Friedrich Anton Wyttenbach

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Engelbert Seibertz : 1839 portrait of the painter Anton Wyttenbach, the dogs added by himself. Oil on canvas, 130 × 104 cm, City Museum Simeonstift Trier , Inv. No. III 243.
Portal of the Liebfrauenkirche in Trier . 1835, oil on canvas, 83 × 73 cm, City Museum Simeonstift Trier, inv. No. III 341.
Dog on his master's grave. 1836, oil on canvas, 63 × 77 cm, Stadtmuseum Simeonstift Trier, inv. No. III 1180.
1841 The dress rehearsal. , Oil on canvas, 39 × 34.5 cm, City Museum Simeonstift Trier, inv. No. III 1513.
Family portrait. 1844, oil on canvas, mounted on wood, 62 × 50 cm, Stadtmuseum Simeonstift Trier, inv. No. III 68.
Trier hunting party. 1845, oil on canvas, 95 × 137 cm, City Museum Simeonstift Trier, inv. No. III 66.
Self-portrait in front of an easel with an oil painting. Around 1834, lithograph, 34.5 × 21.5 cm, City Museum Simeonstift Trier, inv. No. V 386.
Portrait of his father Johann Hugo Wyttenbach . Undated, lithograph (A. Nussbaumer), 35 × 26 cm, Stadtmuseum Simeonstift Trier, inv. No. V 1023.
Rabbits. 1843, etching, 20 × 28.8 cm, City Museum Simeonstift Trier, inv. No. V 693.

Friedrich Anton Wyttenbach (born March 23, 1812 in Trier ; † November 9, 1845 there ) was a German genre and animal painter.

Live and act

origin

Friedrich Anton Wyttenbach was born on March 23, 1812 as the fourth of six children of the married couple Johann Hugo Wyttenbach and Anna Maria, born. Ramboux and on March 25, 1812 in the inner parish of Liebfrauen-St. Laurentius baptized. He grew up in a culturally ambitious home. As the director of the grammar school, founder and head of the city library, as well as the author of philosophical anthologies and urban historical works, his father belonged to Trier's intellectual elite. The mother, who came from a family of goldsmiths and merchants, was the sister of the painter, curator and Trier honorary citizen Johann Anton Ramboux , who lived in the Wyttenbach household between 1822 and 1832 in his early creative period and had a lasting influence on the development of his nephew.

education

Due to his artistic talent, Friedrich Anton Wyttenbach pushed through his career aspiration to become a painter against the original ideas of his father. He received systematic drawing and painting lessons from the high school painter Karl Ruben, who had also trained Ramboux. In 1829 Wyttenbach went to the Düsseldorf Art Academy , where he studied until 1832. According to the student lists, there is only reliable information about his advanced training focus for the winter semester 1830/1831, when he attended the "second or preparatory class" under the portraitist and academy professor Heinrich Christoph Kolbe . Without documentary evidence, studies in history painting under the academy director Wilhelm von Schadow and successful beginnings in animal painting are reported in the literature . Wyttenbach's friendship with the brothers Gustav Preyer (landscape painter) and Johann Wilhelm Preyer (still life painter) in Düsseldorf has also been handed down.

Interim time in Trier

In 1832 Wyttenbach returned to Trier to complete his military service, which began in October each year. For him, his military service dragged on until the end of March 1834, as it was interrupted by several months' imprisonment at the Ehrenbreitstein fortress in Koblenz. This emerges from a bundle of letters that the painter sent to his friend Peter Junk in Trier while he was in prison, but without specifying the reasons for the imprisonment. There is a high probability that it was a military disciplinary measure. As far as it was suspected that Wyttenbach had become a victim of the demagogue persecution of Vormärz , his mere membership from 1832 in the short-lived Trier "Young German Kränzchen" is not sufficient for this assumption, even if nationally well-known opposition members to this group such as the publicist Eduard Duller , the poet Friedrich von Sallet or the musician Joseph Mainzer.

