rumohr: About the relationship between the long-established notions of a splendid Wineta and our positive knowledge of the culture and art of the German Baltic slaves. In: Collection for Art and History. Perthes & Besser, Hamburg, first volume, first issue. 1816
  4. ↑ G. Kegel (1993), p. 91.
  5. ↑ Reviewed from today's perspective in the Neue Zürcher Zeitung on December 24, 2010 , accessed on March 1, 2011.
  6. ↑ G. Kegel (1993), p. 7.
  7. ↑ Drey Reisen nach Italien p. 246, quoted in: G. Kegel: A letter from the Hamburg painter Adolph Friedrich Vollmer to Otto Speckter from 1827. In: Journal of the Association for Hamburg History . Volume / year, No. 83,1 , 1997, ISSN  0083-5587 , pp. 343-366 ( agora.sub.uni-hamburg.de PDF file; 5.7 MB). P. 359.
  8. ↑ However , Paul F. Schmidt sees Rumohr's influence on Nerly as positive: “… his [d. H. Nerly's] excellent upbringing by Rumohr enabled him to brilliantly grasp the light-filled Italian reality and popular life. ”In: Thieme-Becker 25 (1931) 392.
  9. ↑ Quoted from Peter Hirschfeld in: Kegel (1997), p. 359, note 5.
  10. ↑ Quoted in: Kegel (1993), p. 92.
  11. ↑ described in: Journey through the eastern federal states to Lombardey.
  12. ^ Wilhelm Brehmer : Lübeck house names along with contributions to the history of individual houses. HG Rathgens, Lübeck 1890, p. 73
  13. ↑ A photograph of the death mask is shown in: Welt online from November 15, 2010, accessed on March 1, 2011.
  14. ^ Carus published the autopsy report in: HW Schulz, Leipzig 1844.
  15. ↑ see page of the Rumohr Society
  16. ↑ The art collection of Baron von Rumohr CFLF. Lübeck: Rahtgens 1846 ( digitized version , Danmarks art library)
  17. ↑ But it seems that the break occurred after 1838: see Kegel (1993), p. 72, note 192.
  18. ^ Johann Georg Rist: Memoirs. (Ed. G. Poel), Part 3, Perthes, Gotha (1888), p. 14. ( archive.org ) cited in Kegel (1993), p. 11.
  19. ↑ Kegel (1997), pp. 358-359 and Note 55 there; see note 5.
  20. ^ Digitized version of the Saxon State and University Library
personal data
SURNAME Rumohr, Carl Friedrich von
ALTERNATIVE NAMES Rumohr, Carl Friedrich Ludwig Felix von (full name); Rumohr, Karl Friedrich von
BRIEF DESCRIPTION German art historian, writer and gastrosoph
DATE OF BIRTH January 6, 1785
PLACE OF BIRTH Reinhardtsgrimma near Dresden
DATE OF DEATH July 25, 1843
Place of death Dresden