Friedrich Distelbarth

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Love vase by Friedrich Distelbarth (around 1831), Stuttgart, forecourt at the chamber theater

Georg Friedrich Distelbarth (born September 22, 1768 in Ludwigsburg ; † May 23, 1836 in Stuttgart ) was a classicist Württemberg sculptor of regional importance. His works were mostly based on the models of other artists. His main works include the water and meadow nymph , the Artemis Selene relief and the love vase .

Life

Friedrich Distelbarth was the son of Johann Christoph Distelbarth and Anna Maria Distelbarth geb. Walter. The father, a trained Flaschner, was at that time a simple soldier ("commoner") in the artillery regiment of Duke Carl Eugen of Württemberg . As the son of a poor soldier, Distelbarth was accepted into the military orphanage in Ludwigsburg, where he received his first school education.

High Carlsschule (1782–1792)

On January 31, 1782, at the age of 13, Distelbarth entered the Hohe Carlsschule in Stuttgart as a “pupil of sculpture” . This had the rank of a university, whereby the lessons in the lower classes corresponded roughly to that of today's high school. Distelbarth was exempt from all fees, and the duke also paid for clothing, food and accommodation in the adjoining boarding school.

There were only a few sculpture students among the around 25 art students. Two almost the same age classmates came from Ludwigsburg, like Distelbarth, his friends Sigismund Christian Friedrich Keppler (the Elder) (* 1767), who later transferred to the court service of Duchess Franziska von Hohenheim , and Joseph Wilhelm Ludwig Mack (1767-1835), who at the latest 1807 was appointed court plasterer. Another classmate and friend was Johann Bernhard Frank (1770–1836), who was admitted to school two years after Distelbarth and in 1798 was promoted to court sculptor.

The sculptor Eleven had like all other Carl students first complete the comprehensive and thorough general education. The workload included writing and drawing, Latin, French, Italian, history, religion, philosophy, Roman antiquities, geography, mathematics and social skills (dancing, fencing and horse riding).

At the beginning of 1790 the sculptor Johann Heinrich Dannecker was appointed professor at the Carlsschule. Some of his first students were Distelbarth, Frank and Mack. In 1792 Distelbarth left the Carlsschule after studying for almost eleven years. As can be seen from his letters, he was very grateful to his teacher, Dannecker.

Rome (1792–1799)

At the beginning of September 1792 Distelbarth traveled on foot and at his own expense to Rome, where he stayed until 1799. He found accommodation in the same house in which the later Stuttgart architect and painter Nikolaus Thouret , who was almost the same age and an old friend from the Carlschule, lived. A letter of recommendation from Dannecker ("He has a head, is hardworking, has nerves, well-read, and feels what belongs to an artist.") Got him accepted by Dannecker's friend, the Swiss sculptor Alexander Trippel , who had lived in Rome since 1778. He received his first orders from Trippel, which he was able to carry out in his workshop and under his guidance. He also attended Trippel's private academy and the artists' academy Accademia di San Luca , and in the winters of 1796/97 and 1797/98, together with almost 20 other artists, he took part in nude courses at a private academy under the direction of the Bavarian landscape painter Johann Christian Reinhart .

In the summer of 1793 he had the opportunity to go on a three-month study trip to Naples with a Swabian tour group at their expense. One day after his return, on September 24, 1793, his patron Trippel died. Now he was mainly dependent on orders from home (mostly marble copies of antiquities), which Dannecker or his brother-in-law Heinrich Rapp arranged for him. It was inevitable that he repeatedly ran into financial difficulties.

In Rome, Distelbarth met many other artists, mostly so-called German Romans such as the Karlsruhe architect Friedrich Weinbrenner , but also the famous sculptors Bertel Thorvaldsen and Antonio Canova . Besides Thouret, he met other acquaintances from Stuttgart, including a. the Tyrolean painter Joseph Anton Koch , the engraver Ernest Morace (1766–1820) and the painter Eberhard von Wächter (1762–1852).

