Conrad Geiger

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Conrad Geiger, self-portrait

Conrad Geiger (born February 18, 1751 in Erlangen , † September 27, 1808 in Schweinfurt ) was a German painter . Geiger worked in particular as a travel painter in what are now the three Franconian government districts and worked primarily for the landed gentry, the church and civil clients.

Life

Youth and Education (until 1769)

Conrad Geiger was born on February 18, 1751 in the Franconian city ​​of Erlangen in the margraviate of Brandenburg-Bayreuth . The later painter's father was the brewer Valentin Geiger, who ran a pub in Erlangen. His mother Anna Margaretha died the same year the boy was born. The Eschenau landlord Conrad Gebhard, after whom the child was named, is passed down as the godfather of Conrad .

After the death of his mother, the grandparents raised the young Conrad. The grandfather was a forester in the Tennenlohe Forest and so Conrad grew up in Tennenlohe . After ten years, in 1760, Conrad Geiger returned to his parents' house and had to help out in his father's economy. In Erlangen he also attended the Fridericianum high school . In addition, Geiger began to draw regularly after school, through a school friend he met the painter Johann Adam Piehlmann and copied his pictures.

Geiger's stepmother did not support the child's artistic inclinations and forbade him to begin an apprenticeship as a painter. Instead, Conrad Geiger began an apprenticeship as a baker, which he soon broke off. This was followed by training as a stocking knitter , which was also not completed. He completed the waiter apprenticeship that Geiger began at the Gasthaus zum Roten Hahn near St. Lorenz in nearby Nuremberg for a year and a half. On April 3, 1767, he left his apprenticeship at dawn.

Geiger left Nuremberg and traveled to Würzburg via Fürth , Neustadt an der Aisch , Markt Bibart and Kitzingen . In the royal seat of the prince-bishops, Geiger first sought out the portrait painter Heinrich Schleier in order to do his apprenticeship as a paint maker. Schleier, however, gave the Erlanger to his colleague Franz Andreas Thalheimer. As an apprentice to Thalheimer, Geiger worked at the Schaubühne of the Würzburg Jesuit College .

In addition to painting, Conrad Geiger earned his living as a “marqueur and coffee bar” in the Ziegler coffee house. He had received this position through the intercession of the Schweinfurt merchant Conrad Hahn. The job was poorly paid, but allowed Geiger to draw for an hour a day. The coffee house was a meeting point for the Würzburg artists and violinists made important contacts here. He received modeling lessons from Johann Peter Wagner .

On the advice of the painter Johann Christoph Fesel , Geiger finished his work in the tavern and moved into an apartment with his friend, the later artist Barthel Völk. From here they received lessons from Fesel. In the winter of 1768, Geiger's family called out for regular training. Uncle Memminger in particular tried to convince Conrad to finally complete an apprenticeship .

Franconian travel painter (until 1780)

The painting by Count Friedrich Ludwig Carl Christian zu Castell-Rüdenhausen, oil on canvas, 1777

So Geiger traveled to Erlangen, the town of his birth, on Easter 1769 and began the apprenticeship of the court painter Karl Johann Georg Reuss . During this time Geiger lived mostly in Nuremberg and soon found the training a disappointment. After completing his apprenticeship, Geiger went to live with his uncle, who was mayor in Lonnerstadt near Bamberg . From here he began to travel from aristocratic residence to aristocratic residence in order to receive his first orders.

The von Seckendorff family were the first to employ Geiger as a painter. In 1772 he painted in the castles of Ober-, Unterzenn and Weingartsgreuth . He carried out further work in 1774 in Lauf an der Pegnitz . In the same year Geiger settled in the "Golden Imperial Crown" in Nuremberg, from where he attended the painting academy under its director Johann Eberhard Ihle . During his studies Geiger wanted to become a pupil of the painter Carl Sebastian Bemmel, but failed because of the high tuition fee.

In 1776 Conrad Geiger received an invitation to the castle of Count Friedrich Ludwig Carl Christian zu Castell-Rüdenhausen in Rüdenhausen . In addition to numerous paintings of the count's family, a vedute of the residence was also created in Rüdenhausen. The nearby Münsterschwarzach monastery also offered the painter a few opportunities to copy well-known artists. In the castle, Conrad Geiger also met his future wife Johanna Barbara Schöner from Schweinfurt. It was first painted by Geiger in 1777.

Conrad Geiger moved to the imperial city of Schweinfurt in 1777 and initially shared an apartment here with the painter and cabinet maker Johann Benedikt Voit. In his first year in Schweinfurt he also got to know Johann Adam Philipp Stößel. In the summer of 1779, Georg Karl went on vacation to the painters and lived with the artists for a while. On a trip in September 1779 Geiger made friends with Johann Philipp Bach and met the painter families Treu and Scheubel .

