Elisabeth Charlotte Amélie Hainchelin

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Elisabeth Charlotte Amélie Hainchelin , also Lisette Hainchelin , married Lisette Klaatsch (* 1765 in Berlin ; † 1815 presumably there) was a German painter and student of the painter Chodowiecki, practiced as a dilettante , i.e. as a lover of art without school-based training and not professionally, and participated in several art exhibitions. She was with Joachim Gottlieb Klaatsch (1754–1834), the royal Prussian. Privy War Councilor and General Rendant at the Excise Administration, later Privy Chief Finance Councilor, married.

Life

ancestry

Elisabeth Charlotte Amélie Hainchelin was born as the daughter of the Prussian finance councilor Pierre Jérémie Hainchelin (1727–1787) and his wife Hedwig Charlotte Kühn (1739–1817), the daughter of the Prussian consul and commercial councilor in St. Petersburg War councilor Ulrich Kühn (1693–1757) . Her father's grandfather, Claude Hainchelin (1643–1714), was one of the first Huguenots to emigrate to Berlin in 1685 after the Edict of Nantes was repealed because of the persecution of the Huguenots in France. The family of grandmother Rachel born Jassoy (1689–1761) had also emigrated from France. The family belonged to the French colony in Berlin. There were also family ties to Nikolaus von Béguelin , the tutor of the Prussian heir to the throne and later King Friedrich Wilhelm II as well as director of the Philosophical Class of the Royal Prussian Academy of Sciences in Berlin. He had married Marie-Catharine Pelloutier (1733–1794) in 1761, the daughter of the merchant Jean-Barthélémy Pelloutier and his wife Charlotte Jassoy (1700–1773), the daughter of the jeweler Pierre Jassoy (1658–1714). So Charlotte Jassoy was the sister of Rachel Jassoy, the mother of Hainchelin.

siblings

In addition to Elisabeth Charlotte Amélie Hainchelin, the following children emerged from the Hainchelin / Kühn marriage:

Marriage and descendants

In 1792 Elisabeth Charlotte Amélie Hainchelin married the Privy War Councilor and General-Rendant at the Excise Administration, later Privy Chief Finance Officer in Berlin Joachim Gottlieb Klaatsch (1754–1834) From this marriage is the historian and Prussian Secret Archives Councilor Friedrich Eduard Klaatsch (1797–1865) emerged.

Youth and education

Little is known about their youth and education. But she came into contact with important people at an early age. After the death of her father (1787) she lived alternately in Berlin and in the country with an aunt until she married her husband Klaatsch in 1792.

Since spring 1784 she was taught drawing and pastel painting by the popular engraver , graphic artist and illustrator Daniel Nikolaus Chodowiecki (1726–1801), a member of the Royal Prussian Academy of the Arts in Berlin. He was very impressed by her and wrote on December 27, 1784 to Anton Graff , probably the most important portrait painter of his era , with whom he had a close and warm friendship: “The daughter of Geh. R. Hainchelin, a lovely girl who often comes to me and practices pastel grinding with my daughter at my place, first copied in pastel and gave her uncle to Professor Beguelin, who made him very happy. "

A good impression of the students emerges from the drawing by Chodowiecki with the title “The disputing beauties”, to which Wolfgang von Oettingen remarks: “Around the years 1780–1790, Chodowiecki was in contact with Chodowiecki, partly attracted by the adult daughters Partly for the sake of the man of about sixty, who, despite some grief, was of vigorous joviality and teasing cheerfulness, a number of pretty young girls. Then came the already known Demoiselle Haase, there were Fraulein von Beguelin, whom he immortalized in the 'Cavalcata infortunata', an unfortunate riding game, and the daughter of the secret finance councilor Hainchelin, his pupil ”.