The Protestant Distelbarth converted to Catholicism in 1796 and on December 26th of the same year married Anna Maria Roberti (* 1774), the daughter of a servant, who was six years his junior . Distelbarth and the couple lived in a part of Rome predominantly populated by German Romans, not far from the Spanish Steps . Two children were born to the couple in Rome: the daughter Nunziata on January 2, 1797 and the son Rudolf (Marcus Camillus Rudolfus) on April 5, 1799. The son († 1879) later became tax inspector in Stuttgart, the daughter died before moving the family to Stuttgart.

Paris (1799–1803)

In 1799 Distelbarth went to Paris. The first year he devoted to further education. Subsequently, until his return to Stuttgart in 1803, he held the well-paid post of antiques restorer in the Louvre in Paris . He benefited from the fact that a vast number of antiquities awaited their restoration, which Napoleon had stolen from Rome and brought to Paris. In Paris in 1803 he also worked on Johann Caspar Lavater's marble bust for Dannecker .

In 1802, the Dresden copperplate engraver Johann Gottfried Schmidt (1764-1803) came to Stuttgart to the copperplate engraver Johann Gotthard von Müller and went to Paris with his son Johann Friedrich Müller (1782-1816) in the same year, where they both met with Distelbarth . Schmidt and Distelbarth became friends, shared the apartment, and finally Distelbarth cared for the soon-to-be seriously ill until his early death on July 7, 1803.

Stuttgart (1803-1836)

At the end of 1803 Distelbarth returned to Stuttgart, despite considerable financial losses, in order to work as an assistant under the esteemed Dannecker and to be able to continue his education under his guidance. He worked for him in Stuttgart a. a. the sculpture “Mourning Friendship” and a Schiller bust. He also made the double-life-size sandstone sculpture of the water and meadow nymph for him. In addition to Dannecker's orders, Distelbarths mainly carried out more sculptural work based on models and templates from other artists. In this way he created u. a. the love vase based on the model of a Pompeian wall painting or a relief by Thorvaldsen and the Artemis Selene relief based on the model of the painter Johann Friedrich Dieterich .

In 1808, at Dannecker's instigation, Distelbarth was allowed to travel to Carrara "to get the direct marble purchase going again". In 1816 Distelbarth was appointed court sculptor. From 1818 he also worked as a teacher for drawing lessons at the grammar school, from 1829 as a professor at the art school, from 1833 also as a member of the art school management.

The Distelbarth family initially lived in Stuttgart on Langen Gasse and then on Judenstrasse. Eventually she moved into her own house at Kronenstrasse 10.

In the Neue Nekrolog der Deutschen (New German necrology) for the year 1836, it is noted under “Brief advertisements” that the court sculptor Distelbarth died on May 23, 1836 at the age of 68. Detailed necrologists have not been published. Nothing is known about the details of his death or the whereabouts of his estate.

reception

Distelbarth is not assigned any artistic significance in its own right, as his works are based on models or templates from other artists. The art scholar Christian von Holst counts Distelbarth among the "only limited talents that z. B. had to decorate Rosenstein Castle “His outstanding technical and artistic skills are undisputed.