Geiger married Johanna Barbara Schöner on November 7, 1780. The couple moved into an apartment in the house of their parents-in-law in today's Wolfsgasse No. 13. Thanks to the inn of their parents-in-law, the young couple were financially secure from then on, as Johanna Barbara Geiger continued to run the bar after her mother's death in 1792. The inn was the focal point for the Schweinfurt upper class and attracted doctors and clergy.

In Schweinfurt (until 1808)

In 1782 Geiger took a long trip to Mansbach and visited his wife's brother here. From there he moved on to Kassel , where he met the painter Johann Heinrich Tischbein . Geiger's first daughter, Margarethe, was born on May 24, 1783 and later became a well-known artist herself. In the same year the artist traveled to a number of castles in the Haßberge and portrayed representatives of the landed aristocracy, including the barons of Hutten .

The Protestant violinist started working for the Catholic Church in 1784 when he was signed up for Theres Monastery . After further activities for various Franconian aristocrats, Geiger began a trip to Frankfurt am Main in 1790 . Here he lived with Leopold II's coronation and worked for the painter Johann Benjamin Andreas Nothnagel . Geiger on the Main undertook the return journey and practiced landscape painting here.

Between 1793 and 1796 Geiger worked mainly for other monasteries in the area. There are works for the Ebrach and Langheim Abbeys . In 1796 he began to write his biography, probably because the frequent passage of French troops and the increasing danger of war brought his own end before his eyes. At the same time, due to the incipient secularization and the tense situation, the orders for painters like him decreased.

Geiger did not go on any longer trips. In 1800 he visited the court painter Johann Philipp Bach again in Meiningen . In 1802 he traveled to Würzburg with his daughters Margarethe and Catharina and was able to agree that the older painter Christoph Fesel would support her. In the same year a trip to Mansbach is recorded ; Geiger again visited his wife's family, who this time accompanied him.

Geiger suffered from "cold fever" as early as 1799. In the last years of his life, only a few works were created that were primarily made for church institutions. In 1807, the painter made a picture for the Johanniskirche in Schweinfurt, causing a minor scandal because he had hidden portraits of his family in the painting. On September 27, 1808, Conrad Geiger died in Schweinfurt after a short illness of a nervous system .

Marriage and offspring

Geiger married Johanna Barbara Schöner on November 7, 1780 in Schweinfurt. He would have four children with her, but only two daughters would reach adulthood. Both followed in their father's footsteps and became painters.

Catalog raisonné

The catalog raisonné is based on the monograph by Erich Schneider, Conrad Geiger. A Franconian painter at the end of the Old Kingdom from 1990. The structure also comes from this work.

Representations of nobles

The young artist Conrad Geiger sought contact with the lower nobility in the vicinity of Erlangen and Würzburg very early on . First he received orders from the Barons von Seckendorff, with whom he maintained contact for years. Geiger's daughter, Margarethe, visited Wonfurt Castle in 1805 and painted for the nobles. In particular, the Seckendorff-Aberdar line was very closely connected to the Geigers family.

The Seckendorffs probably also mediated the contact with Count zu Castell-Rüdenhausen . In 1776, he invited Conrad Geiger to his court. At the same time, Prince Carl Friedrich von Hohenlohe became a patron of Geiger. From 1779 the painter sought a connection to the Schönborn house , but these attempts failed. In 1782 the barons von Tann called the painter to the Rhön. In Kassel Geiger visited the Landgrave's picture gallery, but without getting any further commissions.

From 1783 Conrad Geiger was also involved in the renovation of the Bettenburg by Christian Truchseß von Wetzhausen . No works of the work have survived, but the work led to follow-up orders from the Lords of Hutten and the Counts of Wertheim . The portraits of the high nobility were mostly just copied by Geiger. In the last decade of his life, Geiger hardly created anything for the nobility, which was probably also connected with the outbreak of the French Revolution .

