Franz Ignaz Oefele

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Franz Ignaz Oefele, 37 years old
Painter: Giuseppe Nogari , 1758
Copper engraving: Franz Xaver Jungwirth , 1765
Franz Ignaz Oefele, 70 years old
self-portrait from 1791

Franz Ignaz Oefele (born June 26, 1721 in Posen , † September 18, 1797 in Munich ) was a German painter , etcher and miniature painter .

Life

Oefele, a younger cousin of the Munich historian and librarian Andreas Felix von Oefele , was the son of the watchmaker Sebastian Oefele from Schrobenhausen in Bavaria. Since the father died when Oefele was six months old, he grew up with his uncle, a brewer in Landsberg am Lech . There he learned the basics of painting with Simon Maier , later in Ingolstadt with Melchior Buchner and finally in Augsburg with Gottfried Bernhard Göz . He then trained in Munich with the Bavarian court painter Balthasar Augustin Albrecht . After working for some time for various Bavarian artists, he went to Venice , where Giuseppe Nogari accepted him through Albrecht's mediation and in 1758 painted a portrait of him, which Franz Xaver Jungwirth engraved in copper in 1765 .

He stayed in Venice for six years and then studied for two years in Rome with the English history painter John Parker . He is also said to have studied with the Flemish painter Jan Frans van Bloemen (1662–1749), who worked in France and Italy . After a total of eight years in Italy, Oefele returned to Munich, where the Bavarian Elector Maximilian III. appointed court painter and in 1770 first professor of the drawing class and artistic director of the Academy of Fine Arts Munich founded on March 7, 1770 ("Drawing School, respectively painter and sculptor Academy for the promotion and acceptance of the arts") with an annual salary of 100 guilders . Among his students were Johann Georg von Dillis and Johann Edlinger . He was also a member of the Düsseldorf Art Academy .

Despite his successful work, Oefele left his family in financially difficult circumstances when he died in 1797.

Oefele was considered an offshoot of the old Italian school , but the incipient classicism had already influenced him. So he was a transition artist, albeit with a greater affinity for the earlier art direction. Oefele mainly painted altar paintings, easel paintings and portraits . For example, in 1775 he painted the sheet of the Rupertus altar for the Schifferkirche St. Nikola in Oberndorf near Salzburg , in 1780 the high altar picture for the parish church Mattighofen - after which his academy successor Andreas Seidl (1760-1836) later made an etching - also on behalf of Provost Franz Töpsl for the Polling monastery an Ecce homo and a Christ who is stripped for the flagellation , as well as a Christ with the Samaritan woman at the well for the church in Winhöring . For the sacristy of the Munich Theatine Church, he painted the life-size knee of Electress Adelheid . A self-portrait of the artist from 1791, which today belongs to the Bayerische Staatsgemäldesammlungen ( Neue Pinakothek , inventory no. 49) and shows him working with a brush and palette , hung a pince-nez on his nose in the Schlossgalerie Schleißheim .

Oefele's portraits of his teacher Balthasar Augustin Albrecht (1765), the poet Mathias Etenhueber (1770) and the sculptor Johann Baptist Straub (1779) were later engraved in copper by Jungwirth, those of the theologian Ferdinand Sterzinger (1775) by Johann Michael Söckler (1744– 1781). Some etchings by Oefele are also known, such as the views of the Polling monastery and the daughter of Dibutades at Corinth, drawing the shadow of her lover on the wall (1769).

literature

Web links

Commons : Franz Ignaz Oefele  - Collection of images, videos and audio files

Individual evidence

  1. Barbara Eschenburg: Post-Baroque and Classicism. In: Barbara Hardtwig (Ed.): Painting catalogs of the Bayerische Staatsgemäldesammlungen. Hirmer, 1978, ISBN 3-7774-2930-9 , p. 304 ( limited preview in Google book search).
  2. In old literature this artist is called Johann Barca .
  3. Ekkehard Mai: The German art academies in the 19th century. Böhlau, Köln / Weimar / Wien 2010, ISBN 978-3-412-20498-3 , p. 98 ( limited preview in the Google book search).
  4. ^ Uta Schedler: Roman Anton Boos (1733-1810). Sculptor between Rococo and Classicism. Schnell & Steiner, Munich 1985, ISBN 3-7954-0370-7 , p. 35 ( limited preview in the Google book search).
  5. ^ Richard van Dülmen : Provost Franziskus Töpsl (1711–1796) and the Augustinian Canon Monastery of Polling. A contribution to the history of the Catholic Enlightenment in Bavaria. Laßleben, Kallmünz 1967 (also dissertation University of Munich 1965), p. 54 ( limited preview in the Google book search).
  6. Information on the self-portrait from 1791 .
  7. Figure .
  8. Image in the Regensburg portrait gallery ( Memento of the original from February 5, 2013 in the Internet Archive ) Info: The archive link was automatically inserted and not yet checked. Please check the original and archive link according to the instructions and then remove this notice. . @1@ 2Template: Webachiv / IABot / rzbvm005.uni-regensburg.de