Works

Distelbarth, Friedrich, Minerva.jpg
Minerva (Athena)
literature Hübinger 1987 ; Documents 5 , 32e, 32n;
Letter from Distelbarth to Dannecker, Rome, June 6, 1794, documents 6
year 1793-1795
description Bust of Minerva; Marble, with a base 56 cm high, copy of a bust from the Albani collection in Rome, which is now in the Glyptothek in Munich.
Location Under the title “Athena” in Ludwigsburg, royal palace , library of the king, inventory number Krgt 5753. - Distelbarth gave a small copy of the bust to his patron Heinrich Rapp (whereabouts unknown).
No image available Isis
literature Documents 5 , 32c, 32e, 32n
year 1793
description Head of the Egyptian goddess Isis , marble, copy based on an unknown original.
Location Whereabouts unknown.
Brutus
literature Documents 5 , 32n; Hübinger 1987 ; White 1997
year 1793
description Head of Brutus , marble, copy after the bronze bust of Junius Brutus, Rome, Conservators' Palace.
Location Whereabouts unknown.
Melpomene
literature Documents 5 , 32f, 32g, 32h; Nagel 2011
year 1794
description Head of the muse Melpomene , marble, 43.5 cm high, inscribed on the reverse: “Distelbarth. Rome. 1794. ”, copy of the marble statue of Melpomene in the Vatican Museums, Museo Pio Clementino, inventory number 299. The client was Johann Martin Vischer (1751–1801), a merchant in Calw.
Location 2011 at Nagel in the art trade.
Distelbarth, Friedrich, Young woman in antique costume.jpg
Thalia (young woman in antique costume)
literature Documents 5 , 32f, 32g, 32h; Digital catalog of the Staatsgalerie Stuttgart
year 1794
description Head of the muse Thalia , marble, 46.2 cm high, inscribed on the reverse: “Distelbarth. Rome. 1794. ”, copy of the marble statue of Thalia in the Vatican Museums, Museo Pio Clementino, inventory number 295. The client was Johann Martin Vischer (1751–1801), a merchant in Calw.
Location Under the title “Young Woman in Antique Costume” in Stuttgart, State Gallery , permanent loan from the LETTER Foundation , Cologne, inventory number PL 320.
No image available Apollino
literature Documents 5 , 32g, 32h
year 1795
description Apollino, marble, copy after the Medici Apollo (Apollino) in the Uffizi Gallery in Florence. The client was an art lover from Frankfurt am Main.
Location Whereabouts unknown.
Dannecker, Johann Heinrich, Water and Meadow Nymph by Friedrich Distelbarth, front side, detail.jpg
Water and meadow nymph
literature Holst 1987 , pp. 319-324; Hornbogen 1991
year 1810-1815
description Nymph group, Keupersandstein, execution in double life size after a life-size plaster model by Johann Heinrich Dannecker .
Location Tübingen, art gallery, literature café literaturcafe-tuebingen.de .
Distelbarth, Friedrich, Artemis-Selene-Relief.jpg
Artemis Selene relief
literature Grüneisen 1830 ; Seyffer 1831
year 1830
description Allegory of the nightfall with the moon goddess Artemis / Selene , high relief in sandstone, 2.38 m high, 12.06 m wide, executed after a design by the painter Johann Friedrich Dieterich .
Location Stuttgart, Rosenstein Castle , gable field above the main entrance.
Distelbarth, Friedrich, Liebesvase, Stuttgart, forecourt at the Kammertheater.jpg
Love vase
literature Wiemann 1993
year around 1831
description Monumental vase with the allegory of the ages of love, sandstone, 208 cm high, based on a Pompeian wall painting or Thorvaldsen's relief "Kærlighedens Aldre" (see love vase, iconography ).
Location Stuttgart, forecourt at the chamber theater at the Neue Staatsgalerie.