The Munich decade

In the course of 1834 Wyttenbach moved to Munich and quickly settled in the local art scene: the painter Engelbert Seibertz already counted him among his "new friendships in the Fink'sche coffee house" in 1834. Wyttenbach himself as well as his father - he was supportive “Art lover” - acquired membership in the Munich Art Association , which served as a successful presentation and transshipment point for local art production and for networking with art associations outside of Germany. From 1835 Wyttenbach exhibited there regularly, including the oil painting “Portal of the Church of Our Lady in Trier”, which he had already begun in Trier.

Most of the landscape and genre painters referred to as “Fächler” stayed away from the Royal Academy of Fine Arts in Munich under the then directorate of Peter von Cornelius , a main representative of the Nazarenes ' style . Wyttenbach is also not listed in the Academy's register books , but exhibited there at least once (1835), including with the already established Heinrich Bürkel , whose genre scenes and variations on themes that had once been posted clearly influenced him. With the lively immediacy of his genre painting "Dult in Munich", created in 1838, a fairground scene in front of the city backdrop, he transferred Bürkel's southern market and street scenes to Munich territory.

Animal painting

Friedrich Anton Wyttenbach's main subject was animal painting , with which he caught up with Munich's main representatives of this subject such as Robert Eberle or Johann Friedrich Voltz . His depictions of animals are characterized by a high degree of realism, which he gained from close observation and instinctive empathy with their special characteristics. This was especially true for the dogs to which he was particularly fond and which he kept as constant companions to several. However, he did not stop at portraying them, because for him they did not stand absolutely, but in their relationship to people and their social conditions. Wyttenbach backed up his animal scenes, enriched with genre-like elements, with biting time satire and social criticism. It remains to be seen whether he also orientated himself on the works of the English dog painter Edwin Landseer , who was already highly valued at the time and who, in addition to perfect animal portraits, also castigated grievances in comical and grotesque situations.

In his 1836 painting Dog on his Lord's Grave, based on the poem The Beggar and His Dog by Adelbert von Chamisso , Wyttenbach contrasted the ruthlessness of man with the unconditional attachment to the creature. His oil painting A poodle frees all non-muzzle-wearing dogs arrested by the police from 1842 was to be understood as a denunciation of the pre-March police state. Even the theme of the “Savojard boy” with his trained dogs or monkeys, which was often discussed in Bürkel style, contained a cliché-like appeal for pity directed at the viewer with the stream of poor emigrants from Savoy. In the apparently comical version of the dress rehearsal from 1841, Wyttenbach grotesquely showed "dogs dressed for comedy" with miniature robes, preparing for their public appearance in a stable full of junk. The parable transferability of the central dressage act to humans could not be overlooked here either.

Hunting pieces

In the 1840s, the provocative or anecdotal additions disappeared from Wyttenbach's painting. He was familiar with hunting from a young age - his godfather Franz Anton Utsch was a forest master and himself a passionate hunter - he had gained a foothold in Munich hunting circles and now almost exclusively turned to the depiction of hunting pieces.

The untamed, autonomous game, viewed as domestic and farm animals, and the established artistic trend of realism demanded a more objective reproduction in an environment as close to nature as possible, as he presented with numerous oil paintings on the subject of game and hunters or with his light-handed etching "Hare". They formed the high point of his artistic career and his sales successes. The fact that in 1841 he decorated a hunting lodge in the Forstenried district near Munich with a total of 8 wall paintings with hunting scenes also contributed to his reputation. The initiative for this came from the royal forest ranger and park manager Max von Schilcher, who was also a member of the Munich Art Association.

Return to Trier

The young painter's stay in Munich ended as early as 1844 due to illness. As his friend Engelbert Seibertz reported, Wyttenbach, who was very popular and gifted for great appearances, had earned the nickname “Baron”, but often lived beyond his means despite good sales of paintings. Now he returned to his family in Trier. However, he only had a year of life left in which he was able to complete several works and create a Biedermeier family portrait that most likely showed his three sisters and four other members or friends of the Wyttenbach family.

With his last painting, Rest after the Hunt , later referred to as the Trier Hunting Society , he once again demonstrated his great potential as a portraitist of humans and animals, as a genre painter and as a landscape painter with a rich coloristic repertoire. On the large-format oil painting, he grouped more than 30 participants from an autumn hunting party near the forester's house in Kobenbach near Trier around their hunting route, not without adding his self-portrait with a hunting dog in the lower right corner of the picture. The painter died at the age of 33 during the well-attended exhibition of the picture in the Trier Casino.

