The picture show by the Düsseldorf artists in the gallery room
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| The picture show by the Düsseldorf artists in the gallery room |
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| Friedrich Boser , 1844 |
| Oil on canvas |
| 82 × 106 cm |
| City Museum State Capital Düsseldorf |
The picture show by the Düsseldorf artists in the gallery room is the title of a group picture by the painter Friedrich Boser . It shows protagonists of the Düsseldorf School of Painting preparing for the annual exhibition of the Art Association for the Rhineland and Westphalia in the gallery hall of the Düsseldorf Palace . The picture created in 1844 is now part of the holdings of the City Museum of the State of Düsseldorf . It is considered to be one of the most famous group pictures of the Düsseldorf school and its picturesque sociogram .
Description and meaning
The group portrait that the tradition of the gallery image of Dutch painting of the 17th century anknüpft, such as on gallery pictures of David Teniers the Younger , portrays important representatives of the Düsseldorf School for the annual Academy exhibition of the Art Association of the Rhineland and Westphalia. The exhibitions of the Kunstverein, founded in 1829, were intended to convey the work of the Düsseldorf Art Academy and its artists to the public , secure a job and a livelihood for them, and influence the development of conceptions of art. Due to this facility, the production of the Düsseldorf artists was able to almost double within three years.
As the work on the hanging of a landscape painting in the upper left corner of the picture shows, the exhibition for 1844 is still being prepared. The 31 men pictured have gathered in the gallery room of the Düsseldorf Palace to examine the pictures. The middle group of these people is concentrated in front of a painting with a semi-circular decorative frame at the top, which is leaned against a wooden box. The wooden box in which, as evidenced by its inscription, the carpet-covered piano on the right edge of the picture was transported, also expresses the fact that the exhibition has not yet opened for general viewing.
In his gray frock coat, with his right hand thoughtfully to the chin, the director of the academy, Wilhelm von Schadow , who was at the zenith of his career at this time, received an honorary doctorate from the University of Bonn and was accepted into the Prussian nobility, a prominent position. To the right of Schadow is the chairman of the Kunstverein, Karl Schnaase , and in front of him, holding a stick and top hat in his left hand, Friedrich von Uechtritz , who, through the two-volume work of 1839/1840, added glimpses of the Düsseldorf art and artist life at the Düsseldorf School of Painting Publicity. In addition, the middle group consists of the Nazarenes Ernst Deger and Franz Ittenbach , who are close to Schadow, and the brothers Karl and Andreas Müller , who in the 1840s were busy painting the neo-Gothic Apollinaris Church in Remagen with frescoes. To the left behind Schadow is the genre painter Johann Peter Hasenclever , whose “unorthodox” group picture in the studio scene , created in 1836, had revealed him as a representative of an art conception that was oriented towards realism and the thoughts of Vormärz and opposed to Schadow's academicism . Significantly, Hasenclever's gaze is directed to the left into the group of "fans" gathered at the edge of the gallery room, possibly - seated - the landscape painters Hans Fredrik Gude and Johann Wilhelm Schirmer , the one with a pointing gesture looking at Hasenclever, next to it - standing on the wall - the history painter Emanuel Leutze and the genre painter Carl Wilhelm Hübner . In front of Hasenclever is the "painter dwarf" Johann Wilhelm Preyer , a well-known 19th century still life painter . In the middle of the group of people, who are gathered on the right side of the picture in front of and behind the piano, the creator of this group picture, Friedrich Boser, looks at the viewer. This group is dominated by the expansive full figure of the history and landscape painter Carl Friedrich Lessing , the strongest artistic personality among the pupils of Schadow in Düsseldorf, who converses lively with the history and portrait painter Paul Joseph Kiederich . Kiederich - standing casually - supports himself with his right arm on the piano. In 1841, when a dispute broke out among Düsseldorf artists over the Kunstverein's exhibition policy, he took on a mediating position. The edition of the Kölnische Zeitung in his coat pocket , which was the first daily newspaper with the German tongue to have had a feature section since 1838 , identifies Kiederich as a politically more left-wing contemporary. Other personalities represented in the painting are Xaver Steifensand , Karl Josef Ignatz Mosler , Adolph Schroedter and Caspar Scheuren .