literature

  • Klaus von Baudissin : From Dannecker's time. In: Schwäbischer Merkur No. 380 of August 17, 1926, p. 6.
  • Christian von Holst : Biedermeier Classicism (1817-1832). In: Christian von Holst (Ed.): Swabian Classicism between ideal and reality, essays. Stuttgart 1993, pp. 65-76.
  • Annette Köger: Distelbarth's letters to Dannecker. In: Christian von Holst (ed.): Swabian Classicism between Ideal and Reality, essays , Stuttgart 1993, pp. 60–67.
  • Annette Köger: Antonio Isopi (1758–1833), a Roman sculptor at the Württemberg court , 2 volumes, Frankfurt am Main 1996.
  • Wolfgang Läpple: Swabian Potsdam. The Ludwigsburg Garrison from its beginnings to its dissolution , 2 volumes, Ludwigsburg 2009.
  • Friedrich Noack : Das Deutsche Rom , Rome 1912.
  • Friedrich Noack: The Germanness in Rome since the end of the Middle Ages , 2 volumes. Stuttgart 1927 (reprint Aalen 1974).
  • Friedrich Noack: Distelbarth. In: Schedarium der Künstler in Rom , [Rome] without year db.biblhertz.it .
  • Gustav Hauber: The High Charles School. In: Albert von Pfister (ed.): Duke Karl Eugen von Württemberg and his time. Volume 2, Esslingen am Neckar 1909, pp. 3–114.
  • Bertold Pfeiffer: The fine arts under Duke Karl Eugen. In: Albert von Pfister (ed.): Duke Karl Eugen von Württemberg and his time. Volume 1. Esslingen am Neckar 1907, pp. 615–768.
  • Adolf Spemann : Dannecker. Berlin 1909, especially appendix, pp. 94–96.
  • Heinrich Wagner ; Carl Alexander von Heideloff (Illustrator): History of the High Carls School. Volume 1: The Carls students according to archival sources. Würzburg 1856, especially pp. 114, 288, 457-460, 561-562.
  • Ulrike Weiß: Brutus. In: Fritz Fischer, Ulrike Weiß: Art of Classicism. Companion book. Schloßmuseum Aulendorf, branch museum of the Württembergisches Landesmuseum, Stuttgart 1997, pp. 88–89.

life and work

  • Max Bach: Stuttgart Art 1794-1860. After simultaneous reports, letters and reminders . Stuttgart 1900, especially p. 110.
  • Christian von Holst : Johann Heinrich Dannecker. The sculptor . Stuttgart 1987, Stuttgart 1993, see register on p. 489 under Distelbarth.
  • Christian von Holst (ed.): Swabian classicism between ideal and reality. Catalog . Register of persons p. 427 under Distelbarth.
  • Annette Köger: Friedrich Distelbarth. In: Christian von Holst (Ed.): Swabian Classicism between Ideal and Reality, catalog , Stuttgart 1993, p. 446.
  • Friedrich Müller: The artists of all times and peoples: or the lives and works of the most famous builders, sculptors, painters, copper engravers, form cutters, lithographers, etc. from the earliest art epochs to the present day. Edited from the best sources . Volume 1, Ebner & Seubert, Stuttgart 1857, p. 473 ( digitized version ).
  • Georg Kaspar Nagler : New general artist lexicon etc. , Volume 3, Munich 1836, p. 419 ( digitized version ).
  • New Nekrolog der Deutschen 14.1836, Second Part, Weimar 1838, p. 1026 to no. 868.
  • Friedrich Noack : Distelbarth, Friedrich . In: Ulrich Thieme (Hrsg.): General Lexicon of Fine Artists from Antiquity to the Present . Founded by Ulrich Thieme and Felix Becker . tape 9 : Delaulne-Dubois . EA Seemann, Leipzig 1913, p. 331 ( Textarchiv - Internet Archive ).
  • Peter Walch: Distelbarth, Friedrich. In: Jane Turner (Ed.): The Dictionary of Art , Volume 9. New York 1996, p. 39, answers.com .
  • Dankmar Trier: Distelbarth, Friedrich . In: General Artist Lexicon . The visual artists of all times and peoples (AKL). Volume 28, Saur, Munich a. a. 2000, ISBN 3-598-22768-X , p. 7.
  • August Wintterlin : Württemberg artists in life pictures . Stuttgart 1895, pp. 69, 70, 109, 252, 316.

Works

See also water nymph and meadow nymph , Artemis Selene relief and love vase .