No. person year technology Dimensions in centimeters Remarks
1 Carl Ludwig Freiherr von Seckendorff 1773 Oil on canvas 71 × 60 Representation of the baron in his dressing gown, drafting a fortress plan. Counterpart to number 2.
2 Alexandrine Charlotte Marianne Wilhelmine Baroness von Seckendorff 1773 Oil on canvas 71 × 60 Depiction of the baroness in a dressing gown. Counterpart to number 1.
3 Carl Ludwig Freiherr von Seckendorff 1773 Oil on canvas 83.5 x 66.5 Counterpart to number 4.
4th Alexandrine Charlotte Marianne Wilhelmine Baroness von Seckendorff 1773 Oil on canvas 83.5 x 66.5 Counterpart to number 3.
5 Carl Ludwig Freiherr von Seckendorff-Aberdar 1773 Oil on canvas 72 × 60 Counterpart to number 6.
6th Alexandrine Charlotte Marianne Wilhelmine Baroness Seckendorff-Aberdar 1773 Oil on canvas 72 × 59 Counterpart to number 5.
7th Friderica Wilhelmina Baroness von Seckendorff-Aberdar 1773 Oil on canvas not clear Already deceased at the time of painting.
8th Karl Friedrich Freiherr von Seckendorff-Aberdar around 1773 Oil on canvas 69 × 75.5 Counterpart to number 9.
9 Eleonore Elisabetha Baroness von Seckendorff-Aberdar around 1773 Oil on canvas 69 × 57.5 Counterpart to number 8.
10 Karl Friedrich Freiherr von Seckendorff-Aberdar around 1773 Oil on canvas 69 × 57.5 Replica to number 8.
11 Sophie Friederike Henriette Baroness von Seckendorff-Aberdar around 1773 Oil on canvas 59 × 48
12 Marie Juliane Marschalk von Ostheim married Countess Rotenhan around 1773 Oil on canvas, relined 59.5 x 46.5 Identity of the sitter unclear. The portrayed died at the age of 51, but is portrayed much younger.
22nd Friedrich Ludwig Carl Christian Graf zu Castell-Rüdenhausen 1777 Oil on canvas 81.5 x 53.5 The portrait was made during Geiger's stay in Rüdenhausen.
23 Countess Caroline Friederike Helene zu Castell-Rüdenhausen 1777 Oil on canvas 55.5 x 40.5 Depiction with the Countess' son, who died in 1776.
24 Countess Caroline Friederike Helene zu Castell-Rüdenhausen 1777 Tempera on cardboard 24 × 19 Possibly template for number 25.
25th Countess Caroline Friederike Helene zu Castell-Rüdenhausen around 1777 Mezzotint 24.2 x 18.8 One of the examples of printmaking in Geiger's work.
36 Empress Maria Theresa before 1780 Oil on canvas 92 × 73 Originally probably painted as an official portrait, in the 19th century at Mainberg Castle
45 Baroness von Hutten 1783 Pastel on parchment 27 x 20.3 The picture appeared in the Stuttgart antique trade in 1969.
51 Baron von Hutten 1784 oil on wood 25 × 18 Counterpart to number 52.
52 Baroness von Hutten 1784 oil on wood 25 × 18 Counterpart to number 51.
65 Johann Ernst Freiherr von Bibra around 1785 Oil on canvas 85 x 63.5 The picture was made for an ancestral gallery after the baron's death.
97 Emperor Leopold II 1790 Oil on canvas 93 × 73 Although the inscription reads “ad vivum pinxit” (Latin: drawn from life), the painting was made from other models. Originally as an official image in Schweinfurt.
128 Emperor Franz II 1792 Pastel on paper 25 × 20 Painted from an engraving template.
164 Adolf Freiherr von der Tann 1801 Oil on canvas 82 × 65 Lost.
165 Adolf Freiherr von der Tann 1801 Oil on cardboard 37 × 29 Replica of number 164.
182 Friedrich Ferdinand Lochner von Hüttenbach 1805 Oil on canvas 74 × 90 Friedrich Ferdinand Lochner von Hüttenbach was the prince-bishop's secret council in Würzburg. The picture was taken posthumously. Counterpart to number 183.
183 Charlotte Josefa Anna Lochner von Hüttenbach, b. v. Bibra 1805 Oil on canvas, relined 74 × 90 Wife of Friedrich Ferdinand Lochner von Hüttenbach. Counterpart to number 182.
189 Maximilian I. Joseph, King of Bavaria 1806 Oil on canvas 86 x 67.5 Official image in the Schweinfurt town hall.

Representations of bourgeois clients, family

Geiger began making portraits for bourgeois clients as early as 1772 . So this year he can be proven in Lonnerstadt, where he started “freshly to portray”. However, only the portraits that were made after Geiger moved to Schweinfurt have survived. First he painted the Lebküchner family, one of the oldest families in the free imperial city, in 1777.

The painter asked very little money for his portraits and so quickly gained a certain reputation in Schweinfurt. With the engagement to Johanna Barbara Schöner Geiger received further orders, because the Schöner family maintained connections to all important people in the city. During the Revolutionary Wars , the painter even drew French soldiers passing through. After the mediatization and the loss of imperial freedom, the orders from the bourgeoisie decreased noticeably.

Another group of paintings can be assigned to the bourgeois milieu : depictions of one's own family. The most popular motif was the painter's wife. In 1783 a drawing of the entire Geiger family was made; such portraits were probably created for private purposes. A series of self-portraits , which can also be identified as part of other paintings, complement the Geiger's representations.