On January 6, 1785, he wrote to Countess Christiane von Solms-Laubach (1754–1815), who was also a pastel painter and was exhibited by him several times after he had painted a picture of Hainchelin “from his thoughts” in the evening: “ In the morning, everyone who came into my room, big and small - 'Ah! voila Mlle Hainchelin. ' Mlle Hainchelin came - 'Ah! comment m'avés vous donc peint? ' And who sees it will recognize it. What amazes me is that I haven't missed any ink, which is almost inevitable with light. The dear girl was heartily delighted when a few days later she saw this picture, incadated, hanging next to the picture of my dear Countess. So you can make yourself and others happy with this noble art! "

He also wrote to Countess Christiane von Solms-Laubach on October 4, 1785 that Dlle Hainchelin had copied his blessed wife.

Some time later he wrote to the Countess: “But don't laugh, my noble friend, that I still grind pastel in my old age, it happens very rarely; I don't have any more colors either, I steal them from a dear friend who practices pastel grinding with me twice a week. It is the Hainchelin, a good, sharing creature ”.

With reference to the countess's stay in Leipzig, Chodowiecki wrote to her a. a, that Dlle Hainchelin - albeit only in pastel - works as diligently as her wealthy parents, who treat art as “trivial”, allow. "With Oehl," he says, "the girls don't want to bother with it, it's too cumbersome for them."

After all, Chodowiecki complains about the countess's isolation and wishes he could teach her like one of his pastel students and Dlle Hainchelin, who has been copying historical things and heads a few afternoons with him for a year. In 1787 Chodowiecki made a pastel based on a drawing by his favorite pupil, "How she fell in the ditch, her cousin de Beguelin wants to help her out, and my brother's daughter" (the painter and draftsman Nanette Ch. ( Jeanette Papin née Chodowiecka ) (1761– 1835)). Hurries over and the dear girl who feeds in my Malhlstube calls for help

Ironically or disappointed, Chodowiecki later remarked in a letter of November 28, 1792: "Mlle Hainchelin who does not grind so well heyrat a war council Kaatsch."

Anton Graff : Johann Joachim Spalding in a house skirt, 1800
August Friedrich Sack, copper engraving by Daniel Berger after a painting by Anton Graff

Works

The first art exhibition of the Prussian Academy of Arts in Berlin in 1786 - the first public art exhibition in Prussia at all - marked by years of stagnation under Frederick William I and Frederick II. The renewed upsurge of Frederick William II in. Age of Enlightenment was the Berlin Academy to a public forum for art and cultural discussions and at the same time an instrument for the modernization of Prussia. Hainchelin took part in this exhibition with the following works:

Exhibition 1786

  • Image of Mary
  • Saint Elisabeth after the Dutch painter Jacob de Wit (1695–1754)
  • Bust by Anton Graff (1736–1813) based on his self-portrait

Exhibition 1787

In this exhibition Daniel Chodowiecki also exhibited the pastel painting “A Mahlzimmer”. This pastel picture, also called “The Painting Room”, shows how Hainchelin “sits in front of the Stafeley and a pretty 15 year old girl is grinding” in his studio. The following pastel pictures were shown by Hainchelin:

Exhibition 1788

In the catalog, Hainchelen is described on p. 320: “But among these so-called dilettantes they stand out: Demois. Hainchelin, of which there were a few copies of famous masters, in pastel, who did her credit; as, the portrait of Oberconsistorialraths Spalding, and the late court preacher Sack, both after Graff; furthermore, the portrait of the engraver from Schuppen, according to Largilliere, .... ”. A report on the exhibition is printed in the Journal von und für Deutschland

Painting by Heinrich von Béguelin

Exhibition 1789

  • The portrait of Gebeimrath Jordan, painted in pastel after Pesne 185.
  • Two portraits under the previous number

Exhibition 1791

  • Genre "Visit to the grandmother"