  • Axel Clesle: Johann Heinrich Dannecker , Stuttgart 2009 ( Lavater bust ). Johann Heinrich Dannecker . (PDF; 921 kB) schweikert-bonn-verlag.de
  • Karl Grüneisen : About the works of art of the royal country house Rosenstein near Stuttgart. In: Morgenblatt für educated estates, Art Journal No. 73 of September 14, 1830, 289–291 (Artemis-Selene-Relief). books.google.com .
  • Helmut Hornbogen: Dannecker's group of nymphs. About the eventful past and diverse present of two lightly clad women . Tübingen 1991.
  • Ulrich Hübinger: Minerva. In: Baden and Württemberg in the age of Napoleon, catalog , volume 1,2. Stuttgart 1987, pp. 611-612.
  • Nagel, auction catalog 662, Art & Antiques, Stuttgart, February 23-24, 2011, pp. 484–485 (No. 831) auction.de .
  • Ernst Eberhard Friedrich von Seyffer : Description of the royal country house Rosenstein . Stuttgart 1831, pp. 29-30 (Artemis-Selene-Relief) books.google.de .
  • Elsbeth Wiemann: The decorative vase based on Thorvaldsen's "Allegory of the Age of Love" by Friedrich Distelbarth. In: Christian von Holst (ed.): Swabian classicism between ideal and reality, essays , Stuttgart 1993, pages 385-389.

Sources and references

Archival material

  1. Ludwigsburg, Staatsarchiv, E 19 Bü 228 (tax liability), E 19 Bü 433 (building application), E 19 Bü 929 (model of a marble cutting mill), E 21 Bü 264 (Artemis Selene relief), E 21 Bü 399 (building site application).
  2. Stuttgart, Main State Archives, A 272 Bü 304 (Carlsschule).
  3. Stuttgart, Main State Archives, E200, Bü 484 (started working in Stuttgart 1803).
  4. Stuttgart, City Archives, Stuttgart Family Register, Volume 1, p. 972.
  5. Stuttgart, Württemberg State Library, Cod. Hist. Fol. 750, 32a-32w (letters from Distelbarth to Dannecker and others).
  6. Stuttgart, Württemberg State Library, Cod. Hist. Fol. 867 (1 letter from Distelbarth to Dannecker).
  7. Zurich, Kunsthaus, library, Trippel estate, sheet 37 (list of participants in the Trippel Academy) and Distelbarth 1 (1 letter from Distelbarth to Trippel).