No. person year technology Dimensions in centimeters Remarks
20th Johanna Schöner 1776 Oil on canvas 42 x 32.4 Depiction of the artist's future wife at the piano.
26th Dr. JF Lebküchner 1777 Oil on canvas 81.5 x 65.5 The order for the Lebküchner family were the first works by Geiger in Schweinfurt.
27 Wolffgang Adam Lebküchner 1777 Oil on canvas 82 x 65.5
28 Magdalena Barbara Lebküchner 1777 Oil on canvas 82 x 65.5
29 Johanna Elisabeth Pollich 1777 Oil on canvas 81.5 × 65
30th Catharina Barbara Cramerin 1777 Oil on canvas 38 x 30.5 It is possible that the portraits of Catharina Cramer were created in the painting competition between Conrad Geiger and Johann Benedikt Voit.
32 Magdalena Luise Lebküchner 1778 Oil on canvas 36.5 x 28.6
33 Friederica Maria Schöpff 1778 Oil on canvas 80 × 65
34 Johann Michael Fürthwagner 1779 Pastel on paper 15 × 13 Fürthwagner was the artist's uncle and mayor in Erlangen.
35 Valentin Geiger 1779 Chalk on blue paper 33.5 x 40.2 Depiction of Conrad Geiger's father.
43 Johanna Barbara Geiger 1781 Pen drawing, washed 20 × 17 The representation is based on François Boucher or Jean-Honoré Fragonard.
44 Johanna Elisabeth Tillin 1782 Technology unknown unknown Lost.
46 Christoph Ernst Schneider 1783 Oil on canvas 88 × 70 Lost, counterpart to number 47.
47 Maria Christina seamstress 1783 Oil on canvas 88 × 70 Lost, counterpart to number 48.
53 Katharina Magdalena Schöner 1784 Oil on canvas 56 × 45.5 Katharina Magdalena Schöner (1748–1808), second wife of the pastor Johann Adam Schöner (1722–1789) from Gochsheim. In the manner of Rembrandt van Rijn.
54 Barbara Geiger at the piano 1784 gouache 25 × 20 Geiger's wife at the piano in the middle of a rococo interior. In the manner of Georg Anton Urlaub.
60 Johann Michael Geiger 1784 Pastel on paper 17 × 14 Depiction of Conrad Geiger's brother.
71 Johanna Barbara Geiger with her little son around 1786 on canvas, relined 85 × 65 Representation with son Caspar Friedrich (1785–1787).
73 Philippine Gatterer 1787 Gouache on cardboard 19 × 15 Depiction of the Kassel poet Philippine Gatterer (1756–1831).
77 Conte de Johar St. Germain 1787 Tempera on cardboard 42 × 35 Lost.
78 Margarete Geiger as a child around 1787 Chalk on blue paper 33.7 x 43.4 Preliminary drawing for number 79.
79 Margarete Geiger as a child around 1787 Tempera on cardboard 35 × 40
83 Friedrich Seyffert 1788 oil on wood 25 × 20 See number 139.
84 Dr. Gottfried Caspar von Segnitz 1788 Pastel chalk 22 × 17 Gottfried Caspar von Segnitz Councilor of the Imperial City of Schweinfurt.
85 Maria Friederike Bachin 1788 Oil on canvas 31 × 25
86 Magister Friedrich Adam Bach around 1788 oil on wood approx. 50 × 30 See number 174.
96 Susanna Friederike Bach, b. Wolff 1789 Oil on canvas 33 x 25.5 Susanna Friederika Bach (1749–1789).
101 The painter Johann Andreas Benjamin Nothnagel around 1790 Pencil, partially with watercolors 30 x 24.7 Copy of a pastel by AJ Chandell.
127 Maria Catharina Geiger 1791 Oil on cardboard 45 × 37
130 Captain Mathias from Monday 1793 Oil on canvas 97 x 75.5 Representation of the brother of the last abbot of Ebrach. Counterpart to number 131.
139 First Lieutenant Friedrich Seyffert after 1794 Oil on canvas 86 × 67 See number 83.
151 Maria Barbara Wirsing, b. Climbs 1798 Oil on canvas 82 × 66
154 Johanna Barbara Geiger 1799 Pastel on paper 30 × 23
155 Self-portrait Conrad Geiger 1799 Oil on canvas approx. 40 × 32
157 Pastor Johann Peter Voit 1799 Mezzotint 15.4 x 8.9 Johann Peter Voit (1747-1811).
160 Assesor Georg Jacob Stößel 1800 Oil on canvas 81 x 66.5
161 Johann Friedrich Bach 1800 Pastel chalk on paper 30 × 25 Counterpart to number 162.
162 Katharina Bach 1800 Pastel chalk on paper 30 × 25 Counterpart to number 161.
168 Martin Wilhelm Reuter 1801 Oil on canvas 82 × 61 Martin Wilhelm Reuter (1771–1842), 2nd Mayor of the city of Schweinfurt. In 1805 Margarete Geiger used this picture as a model.
170 Portrait of G. Christoph R. Stolle 1802 Pastel chalk on paper Height 30
171 The painter Johann Adam Philipp Stößel 1802 Pastel on paper 25 × 20 Johann Adam Philipp Stößel (1751–1808)
172 YES Emmert 1802 Oil on canvas 36 × 34
173 Magdalena Margaretha Raßdörfer 1802 oil on wood 27 × 21 See number 31.
174 Pastor Friedrich Adam Bach 1802 Oil on canvas 33.8 x 25.8 Pastor in St. Salvator in Schweinfurt.
175 Maria Friederike Emmert, b. Brook 1802 pastel 29.3 x 23.5 See number 85. Counterpart to number 176.
176 Notary Karl Leopold Emmert 1803 pastel 28.8 x 23.3 Counterpart to number 175.
178 Portrait of the beneficiary hero 1803 Oil on canvas 63.5 × 52 Beneficiary in Gerolzhofen.
190 Katharina Luisa Schmidtin 1806 Oil on canvas 82 × 67
191 Philipp Then, Elector of Würzburg. Land Commissaire 1806 Oil on canvas 63 x 51.5 Late major work in portrait painting. Corresponding to number 192.
192 Martha Then 1806 Oil on canvas 63.4 × 52 Counterpart to number 191.
193 Wilhelm Sattler 1806 Oil on canvas not clear Lost.
202 AC Emmert 1808 Oil on canvas approx. 48 × 36 damaged by crack.
203 ME Emmert 1808 Oil on canvas 72 × 59