Other works

  • Katharina Josepha BAUMANN, after Graff
  • Jeanne-Marie CHODOWIECKA (1728–1785), after Graff
  • Portrait of the Professor of Béguelin
Pastel painting by Carl Heinrich Hainchelin
Pastel painting by Anna Christiane (Nanni) Hainchelin geb. Leidemit
  • Portrait of the brother Carl Heinrich Hainchelin
  • Portrait of the sister-in-law Nanni Hainchelin geb. Leidemit

literature

  • Neil Jeffares, “Louis Vigée,” Dictionary of pastellists before 1800, London, 2006; online edition (keyword "Hainchelin Lisette, Frau Kaatsch") (accessed September 25, 2014) [1]
  • Neil Jeffares, “Louis Vigée,” Dictionary of pastellists before 1800, London, 2006; online edition (keyword “Jassoy”) (accessed September 25, 2014) pastellists.com
  • Frank Göse (editor), Friedrich the Great and the Mark Brandenburg: Rule Practice in the Province, Berlin 2012, keywords "Hainchelin" reading samples online [2]
  • Jochen Schmidt-Liebich, Lexikon der Künstlerinnen, 1700–1900, Munich 2005, p. 181, online digital
  • Helmut Börsch-Supan , (arr.), The catalogs of the Berlin Academy, exhibitions 1786–1840. Bruno Hessling, Berlin 1971, 3 volumes.
  • German Historical Museum, object database, the catalogs of the Berlin Academy exhibitions 1786–1850, (2 facsimile volumes, 1 register volume), digital
  • Jochen Schmidt-Liebich, Lexicon of Women Artists 1700–1900: Germany, Austria, Switzerland, 2005, ISBN 3-598-11694-2 , p. 181 google books reading sample