Letters

Web links

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

References and comments

  1. ↑ Older reference works wrongly stated 1780 as the year of birth and 1835 as the year of death.
  2. ↑ a b Documents 4 .
  3. ^ Letter from Captain Christian Daniel von Hoven to Colonel Christoph Dionysius von Seeger , Hohenheim, January 30, 1782 ( Documents 2 , No. 9). - The military orphanage was housed in the former chancellery barracks at Wilhelmstrasse 1–5 and should not be confused with the orphanage in the “ducal breeding, labor, orphanage and madhouse” in the buildings on Schorndorfer Strasse (in and around Today's Prison Museum), which, in contrast to the former, had a very bad reputation. Not only orphans but also sons and daughters of poor soldiers were taken into the orphanage. The boys were supposed to be "trained to be able soldiers or craftsmen" and received, among other things. a. Lessons in religion, writing, reading and drawing, and were able to practice spinning, weaving and dyeing work in a learning factory. See Läpple 2009 , Volume 1, p. 49, Volume 2, pp. 60-65.
  4. ^ National directory of the pupils of the High Carls School, No. 979, Stuttgart, Main State Archives, A 272 Bü 304; Wagner 1856 , p. 391 to no.979.
  5. ↑ Hauber 1909 , p. 101; Wagner 1856 , pp. 557-460.
  6. ↑ Wagner 1856 , p. 371 to No. 589, 458, 561-562.
  7. ^ Mack had entered the Carlsschule three weeks before Distelbarth on January 11, 1782 ( Wagner 1856 , p. 391 to no. 976).
  8. ↑ Wagner 1856 , p. 396 to No. 1077, 459; Pfeiffer 1907 , p. 738. - The spelling of the family name varies between Frank and Franck.
  9. ↑ According to the 1782 lesson plan, see Hauber 1909 , table on p. 33.
  10. ↑ The often-encountered assertion that Distelbarth was also a student of Philipp Jakob Scheffauer cannot be substantiated. Shortly after his arrival in Rome, he wrote to Dannecker: “That is why I will never […] look at someone else in front of my kind teacher than you, Best Professor, since only you can keep me in the true and good style who taught art to feel with so much wisdom ”( Köger 1996 , p. 382).
  11. ↑ Distelbarth wrote to Dannecker on October 16, 1792: "Where I then arrived happily (October 8) in Rome after 32 days on the road" ( Baudissin 1926 ).
  12. ↑ His son Rudolf was born in Rome on April 5, 1799 ( Noack-Schedarium ). On September 2, 1803 he wrote to Dannecker: “As you know, I have been in Paris for 4 years” ( Holst 1987 , p. 460 to D 52). So he must have moved from Rome to Paris in 1799. - Unlike his teacher Dannecker, Distelbarth belonged to the large group of German artists who were not sponsored by a prince or a wealthy private citizen. From 1795 he received an annual donation of 125 guilders ( documents 5 , 32l).
  13. ↑ Baudissin 1926 .
  14. ↑ Spemann 1909 , appendix, p. 76 to no. 144. - Distelbarth had also written an “application letter” to Trippel from Stuttgart ( Documents 7 , Distelbarth 1).
  15. ↑ Trippel's academy apparently continued to exist after his death in 1793. A list of participants from 1795 lists 22 artists, including Distelbarth ( documents 7 , sheet 37).
  16. ↑ Antiques are ancient works of art.
  17. ↑ A list of German Romans can be found here: kuenstlerleben-in-rom.de (PDF; 603 kB).
  18. ↑ Conversions to the Catholic Church occurred again and again among German Romans, often out of purpose, more rarely out of conviction. Distelbarth, like some others, accepted the Catholic faith in order to be able to bring his Italian bride home ( Noack 1927 , Volume 1, Pages 310-312).
  19. ↑ It was not uncommon for the German Romans to marry an Italian woman, and it was not uncommon to marry a woman from the common people. Joseph Anton Koch z. B. married a farmer's daughter and Johann Christian Reinhart married the daughter of a craftsman ( Noack 1912 , Volume 1, pp. 196–197).
  20. ↑ Since 1796 he lived one after the other in Strada Gregoriana (today Via Gregoriana), Via Rasella, Via della Purificazione and finally in Via Felice (today Via Sistina).
  21. ↑ Information on the apartments in Rome and on Distelbarth's family: Noack 1927 , Volume 2, p. 144; Noack Schedarium .
  22. ^ Letter from Distelbarth to Dannecker, Paris, September 2, 1803, Documents 3 , No. 7.
  23. ^ "From Paris, Distelbarth brought z. B. Lavater's largely completed marble bust, on which Dannecker himself probably only had to carry out the final, finer modeling ”( Holst 1987 , p. 99).
  24. ↑ Ernst Sigismund : Schmidt, Johann Gottfried . In: Hans Vollmer (Hrsg.): General lexicon of fine artists from antiquity to the present . Founded by Ulrich Thieme and Felix Becker . tape 30 : Scheffel – Siemerding . EA Seemann, Leipzig 1936, p. 151-152 . August Wintterlin :  Müller, Johann Gotthard von . In: Allgemeine Deutsche Biographie (ADB). Volume 22, Duncker & Humblot, Leipzig 1885, pp. 610-616. For the relationship between Distelbarth, Schmidt and Müller see: Documents 5 , 32q, 32r, 32s.