Works and exhibitions (selection)

The following list of works is based on museum holdings (without repetition of the works shown here), on the annual and statement of accounts of the Kunstverein (KV) Munich, the exhibition lists of the Academy of Fine Arts in Munich, the Baden Art Exhibitions (KA) in Karlsruhe, the Berlin Academy of Fine Arts and the information from Dieck: Newly found works by the Trier painter Friedrich Anton Wyttenbach. 1964. The contemporary Bavarian measure of length “inches” was just under 3 cm (2.9185 cm).

Oil painting

  • 1834: Three politicians in the tavern. Size unknown.
  • 1835: Two priests in a cloister. 20 × 33 inches, art exhibition of the Bavarian Academy of Fine Arts in Munich.
  • 1836: A Savojard boy with dogs. 19 × 17 inches, KV Munich.
  • 1836: Dogs playing. 39 × 46 inches, KV Munich.
  • 1836: The Crown of Misery. Size unknown, Berlin Academy exhibition.
  • 1837: A dead dog in a grave. 12.5 × 14 inches, KV Munich and KA Karlsruhe June 1837.
  • 1837: A Savoyard boy with a monkey. 10.5 × 9.5 inches, KV Munich.
  • 1837: The condemned. 11.5 × 9.5 inches, KV Munich. 1838
  • 1838: Studies in the stable. 55 × 77 cm, Wallraf-Richartz-Museum Cologne, inv. No. WRM 1110.
  • 1838: Portrait of a girl with a hunting dog. 33.5 × 26 inches, KV Munich.
  • 1838: a stable with monkeys. 19.5 × 27 inches, KV Munich.
  • 1838: Shepherd with his herd in front of a wide landscape with castle complex. 28 × 32 cm, signed and dated “A. Wyttenbach 1838 “, Dorotheum in Vienna.
  • 1838: Dult in Munich. 79 × 109 cm, Neue Pinakothek Munich, Inv. No. 7732.
  • 1839: Scene in a Tyrolean farmhouse. 11.5 × 10 inches, KV Munich.
  • 1839: Bear's head (study). Municipal gallery in the Lenbachhaus Munich.
  • 1840: A fox at its burrow. 13 × 16 inches, KV Munich.
  • 1840: A stag in the rut. 24 × 19.5 inches, KV Munich.
  • 1841: A hunting party. 24 × 32 inches, KV Munich.
  • 1841: Hunting lodge in the Forstenried district. Picture cycle of 8 wall paintings in oil and wax technique (encaustic)
  • 1842: A poodle frees all non-muzzle-wearing dogs arrested by the police , also known as The Dogs as Revolutionaries . 24 × 30 cm, City Museum Munich, painting collection Inv. No. GM 30/1902.
  • 1842: a piece of hunting. 30 × 40 inches, KV Munich.
  • 1843: A fox stalks a duck. 9 × 12 inches, KV Munich.
  • 1844: Dead game. Size unknown, KV Munich.

graphic

  • 1830: Portrait head of Johann Hugo Wyttenbach. Its English edition of a city guide through Trier is included as a lithographed frontispiece , signed and dated: FA Wyttenbach del. 1830, 25.5 × 18.3 cm.
  • 1843: A poodle frees all non-muzzle-wearing dogs arrested by the police, etchings and lithographs based on the painting of the same name by FA Wyttenbach. The original lithograph (large folio) published in "Kohlers Münchner Album", Munich 1846.
  • Undated: dog on his master's grave , also referred to as the faithful guardian. Lithograph (qu. Folio) by J. Bergmann after the painting by FA Wyttenbach.