Works for monasteries and churches

No. presentation year technology Dimensions in centimeters Remarks
55 Death of St. Benedict 1784 Oil on canvas 125 × 175 First painting for the Benedictine Abbey Theres. Part of a series of three works (numbers 57 and 58). Influenced by the frescoes by Matthäus Günther in Amorbach and Cosmas Damian Asams in Weltenburg Abbey. Today in the Marienkapelle in Obertheres.
56 Death of St. Benedict around 1784 Pen, wash and white chalk on gray paper 21.5 x 37.5 Preliminary study for the painting in Obertheres.
57 Adoration of the Magi 1784 Oil on canvas 125 × 175 Painting for the Benedictine Abbey Theres. Copy of the altar sheet by Giambattista Tiepolo for the Münsterschwarzach abbey church. Today in the Marienkapelle in Obertheres.
58 Adoration of the Shepherds 1784 Oil on canvas 125 × 175 Painting for the Benedictine Abbey Theres. Takes up Giambattista Piazzetta's motifs for the Münsterschwarzach abbey church. Today in the Marienkapelle in Obertheres.
59 Adoration of the Shepherds 1784 Pen washed on gray paper 16 × 21 Preliminary study for the painting in Obertheres.
66 St. George slays the dragon around 1785 Feather on white paper 18.3 × 13 Possibly preliminary design for altar sheet for Theres Monastery.
67 St. George around 1785 Pen and brown ink, wash, opaque white 35.3 × 21 Possibly preliminary design for altar sheet for Theres Monastery.
68 St. Laurence around 1785 Pen and brown ink, wash, opaque white 35 × 21 Possibly preliminary design for altar sheet for Theres Monastery.
72 Bernhard Breunig , abbot of the Benedictine monastery Theres 1786 Oil on canvas 120 × 103 Depiction of Abbot Bernhard Breunig as an official portrait.
74 Count Adalbert von Babenberg, founder of the Theres monastery 1787 Oil on canvas 125 × 175 Painting for the Benedictine Abbey Theres. Series of three paintings about the founding of the monastery (numbers 75 and 76). Today in the rectory of Obertheres.
75 Emperor Heinrich II gives Theres to the Bishop of Bamberg 1787 Oil on canvas 125 × 175 Painting for the Benedictine Abbey Theres. Today in the rectory of Obertheres.
76 Pope Clement II confirms the foundation of Theres Monastery 1787 Oil on canvas 125 × 175 Painting for the Benedictine Abbey Theres. Today in the rectory of Obertheres.
80 Crucifixion of Christ 1788 Oil on canvas 200 × 130 Painting for the Benedictine Abbey Theres. Today in the Marienkapelle Obertheres. Counterpart to number 81.
81 Mater dolorosa 1788 Oil on canvas 200 × 130 Today in the Marienkapelle Obertheres. Counterpart to number 80.
82 St. Joseph 1788 Oil on canvas 150 × 65 Painting for the Michaelskirche in Mainberg.
92 Glory of St. Sebastian 1789 Oil on canvas approx. 320 × 140 Originally for the Benedictine Abbey Theres. After the secularization, the painting came to the Schweinfurt Hospital Church. In 1896 they came to Goßmannsdorf. Today in the Margaretenkirche in Goßmannsdorf.
93 Glory of St. Sebastian 1789 Pen drawing, washed 42 × 45 Preliminary draft for number 92.
95 Glory of St. Joseph 1789 Oil on canvas 320 × 140 Originally for the Benedictine Abbey Theres. After the secularization, the painting came to the Schweinfurt Hospital Church. In 1896 they came to Goßmannsdorf. Today in the Margaretenkirche in Goßmannsdorf.
131 Abbot Eugen Montag from Ebrach Monastery 1793 Oil on canvas 92 x 74.5 Painting for the Cistercian Abbey of Ebrach. Counterpart to number 130.
132 Abbot Eugen Montag from Ebrach Monastery 1793 Oil on canvas 75 × 57 Painting for the Cistercian Abbey of Ebrach. Identification unclear.
140 14 stations of the cross around 1795 Oil on canvas each approx. 95 × 67 Painted for the Bartholomäuskirche in Oberspiesheim.
148 Christ on the cross 1797 Oil on canvas not clear Today in the Catholic parish church in Stangenroth.
149 Annunciation 1797 Oil on canvas approx. 200 × 80 Today in the Agidius Church in Rödelmaier.
150 13 stations of the cross 1798 Oil on canvas each approx. 165 × 104 Today in the Sebastianskirche in Unterspiesheim. Johann Peter Wagner created a depiction of the crucifixion for the church, so Geiger only created 13 stations of the cross instead of the usual 14. Motifs borrowed from Giambattista Tiepolo.
152 Mauritius Schmitt, provost of the Heidenfeld Monastery 1798 Oil on canvas 149 × 115 One of Geiger's main works.
153 Abbot Candidus II. Hemmerlein from Langheim Abbey 1798 Oil on canvas 85 × 63 Copied as a copperplate engraving by AW Küffner in 1880.
184 Maria Immaculate 1805 Oil on canvas 500 × 200 Today in the parish church in Sulzthal.
185 St. Joseph 1805 Oil on canvas 250 × 120 Today in the parish church in Reichmannshausen. Counterpart to number 186.
186 Maria Immaculate 1805 Oil on canvas 250 × 120 Today in the parish church in Reichmannshausen. Counterpart to number 185.
187 Maria Immaculate around 1805 Pen drawing, washed 21.1 × 10 Preliminary draft to number 186.
197 John the Baptist preaches in the wilderness 1807 Oil on canvas not clear Today in the Johanniskirche in Schweinfurt. The picture was initially rejected by the client because Geiger depicted himself and his family.
198 John the Baptist preaches in the wilderness 1807 Pen, washed 36.8 x 16.3 Preliminary draft to number 197.
199 Boat trip 1807 Pencil, pen in brown 12.7 × 21 Preliminary study for number 197.
200 John the Baptist preaches in the wilderness 1807 Washed pen drawing on blue paper 34.5 x 20.8 Preliminary study for number 197.
201 John the Baptist preaches in the wilderness 1807 Pencil and pen, washed, on white paper 32.5 x 19.8 Preliminary draft to number 197.