Just like the grouped painters, the exhibited pictures represent the main directions of painting of the Düsseldorf School. Here, too, the image position is to be understood as an artistic statement about the status and role in the system of Düsseldorf painting. The exhibition wall shown is dominated by the painting Hagar and Ismael , which the history painter Christian Köhler completed in 1844 in the traditional style of the Düsseldorf school. This work was acquired by the art association at the academy exhibition and incorporated into the art academy's collection. Between this painting and the landscape painting, which is just about to be hung, there is a wine tasting by Hasenclever as a representative of the genre painting that has been further developed in Düsseldorf , above a portrait of the painter Joseph Fay von Boser, below a portrait by an unknown hand showing the landscape painter Gude. His landscape picture Norwegian Fjord in Sunshine , created in 1844, is viewed by a painter in the left half of the picture.
Plaster models of two statuettes by Gustav Blaeser stand on plaster brackets in the window reveal . The upper one shows Schadow, depicted in the type of the antique seat image , as he, as the founder and professional authority of the Düsseldorf school, examines the image of a student; the lower statuette shows a still picture of the painter Lessing, drawing in a sketchbook. Both artist portraits were exhibited in the gallery hall as a trademark of the Düsseldorf School since 1839.
In the background of the gallery room - as a relic of the city's glorious art history - the "academy collection" can be seen, which is made up of works by old masters from the collection of Elector Johann Wilhelm von der Pfalz and the collection of gallery director Lambert Krahe as well as individual new purchases which had been made under Peter Cornelius and Schadow. The triptych Pala Priuli by Giovanni Bellini and the Judith with the head of Holofernes by Guido Reni can be identified .
Overall, the gallery and group picture convey a description of the environment of the Düsseldorf school. By depicting the protagonists and the exhibits, Boser succeeded in capturing the generation and paradigm shift that took place in this school in Vormärz.
Provenance
The picture was shipped to New York City a few years after it was made and shown there in the Düsseldorf Gallery in 1850 . Together with its counterpart , the painting Das Vogelschießen by the Düsseldorf artists in the Grafenberger Wald , which Boser and Lessing had created as a joint picture in 1844, it was used by the wine merchant and gallery owner Johann Gottfried Böker , the representative of the Kunstverein for the Rhineland and Westphalia in New York Representation and marketing of the Düsseldorf School of Painting in the United States . In 1882 the picture came into the collection of the New York Historical Society . In 1937 it was acquired by the city of Düsseldorf , which transferred it to its city museum.
literature
- Bettina Baumgärtel : The picture show by the Düsseldorf artists in the gallery room, 1844 . In: Bettina Baumgärtel (Hrsg.): The Düsseldorf School of Painting and its international impact 1819–1918 . Michael Imhof Verlag, Petersberg 2011, ISBN 978-3-86568-702-9 , Volume 2, p. 37 ff. (Catalog No. 18)
Web links
- Picture show of Düsseldorf artists in the gallery room , data sheet in the portal deutsche-digitale-bibliothek.de
- Picture show of Düsseldorf artists in the gallery hall , website in the portal emuseum.duesseldorf.de
Individual evidence
- ^ Ekkehard Mai : The Düsseldorf Art Academy in the 19th Century - Cornelius, Schadow and the consequences . In: Gerhard Kurz (ed.): Düsseldorf in der deutschen Geistesgeschichte (1750-1850) . Schwann-Bagel Verlag, Düsseldorf 1984, ISBN 3-590-30244-5 , p. 212
- ^ Norbert Werner : The religious history picture and the realistic history picture of the Düsseldorf school of painting (P. Cornelius / FW Schadow and CF Lessing) . In: Gerhard Kurz (ed.): Düsseldorf in der deutschen Geistesgeschichte (1750-1850) . Schwann-Bagel publishing house, Düsseldorf 1984, ISBN 3-590-30244-5 , p. 251
- ↑ Allgemeine Zeitung München , supplement of October 12, 1845, issue No. 285, p. 2273 ( Google Books )
- ↑ Michael Puls: "... and one modeled". Sculpture in the circle of the Düsseldorf School of Painting . In: Bettina Baumgärtel (Hrsg.): The Düsseldorf School of Painting and its international impact 1819–1918 . Michael Imhof Verlag, Petersberg 2011, ISBN 978-3-86568-702-9 , Volume 1, p. 333
- ↑ Horst Heidermann : We have the pictures! Heinrich Christoph Kolbe in Wuppertal . In: Geschichte in Wuppertal , Jg. 16 (2007), p. 47 ( PDF ( Memento of the original from March 4, 2016 in the Internet Archive ) Info: The archive link has been inserted automatically and has not yet been checked. Please check the original and archive link accordingly Instructions and then remove this notice. )