literature

  • Wilhelm von Waldbrühl : Friedrich Anton Wyttenbach, animal painter in Trier. In: New Nekrolog der Deutschen. Volume 23, 1845 (1847), ZDB -ID 516094-7 , no. 248, pp 838-842 ( digitale-sammlungen.de ).
  • ES (= Engelbert Seibertz): An etching by FA Wyttenbach. (With original etching "Hasen"). In: Zeitschrift für Bildende Kunst. Volume 6, 1871, ISSN  0863-5838 , pp. 293-294 ( digizeitschriften.de ).
  • Georg Kaspar Nagler : New general artist lexicon. Volume 22: Witsen - Zyx. Fleischmann, Munich 1852, p. 161 ( uni-weimar.de ).
  • Hyacinth Holland :  Wyttenbach, Friedrich Anton . In: Allgemeine Deutsche Biographie (ADB). Volume 55, Duncker & Humblot, Leipzig 1910, p. 145.
  • Hans Lückger: The painters. In: Trier 100 years ago. Portraits exhibition. Organized by the local group Trier, the West German Society for Family Studies in conjunction with the Moselle Museum of the city of Trier. sn, sl 1929, pp. 30, 80 and cat. no. 179, 185.
  • Wyttenbach, Friedrich Anton . In: Hans Vollmer (Hrsg.): General lexicon of fine artists from antiquity to the present . Founded by Ulrich Thieme and Felix Becker . tape 36 : Wilhelmy-Zyzywi . EA Seemann, Leipzig 1947, p. 340 .
  • Walter Dieck: Friedrich Anton Wyttenbach - A Trier painter of the Biedermeier period. In: Kurtrierisches Jahrbuch. Volume 1, 1961, ISSN  0452-9081 , pp. 46-53.
  • Walter Dieck: Newly found works by the Trier painter Friedrich Anton Wyttenbach. In: Kurtrierisches Jahrbuch. 4th vol., 1964, pp. 60-70.
  • Munich painter in the 19th century. Volume 4: Saffer - Zwengauer. (= Bruckmann's Lexicon of Munich Art ). Bruckmann, Munich 1983, ISBN 3-7654-1804-8 , pp. 405-406.
  • Barbara Eschenburg: Bayerische Staatsgemäldesammlungen, Neue Pinakothek, Munich. Complete catalog. Late Romanticism and Realism (= Bayerische Staatsgemäldesammlungen. Painting catalogs. Volume 5). Hirmer, Munich 1984, ISBN 3-7774-3450-7 , 563-564.
  • Bernd Brauksiepe, Anton Neugebauer: 250 painters in Rhineland-Palatinate. 1450-1950. (Painter and graphic artist from 1450 to 1950) (= artist lexicon ). Druck-Service Lang und Verlag, Mainz-Hechtsheim 1986, 279 f.
  • Siegfried Wichmann : Munich landscape painter in the 19th century. Masters, students, subjects. Seehamer, Weyarn 1996, ISBN 3-929626-72-1 , pp. 65, 274.
  • Guido Groß: Friedrich Anton Wyttenbach (1812–1845) - A Trier painter from the Biedermeier and Vormärz period. In: Elisabeth Dühr (Ed.): "The worst point in the province". Democratic revolution 1848/49 in Trier and the surrounding area. Städtisches Museum Simeonstift, Trier 1998, ISBN 3-930866-13-7 , pp. 124–135.
  • Carsten Roth: Wyttenbach, Friedrich Anton. In: Hans Paffrath (Ed.): Lexicon of the Düsseldorfer Malerschule 1819–1918. Volume 3: Nabert-Zwecker. Published by the Kunstmuseum Düsseldorf in the Ehrenhof and by the Paffrath Gallery. Bruckmann, Munich 1998, ISBN 3-7654-3011-0 , p. 454.
  • Thomas Wiercinski: Heinrich Bürkel's oil paintings - composition and coloring. In: Ingeborg Besch (Ed.): Heinrich Bürkel - Between Munich and Rome. Biedermeier picture book. Pirmasens, Saarbrücken 2002, ISBN 3-935348-07-X , pp. 25-34.
  • Andrea Teuscher: Engelbert Seibertz 1813–1905. Life and work of a Westphalian portrait and history painter (= studies and sources on Westphalian history. Volume 53). Bonifatius, Paderborn 2005, ISBN 3-89710-308-7 , pp. 49–51, 226–227 (with excerpts E. Seibertz: Memories. Volume 1, p. 71; Volume 3, pp. 3, 10 and 32) .
  • Elisabeth Dühr, Christiane Häslein, Frank G. Hirschmann, Christl Lehnert-Leven (eds.): A picture gallery for Trier - City Museum Simeonstift. Selection catalog from the inventory. Stadtmuseum Simeonstift, Trier 2008, ISBN 978-3-930866-27-4 , pp. 87–91 and picture card No. 12.
  • Tina Klupsch: Johann Hugo Wyttenbach. A historical biography (= Trier historical writings. Small writings. Volume 2). Kliomedia, Trier 2012, ISBN 978-3-89890-168-0 (also: Trier, University, dissertation, 2010).
  • Ute Bopp-Schumacher: Nice prey. Pictures from the hunt with a focus on hunting scenes, depictions of wild animals and animal still life. Published by the Dr. Hanns Simon Foundation Bitburg. Verlag Das Wunderhorn, Heidelberg 2013, ISBN 978-3-88423-447-1 .
  • Gabriele D. Grawe, Danièle Wagener (ed.): Les Animaux dans l'art. (= La Villa. No. 4, ZDB -ID 2747622-4 ). Musée d'Art de la Ville de Luxembourg, Luxembourg 2013.