Landscape painting, self-portraits, studies, etc.

No. presentation year technology Dimensions in centimeters Remarks
13 Portrait studies around 1773 Pen wash, white chalk 32.2 x 39.1 Portraits of a lady and four men on the front, another male portrait on the back
14th Self portrait around 1775 oil on wood 14 × 12 Earliest known portrait of the painter.
15th View of Rüdenhausen 1776 Watercolor with tempera 6 x 11.5 Miniature view of Rüdenhausen, in the background the abbey church of Münsterschwarzach
16 Master Marold around 1776 pencil 10.4 x 10.2 Depiction of a gentleman in rococo dress, possibly a study for the miniature view of Rüdenhausen
17th Brown horse 1776 Oil on canvas 32.5 x 39.8 A groom shows a brown horse. Counterpart to numbers 18 and 19
18th Black around 1776 Oil on canvas 32.5 x 39.8 Counterpart to numbers 17 and 19.
19th Brown horse 1776 Oil on canvas 32.5 x 39.5 Counterpart to numbers 17 and 18.
21st Fall of Lucifer 1776/1777 gouache 30 x 20.3 Geiger may have copied the image in the Münsterschwarzach monastery church.
31 Portrait of an unknown man in uniform 1777 Oil on canvas 34.5 x 27.5
37 Portrait of a lady 1780 Oil on canvas 36 × 25 Probably a lady from Geiger's Erlangen relatives.
38 View of Pommersfelden Castle 1780 Oil on canvas 31 × 44.2 Completion of preliminary draft number 39.
39 View of Pommersfelden Castle around 1780 gouache 15.9 x 20.6 Preliminary draft to number 38.
40 Portrait of an Unknown Lady around 1780 Oil on cardboard 27.8 × 22
41 Peasant head around 1780 Oil on cardboard 40 × 30 Copy of an excerpt from a work by Francesco Trevisani, possibly the “proletarian” of Mainberg Castle.
42 Courtly company around 1780 Charcoal and chalk on blue paper 39.8 × 35 A group of several women and men in a salon, back side study of a male half-length portrait.
48 Geiger family 1783 Pencil, pen, washes 18 × 22.5 The picture is unfinished.
49 Family of the painter Johann Heinrich Tischbein around 1783 Pencil, pen 13.5 x 10.5 Preliminary drawing for number 50.
50 Family of the painter Johann Heinrich Tischbein around 1783 etching 13.1 × 11 One of Geiger's rare prints.
61 Unknown sir 1785 Oil on canvas 42.6 x 32.5
62 View of Weisendorf near Erlangen 1785 Pen, washed 11 × 18 Possibly a preliminary study for a work for Karl Thomas von Löwenstein-Wertheim.
63 View of the Benedictine monastery Theres from the south around 1785 Pencil and pen 10 × 18
64 Portrait of an Unknown Lady around 1785 Chalk on blue paper 28.2 x 20.2
69 Portrait of an Unknown Lady around 1785 Pastel on parchment Diameter 5.2 Set in the lid of a wooden box, held in place by an ivory ring.
70 Unknown lady around 1785 Oil on canvas 91 × ​​72 It may be Geiger's mother-in-law Anna Margaretha Schöner. Later owned by the Vollnhals family from Schweinfurt.
87 Blindman's Buff 1788 Pen, watercolor 19.2 x 25.3 Possibly a design for an overhead door.
88 Portrait of a harpist 1788 Oil on canvas 78 × 60
89 Rural festival around 1788 Pen-and-ink in brown, washed 19.3 x 26.2 Group of women and men resting and dining below a group of trees.
90 Grape harvest around 1788 Indian ink, washed 24 × 23 Only the left half of the sheet is present, the rest torn off. Possibly redrawing a stitch pattern.
91 The sick around 1788 Pencil, ink, washed 20.9 x 32.2 A lady is sitting on a chair, with two doctors around her with a clinical thermometer and a bloodletting device.
94 Care of St. Sebastian by St. Irene 1789 Pen and white chalk on gray paper 35.8 × 21 Copy after a painting by Balthasar Augustin Albrecht for the Münsterschwarzach abbey church.
98 Two allegories of the coronation of Leopold II. 1790 Pen, washed 32.7 × 41
99 Leopold II, crowned with caution 1790 Pen, washed 24.4 x 21.5 Alternative draft to number 98.
100 Allegory of the coronation of Leopold II. 1790 Pencil, pen in brown 34.5 x 21.7 Alternative draft to number 98.
102 Mill tower in Schweinfurt around 1790 Pen, washed 10.9 x 17.3 View over the Mühltor in the southeast of Schweinfurt.
103 Mill gate in Schweinfurt around 1790 Pen and pencil, washes 11.1 x 12.5
104 Landscape with half-timbered farmstead around 1790 Pencil, pen in brown, washes in gray 12.3 x 21.7 Probably made on the return journey of the coronation in Frankfurt.
