Carl Wilhelm Hahn (painter)

Carl Wilhelm Hahn , also Carl William Hahn (born January 7, 1829 in Ebersbach / Sa. , † June 8, 1887 in Dresden ), was a German-American genre and animal painter from the Düsseldorf School .

Life

Hahn was born as the fourth child of the Evangelical Lutheran weaver Carl Gottlob Hahn at Polenzstrasse 2 in Ebersbach ( Upper Lusatia ). At the age of 15 he began a five-year painting course at the Dresden Art Academy . Among other things, he was instructed there by Ludwig Richter , and in the final year of his studies he was part of Julius Hübner's master class . In 1851 he was awarded medals at an exhibition in Dresden. From 1854 to 1855 he studied at or in the vicinity of the Düsseldorf Art Academy , where he got to know the milieu and the “style” of the Düsseldorf School of Painting and deepened the painting of figures and animals . From 1857 to 1870 he was a member of the artists' association Malkasten . During this time he exhibited in Dresden and Düsseldorf ; since the 1860s he also sent exhibitions in the United States. In 1869 Hahn made friends with the painter William Keith in Düsseldorf , who took private lessons there with Andreas Achenbach and Albert Flamm until 1871 - as the successor in a number of famous American painters . In the fall of 1871 Hahn moved to the New World, where he visited Keith in Maine . In December 1871 he opened a studio in Boston , which he shared a short time later with Keith, before they left for San Francisco in the spring of 1872 , where they also shared a studio. In the 1870s Hahn took an active part in the San Francisco art scene; so he became a member of the local Bohemian Club and the San Francisco Art Association , the latter he served in 1876 as chairman. From his home in San Francisco, Hahn went on study trips to California , Nevada and Alaska . When the San Francisco art market began to decline in 1878, he moved to New York City , where he exhibited at the National Academy of Design and the Brooklyn Art Association . In late 1879 he returned to San Francisco. In 1880 and 1881 he exhibited on both coasts. In June 1882, at the age of 53, he married Adelaide Rising. A short time later, the couple traveled to Europe, first to London , where a daughter was born, then to Dresden. Hahn died there unexpectedly in 1887. His widow returned with the daughter to the United States, where they settled in Oakland .

plant

Hahn is primarily known for his genre and animal painting, but he also painted portraits , still lifes and interiors. While his early painting shows a late romantic attitude, his later pictures have realistic features. Hahn is considered one of the leading American genre painters of the late 19th century. The descriptions of American folk life are particularly important.

Southern Pacific Railroad Station at Sacramento , 1874
Yosemite Valley from Glacier Point , 1874
Ranch scene, Monterey, California , 1875
Indians in the snow , around 1880
Miners Playing Cards , 1882
The Circus (It's My Turn) , 1882

Web links

Commons : William Hahn - Collection of Images, Videos and Audio Files

William Hahn , biography on the lagunaartmuseum.org portal

William Hahn , biography on the portal californiapioneers.org

Karl Wilhelm Hahn , auction results on the portal artnet.com

William Hahn , catalog raisonné in the portal the-athenaeum.org

William Hahn , catalog raisonné in the americangallery.wordpress.com portal

literature

Marjorie Dakin Arkelian: William Hahn. Genrepainter 1829-1887 . Oakland Museum, Oakland 1976, p. 12 f.
Barbara Lekisch: Embracing Scenes about Lakes Tahoe & Donner . Great West Books, San Francisco 2003, p. 76 f.
Ann Harlow: Hahn, William . In: Joan M. Marter (Ed.): The Grove Encyclopedia of American Art . Oxford University Press, New York 2011, p. 424 f. ( limited preview in Google Book search)

Individual evidence

↑ Marjorie Dakin Arkelian: William Hahn. Genrepainter 1829-1887 . Oakland Museum, Oakland 1976, p. 12 f.
^ Bettina Baumgärtel, Sabine Schroyen, Lydia Immerheiser, Sabine Teichgröb: Directory of foreign artists - nationality, residence and study in Düsseldorf . In: Bettina Baumgärtel (Hrsg.): The Düsseldorf School of Painting and its international impact 1819–1918 . Volume 1, Michael Imhof Verlag, Petersberg 2011, ISBN 978-3-86568-702-9 , p. 431
↑ Lee M. Edwards (Ed.): Domestic Bliss. Family Life in American Painting 1840-1910 . The Hudson River Museum, Yonkers / NY 1986, p. 110 ( limited preview in the Google book search)
↑ The painting, which was created in a series of three pictures and shows a 19th century tour company at a vantage point, has acquired a special significance as an early testimony to American tourism . - See Kate Nearpass Ogden: Sublime Vistas and Scenic Backdrops. Nineteenth-Century Painters and Photographers at Yosemite . In: Richard J. Orsi, Alfred Runte, Marlene Smith-Baranzini (Eds.): Yosemite and Sequoia. A Century of California National Parks . University of California Press, Berkeley 1990/1993, ISBN 0-520-08160-9 , p. 60 ( limited preview in Google Book Search)

personal data
SURNAME	Hahn, Carl Wilhelm
ALTERNATIVE NAMES	Hahn, Carl William
BRIEF DESCRIPTION	German-American genre and animal painter from the Düsseldorf School
DATE OF BIRTH	January 7, 1829
PLACE OF BIRTH	Ebersbach / Sa.
DATE OF DEATH	June 8, 1887
Place of death	Dresden

[1] Marjorie Dakin Arkelian: William Hahn. Genrepainter 1829-1887 . Oakland Museum, Oakland 1976, p. 12 f.

[2] Bettina Baumgärtel, Sabine Schroyen, Lydia Immerheiser, Sabine Teichgröb: Directory of foreign artists - nationality, residence and study in Düsseldorf . In: Bettina Baumgärtel (Hrsg.): The Düsseldorf School of Painting and its international impact 1819–1918 . Volume 1, Michael Imhof Verlag, Petersberg 2011, ISBN 978-3-86568-702-9 , p. 431

[3] Lee M. Edwards (Ed.): Domestic Bliss. Family Life in American Painting 1840-1910 . The Hudson River Museum, Yonkers / NY 1986, p. 110 ( limited preview in the Google book search)

[4] The painting, which was created in a series of three pictures and shows a 19th century tour company at a vantage point, has acquired a special significance as an early testimony to American tourism . - See Kate Nearpass Ogden: Sublime Vistas and Scenic Backdrops. Nineteenth-Century Painters and Photographers at Yosemite . In: Richard J. Orsi, Alfred Runte, Marlene Smith-Baranzini (Eds.): Yosemite and Sequoia. A Century of California National Parks . University of California Press, Berkeley 1990/1993, ISBN 0-520-08160-9 , p. 60 ( limited preview in Google Book Search)