Web links

Commons : Friedrich Anton Wyttenbach  - Collection of images, videos and audio files

Individual evidence

  1. ↑ Church book Liebfrauen-St. Laurentius No. 7 and 8: Baptisms 1786–1824. - Trier diocese archive, Dept. 72, 846.
  2. ↑ The painter and drawing teacher Karl Ruben was the father of the painter Christoph Christian Ruben , who had a steep career as director of the art academies in Prague and Vienna.
  3. ^ Large: Friedrich Anton Wyttenbach (1812–1845). 1998, p. 135, footnote 12, based on information from the North Rhine-Westphalian Main State Archives in Düsseldorf.
  4. ^ Wolfgang Hütt : The Düsseldorf School of Painting. 1819-1869. Seemann, Leipzig 1984, pp. 225, 314, note 261a.
  5. ^ A letter of November 26, 1833 published in: Trierische Heimat. 6. Vol. 2, 1929/1930 (1930), ZDB -ID 501049-4 , pp. 28-29. Further personal letters by Friedrich Anton Wyttenbach dated March 12, July 12, September 3 and October 29, 1833, each addressed to his friend Peter Junk in Trier. Trier City Library, autograph collection. On the merchant, innkeeper and vigilante leader Peter Junk cf. Hermann Spoo: Peter Junk and his garden. In: Trierische Heimat. 5. Vol. 8, 1928/1929 (1829), pp. 117-120.
  6. ^ Report on the existence and activities of the Munich Art Association. 1832-1843, 1848-1849, 1851-1855, ZDB -ID 1072225-7 , digital copies ; Accountability report of the administrative committee of the Kunstverein in Munich. 1844-1847, 1850, 1856, ZDB ID 1264900-4 , digital copies ; Report on the existence and the work of the Munich Art Association. 1857-1860, ZDB -ID 1072225-7 , digital copies .
  7. ↑ Wyttenbach leaned on Ramboux's drawing of the portal from 1823, but expanded its pure architectural image in a genre-like manner by adding a staffage of praying churchgoers leading into the image.
  8. ^ Matriculation books of the Academy of Fine Arts Munich 1809–1920. Digital edition. 2007/2008.
  9. ^ Oldenbourg: Munich painting in the nineteenth century. Part 1. 1922, p. 136.
  10. ^ Franziska Raynaud: Savoy immigration in Germany. (15th to 19th century). Degener, Neustadt an der Aisch 2001, ISBN 3-7686-4216-X , pp. 7-15. With further evidence: the peddling shopkeeper and the poorly dressed Savoyard boy begging at fairs and showing off his trained marmot, his "Marmotte", were pictures known from literature and the fine arts. See, among others, Johann Conrad Seekatz , beggar musicians with monkey and costumed dogs, oil painting around 1750, Saarland Museum Saarbrücken.
  11. ^ Obituary for Friedrich Anton Wyttenbach. In: Accountability report of the administrative committee of the Kunstverein in Munich. 1845 (1846), p. 58 ( Digitale-sammlungen.de ).
  12. ^ Franz Anton Utsch, forester, married to the sister Anna Maria of the painter Johann Anton Ramboux, who portrayed the Utsch couple in 1812. See catalog: Johann Anton Ramboux. Painter and conservator. 1790-1866. Memorial exhibition in the Wallraf-Richartz-Museum Cologne, December 28, 1966 - February 26, 1967. Wallraf-Richartz-Museum, Cologne 1966, p. 72 and Fig. Panels 2 and 3.