105 Rempart in Schweinfurt around 1790 Pen, washed 9 × 13.1 Representation of the former path on the ramparts in Schweinfurt.
106 The dog "Moloch" around 1790 Pencil and pen on white paper 42.6 x 35.5
107 Three women's costumes 1790 Watercolor pen drawing 18 × 26.2 Designs for stage performance.
108 Three women's costumes around 1790 Watercolor pen drawing 17.6 x 26.2 Inscribed: "Cleopatra", "Sun Maiden", "Masks Suits".
109 Sacrifice of Isaac around 1790 Washed pen drawing 25.4 x 19.9 Based on motifs by Johann Evangelist Holzer in the Münsterschwarzach monastery church.
110 Portrait of a young man around 1790 Black and white chalk on blue paper 42.6 x 36.5
111 Couple wrapping wool around 1790 Pencil and white chalk on gray paper 38.4 × 43 Standing man and seated woman wrapping wool.
112 Standing young man around 1790 Pencil and light brown chalk on gray paper 35.5 x 20.7
113-126 At least 18 drawings with allegories around 1790 Pen, washed different sizes The genius of death, joy, wisdom, the golden dream, Victoria, happiness, Saturn, the night, four seasons, the four elements, the three world religions, the five senses, the three realms of nature, four continents.
129 Death of St. Benedict 1792 Pen and pencil 22 × 35 Paraphrase on the painting for Theres Monastery (number 56).
133 The twelve months dance to the tune of time 1793 Oil on canvas 163 × 230 Largest painting by Geiger. Copy after a ceiling painting by Johann Evangelist Holzer in Augsburg.
134 Portrait of a noble gentleman 1793 pastel 31 × 25 Counterpart to number 135.
135 Portrait of a noble lady 1793 pastel 31 × 25 Counterpart to number 134.
136 Death of Seneca 1794 Oil on canvas 110 × 78 Painted for the Schweinfurt Council Library.
137 Unknown lady 1794 pastel 31 x 25.3
138 View of Langheim Abbey 1794 Pencil and pen in brown 8 × 13.5 Back pencil sketch with a portrait of a prelate.
141 Portrait of an unknown gentleman 1796 Pastel chalk on paper 29.7 x 24.5 Counterpart to number 142.
142 Portrait of an Unknown Lady around 1796 Pastel chalk on paper 29.7 x 24.5 Counterpart to number 141.
143 Allegory on painting 1796 Oil on canvas 49.5 x 161.5 Part of a series of three paintings that have served as over-portals. Counterpart of numbers 144 and 145.
144 Allegory on Music 1796 Oil on canvas 49.5 × 160 Counterpart of numbers 143 and 145.
145 Wedding procession 1796 Oil on canvas 49.5 × 133 Counterpart of numbers 143 and 144.
146 The painter Friedrich August Tischbein with family after 1796 Oil on canvas approx. 110 × 80 Burned in 1945.
147 Portrait of an Officer 1797 Oil on canvas, relined 55 x 43.5
156 Before honest friends 1799 Pen-and-ink in brown, washed 11.5 x 17.2 Altar crowned by an obelisk, on which lies an open book.
158 Portrait of a Little Girl 1799 Pastel chalk on paper 30 × 25 Lost.
159 Self-portrait with family 1800 Oil on canvas 150 × 120 Conrad Geiger is standing in the background to the left, Margarete Geiger is standing at the easel, and Johanna Barbara Geiger in a white dress is in the center. Catharina Geiger hands a rose from the left.
163 Portrait of a young woman in costume around 1800 Oil on canvas 28 x 22.5
166 Portrait of a man in fur 1801 Pastel chalk on paper 38 × 33 Counterpart to number 167.
167 Portrait of a Woman 1801 Pastel chalk on paper 38 × 33 Counterpart to number 166.
169 Portrait of a noble gentleman 1801 pastel 31 × 25 Lost.
177 Young man's portrait 1803 Oil on canvas 72 × 64
179 Coronation of Mary according to Ruel after 1803 Charcoal and chalk on gray paper 36.1 × 43 Copy of the high altar picture in the parish church of the Holy Spirit in Schweinfurt by Johann Baptist Ruel.
180 Portrait of an Unknown Lady 1804 Oil on canvas 63 × 52 The only example of the collaboration between Conrad and Margarete Geiger.
181 Landscape with a manor 1804 Oil painting not clear Lost in 1945.
188 Schweinfurt bird shot around 1805 not clear not clear No autograph version known in the original.
194 Surroundings of Schweinfurt from the Peterstirn before 1807 Indian ink, washed 19.2 x 72.6 Counterpart to number 195.
195 View from the Peterstirn to Sennfeld before 1807 Etching, colored 24.3 x 40 Counterpart to number 194.
196 View from the Peterstirn to Schweinfurt before 1807 Etching, colored 24.3 x 40