References and comments

  1. ↑ Jochen Schmidt-Liebich, Lexikon der Künstlerinnen 1700–1900: Germany, Austria, Switzerland, Munich 2005, p. 181, e-book
  2. ↑ Dietmar Grypa (Ed.), Complete Edition of the Correspondence by Leopold von Ranke, Vol. 1: 1810–1825, Berlin / Boston, 2016, annotation (not numbered in the partial view) partial view digital
  3. ^ Friedrich Schleiermacher , Hans Joachim Birkner , Critical Complete Edition: Dept. Correspondence and Biographical Documents, Vol. 1 Correspondence 1774–1796. Vol. 2. Correspondence 1796–1798. Vol. 3. Correspondence 1799–1800. Vol. 4. Exchange of letters 1800 (letters 850–1004) Vol. 5. Exchange of letters 1801–1802 (letters 1005–1245) Vol. 6. Exchange of letters 1802–1803 (letters 1246–1540) Vol. 7. Exchange of letters 1803–1804 (letters 1541-1830), 2005, p. 513, snippet view
  4. ↑ Dietmar Grypa (editor), complete edition of the correspondence by Leopold von Ranke, vol. 1: 1810–1825, Berlin / Boston, 2016, annotation (not numbered in the partial view) e-book preview
  5. ^ Daniel Chodowiecki , correspondence between him and his contemporaries, 1726-1801, edited by Charlotte Steinbrucker, 1919, To Anton Graff , letter of December 27, 1784 p. 435 no. 588, digital
  6. ^ Wolfgang von Oettingen, Daniel Chodowieckis hand drawings; Berlin 1907, p. 38 and picture No. 30, digital
  7. ↑ Daniel Chodowiecki , correspondence between him and his contemporaries, 1726–1801, edited by Charlotte Steinbrucker, 1919, letter of January 6, 1785 to Countess Christiane von Solms-Laubach, pp. 438 f no. 595 digital
  8. ↑ Daniel Chodowiecki , correspondence between him and his contemporaries, 1726-1801, edited by Charlotte Steinbrucker, 1919, letter of October 4, 1785 to Countess Christiane von Solms-Laubach, p. 460 No. 625 digital
  9. ↑ Daniel Chodowiecki , correspondence between him and his contemporaries, 1726–1801, edited by Charlotte Steinbrucker, 1919, To the Countess Christiane von Solms-Laubach, letter of November 6, 1785. P. 462 No. 632, digital
  10. ↑ Daniel Chodowiecki , correspondence between him and his contemporaries, 1726-1801, edited by Charlotte Steinbrucker, 1919, To the Countess Christiane von Solms-Laubach, letter of December 13, 1785, p. 473 No. 641 digital
  11. ^ Daniel Chodowiecki , correspondence between him and his contemporaries, 1726–1801, edited by Charlotte Steinbrucker, 1919, To the Countess Christiane von Solms-Laubach, letter of December 13, 1785 p. 448 No. 610 digital
  12. ↑ In the English Wikipedia article she is incorrectly referred to as Jeannette Papin's daughter of Daniel Chodowiecki and not as his niece
  13. ^ Daniel Chodowiecki , Letters to Countess Christiane von Solms-Laubach, edited by Charlotte Steinbrucker, Strasbourg 1928, letter of May 11, 1787, p. 127, snippet view
  14. ^ Daniel Chodowiecki , Letters to Countess Christiane von Solms-Laubach, edited by Charlotte Steinbrucker, Strasbourg 1928, p. 174, snippet view
  15. ↑ In the section “Exhibitions” by Neil Jeffares, (Pastels & pastellists, Exhibitions 1776 to 1800, Online edition, accessed on January 21, 2018), all exhibitions in Berlin from 1786 on are listed, but only a few in which works by Hainchelin, digitally . As can be seen from the consecutive numbers of the objects on display, not all objects are listed in the catalogs. In contrast, the article about Hainchelin by Jochen Schmidt-Liebich (Jochen Schmidt-Liebich, Lexikon der Künstlerinnen, 1700–1900, Munich 2005, p. 181, digital ) states that she was also involved in the exhibitions 1786, 1787, 1788, 1789 and participated in 1790
  16. ↑ Ekhart Berckenhagen: Anton Graff - life and work. Deutscher Verlag für Kunstwissenschaft, Berlin 1967, pp. 30 and 56, snippet view
  17. ^ Daniel Chodowiecki , Letters to Countess Christiane von Solms-Laubach, edited by Charlotte Steinbrucker, Strasbourg 1928, letter of May 11, 1787, p. 126, digital
  18. ↑ quoted from Neil Jeffares, Pastels & pastellists, Exhibitions 1776 to 1800, electronic edition, accessed on January 21, 2018, digital
  19. ↑ Philipp Anton Sigmund von Bibra, Journal from and for Germany: First to Sixth Piece. Sixth year, volume 6, p. 320, digital
  20. ^ Carl Christian Heinrich Rost, CG Martini, manual for art lovers and collectors about the most distinguished engravers and their works: from the beginning of this art to the present day: chronologically and in schools, according to the French handwriting of Mr. M. Huber. Dutch School, continuation, Volume 6, Zurich 1802, p. 228 No. 17, digital
  21. ↑ A figure can be found in Neil Jeffares, Dictionary of pastellists before 1800, under the keyword: LARGILLIERRE, Nicolas de digital
  22. ↑ In the above A letter of December 27, 1784 to the painter Graff mentions that she painted a picture of Prof. von Béguelin. Nicholas of Béguelin (1714-1789) was the father of the Fiscal Council Heinrich Huldreich Peter von Béguelin (1765-1818), who along with his brother by Lisette Hainchelin Carl Heinrich Hainchelin in general upper-financial war and domains Directorate worked . The families of Béguelin and Hainchelin were related. In the attached picture his son is shown. But Lisette Hainchelin probably painted this picture
  23. ↑ a b This picture is not described in the literature. Before World War II it was owned by the descendant Clara Perrin née. Jekel, last living in Burgsteinfurt. However, there is no evidence of Lisette Hainchelin's authorship.
personal data
SURNAME Hainchelin, Elisabeth Charlotte Amélie
ALTERNATIVE NAMES Hainchelin, Lisette; Klaatsch, Lisette
BRIEF DESCRIPTION German painter and student of the painter Chodowiecki
DATE OF BIRTH 1765
PLACE OF BIRTH Berlin
DATE OF DEATH 1815
Place of death unsure: Berlin