  25. ^ Letter from Dannecker to Georg Ernst Levin von Wintzingerode, Stuttgart, November 11, 1803: "Distelbarth already arrived" ( Documents 3 , No. 14).
  26. ↑ In Paris Distelbarth earned over 2000 livres annually, which corresponds to around 900 guilders (letter from Distelbarth to Dannecker, Paris, September 2, 1803, documents 3 , no.7; currency equivalence : 1 Louisdor = 24 livres = 11 guilders, see zeno. org and Spemann 1909 , Appendix, No. 36). In Stuttgart, after lengthy negotiations, Distelbarth was granted 600 guilders ( Documents 3 , No. 7/16). After Scheffauer's death in 1808, he received a salary supplement of 100 guilders from the budget item that became available ( Wagner 1856 , p. 459). - The rulers of Württemberg have always kept their artists on a short leash. At that time, Dannecker received a salary of 800 guilders. For comparison: King Maximilian I Joseph of Bavaria offered Dannecker the position of court sculptor in 1808 with a salary of 2,400 guilders. Only then did he receive an increase in salary from King Friedrich of Württemberg from 800 to 1200 guilders ( Spemann 1909 , Appendix, No. 53).
  27. ↑ In the linguistic usage at the time, Distelbarth was Dannecker's foreman, d. In other words, he had to work out sculptures based on Dannecker's models to such an extent that only the fine work remained for Dannecker.
  28. ↑ Holst 1987 , p. 261; Spemann 1909, p. 60.
  29. ↑ Spemann 1909 , p. 79.
  30. ↑ Wagner 1856 , p. 459; Holst 1987 , p. 469 to D 63.
  31. ↑ The appointment can only be accessed indirectly. In the Royal Württemberg Court and State Handbook for the year 1815, Distelbarth is listed as a simple "sculptor" among the court artists. In a letter dated May 15, 1816, he signed as “court artist sculptor”, while Ernst Eberhard Friedrich von Seyffer, director of the Royal Building and Gardening Directorate, shortly afterwards signed a report dated June 10, 1816 from the “court sculptor Distelbart “Speaks ( Documents 1 , E 19 Bü 929). In the Stuttgart address books, Distelbarth is referred to as a court sculptor from 1804 (meaning: "sculptor employed at court").
  32. ↑ Wagner 1856 , p. 459.
  33. ↑ House no. 134, corner house Calwer Strasse 36 on today's Langen Strasse.
  34. ↑ House No. 282, roughly at the location of the house at Brennerstrasse 3.
  35. ^ Stuttgart address books from 1804, 1805, 1811, 1829 and 1833.
  36. ^ Necrology .
  37. ↑ Holst 1993 , p. 68.
  38. ↑ The bust is placed in the gable of a tall built-in cupboard. A marble medallion with a relief of a Minerva bust by Philipp Jakob Scheffauer is attached below the bust . - The photo is undercover because the bust had to be photographed from the ground. An unadulterated photo can be found in Hübinger 1987 .
  39. ↑ The illustration shows the bronze bust from the Conservator's Palace in Rome, there is no illustration of Distelbarth's marble copy.
  40. ↑ An unmarked marble copy of the bronze bust of Brutus is in the Aulendorf Castle Museum . In white 1997 the bust is attributed to the Italian sculptor Francesco Franzoni (1734–1818) without any evidence. According to the same source, the bust was acquired by the later King Wilhelm I in Italy in 1815 .
  41. ↑ The picture shows the original statue, a picture of Distelbarth's copy can be found in Nagel 2011 .
  42. ↑ a b Distelbarth mostly writes Fischer in his letters.
  43. ↑ The Dictionary of Art mentions a "marble bust of Bacchus (signed and dated, Rome 1795; ex-Shepherd Gal., New York; untraced)", which is shown on artnet under "Past Auction Results" and undoubtedly with the Melpomene- Bust matches. See artnet.de
  44. ↑ Often referred to as the nymph group or Dannecker's group of nymphs , in the older literature also as meadow nymph, wreath the water nymph out of gratitude .
  45. ↑ a b Contains incorrect year information and work attributions.
  46. ↑ Contains a lot of incorrect information.
personal data
SURNAME Distelbarth, Friedrich
ALTERNATIVE NAMES Distelbarth, Georg Friedrich
BRIEF DESCRIPTION German sculptor
DATE OF BIRTH September 22, 1768
PLACE OF BIRTH Ludwigsburg
DATE OF DEATH May 23, 1836
Place of death Stuttgart