literature

  • Barbara Fuchs-Vogel:  Geiger, Conrad. In: New German Biography (NDB). Volume 6, Duncker & Humblot, Berlin 1964, ISBN 3-428-00187-7 , p. 146 f. ( Digitized version ).
  • Erich Schneider : Conrad Geiger. A Franconian painter at the end of the Old Kingdom 1751–1808 . Nuremberg 1990. ISBN 3-924461-09-0
  • Erich Schneider, Angelika Müllner-Pianka: The Schweinfurt painter family Geiger. For the exhibition of the Schweinfurt municipal collections in the old grammar school on Martin-Luther-Platz (December 17, 1983– January 29, 1984, = Schweinfurter Museumsschriften, booklet 1) . Schweinfurt 1983.
  • Barbara Vogel: Conrad Geiger. a contribution to the history of Lower Franconian painting around 1800 (= publications of the Historical Association and the Schweinfurt City Archives, issue 3) . Schweinfurt 1954.

Web links

Commons : Conrad Geiger  - Collection of images, videos and audio files

Individual evidence

  1. ^ Schneider, Erich: Conrad Geiger . P. 15 f.
  2. ^ Vogel, Barbara: Conrad Geiger . P. 9.
  3. ^ Schneider, Erich: Conrad Geiger . P. 17.
  4. ^ Schneider, Erich (and others): The Schweinfurt family of painters Geiger . P. 11.
  5. ^ Schneider, Erich: Conrad Geiger . P. 23.
  6. ^ Schneider, Erich (and others): The Schweinfurt family of painters Geiger . P. 12.
  7. ^ Vogel, Barbara: Conrad Geiger . P. 15.
  8. ^ Vogel, Barbara: Conrad Geiger . P. 16.
  9. ^ Schneider, Erich: Conrad Geiger . P. 25.
  10. ^ See: Schneider, Erich: Conrad Geiger . Pp. 73-196.
  11. ^ Schneider, Erich: Conrad Geiger . P. 38.
  12. ^ Schneider, Erich: Conrad Geiger . P. 49.
personal data
SURNAME Geiger, Conrad
BRIEF DESCRIPTION German painter
DATE OF BIRTH February 18, 1751
PLACE OF BIRTH gain
DATE OF DEATH September 27, 1808
Place of death Schweinfurt