  13. ↑ Parallels to Johann Anton Ramboux's fresco cycle for the winery owner Matthias Joseph Hayn in Trier, whose creation 1826–1828 Wyttenbach had seen first hand, are obvious.
  14. ^ Report on the existence and activities of the Munich Art Association. 1841 (1842), p. 39 ( Digitale-sammlungen.de ).
  15. ↑ Heinrich Wurringen: Family book of the parish Liebfrauen and St. Laurentius from 1798 to 1824. Diocese archive Trier, Dept. 77 No. 33, p. 213. When the painting was made, only his two single sisters Anna Ottilie (* 1806) and Catharina were still alive (* 1817) and Anna Emilie (* 1810), who had been married to Georg Friedrich von Loebell since 1840. On the Loebell family, cf. Robert von Loebell: To the history of the family von Loebell (von Leubell called von Loebell). Determined from documents and manuscripts and compiled. Mittler, Berlin 1895, ( uni-duesseldorf.de ).
  16. ↑ Diocese archive Trier, Dept. 72, 848 - Church book 21 - Liebfrauen-St. Laurentius - Deaths 1827-1853, p. 190. Waldbrühl: Friedrich Anton Wyttenbach. 1845, calls the disease "emaciation".
  17. ↑ Directory of the art exhibition of the Royal Bavarian Academy of Fine Arts in Munich. 1835 ZDB -ID 1247475-7 , p. 33, No. 313 ( digitale-sammlungen.de ).
  18. ↑ Boetticher: Painters Works of the Nineteenth Century. Volume 2, half 2. 1901, p. 1043; Catalog of the art and industry exhibition for the Grand Duchy of Baden in Karlsruhe in June 1837. Hasper, Karlsruhe 1837.
  19. ^ Helmut Börsch-Supan : The catalogs of the Berlin Academy exhibitions 1786–1850 (= sources and writings on the fine arts. Vol. 4, 2, ISSN  0079-9092 ). Volume 2. Hessling, Berlin 1971, no.1609.
  20. ^ Nikolaus Krahe: Three politicians in the tavern. In: Treviris. 1st year, No. 18, 1834, ZDB -ID 400988-5 , ( books.google.at ).
  21. ^ Christian Heße, Martina Schlagenhaufer: Wallraf-Richartz-Museum Cologne. Complete directory of the painting collection. DuMont et al., Cologne et al. 1986, ISBN 3-7701-1979-7 , p. 92. The painting is signed: “AF Wyttenbach p. 1838 Munich ".
  22. ^ Catalog auction house Dorotheum in Vienna, auction of November 25, 2004, p. 38, lot. No. 36.
  23. ↑ Perhaps identical to the painting: Monkey and Dog Comedy in a Mountain Village (cf. Waldbrühl: Friedrich Anton Wyttenbach. 1845).
  24. ↑ This and the following work title after Roth: Wyttenbach. 1998.
  25. ^ Johann Hugh Wyttenbach: The Stranger's Guide to the Roman Antiquities of the City of Treves. Edited under the direction of Dawson Turner. John W. Parker, London 1839. The portrait is reversed based on the portrait of the author created by Johann Anton Ramboux in 1829, oil on canvas, 61.5 × 54.7 cm, Stadtmuseum Simeonstift Trier, inv. No. III 1595.
  26. ↑ This and the following title after Nagler: New general artist lexicon. Volume 22. 1852, p. 161.
personal data
SURNAME Wyttenbach, Friedrich Anton
BRIEF DESCRIPTION German genre and animal painter
DATE OF BIRTH March 23, 1812
PLACE OF BIRTH trier
DATE OF DEATH November 9, 1845
Place of death trier