Friedrich Loos

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Friedrich Loos
View from the Salzburg Mönchsberg towards the Hohensalzburg Fortress , around 1830, Belvedere , Vienna
The falcon tower on the Mönchsberg

Friedrich Loos (born October 29, 1797 in Graz , † May 9, 1890 in Kiel ) was an Austrian painter .

Childhood and education in Vienna

Loo's father was a leather dyer and, shortly after the birth of his son, moved with the family to Vienna. In the Protestant school, Friedrich Loos received drawing lessons from Joseph Rebell , who gave him free access to his courses due to the poverty of his parents. In 1811 Loos left school, but did not train as a craftsman, as his father wanted, but attended secondary school for two more years.

In 1813 he enrolled at the Academy of Fine Arts in Vienna for only one semester , and then took the position of assistant drawing teacher at his old Protestant school. This training enabled him to take up regular studies at the academy from 1816 to 1821. There he became a student of Joseph Mössmer and Josef Fischer in landscape drawing and landscape painting and of Johann Friedrich Leybold in the etching technique . The main role model for him was the baroque landscape painter Claude Lorrain . Following the advice of his professor Fischer, however, Loos initially worked exclusively as a graphic designer after completing his studies. His first works were created in the Austrian Alps and the plains of today's Burgenland between 1821 and 1823. In 1823 he was given a position as a drawing teacher with Count Zichy in Hungary .

Creative phase in Leipzig and Salzburg (1824–1835)

After his return to Vienna in 1824, Loos met the Leipzig merchant and art collector Maximilian Speck von Sternburg , who persuaded him to work as a reproduction engraver to depict his art collection in an illustrated catalog. Loos therefore followed Speck von Sternburg to Leipzig for two years , but spent the summer months with the family of his sponsor on his estate in Lützschena . A large number of brush and pen drawings were created there, especially of the newly created park landscape. In the summer of 1826 his work in Leipzig was finished and Loos returned to Vienna via Dresden and Prague .

In 1826 Loos followed his college friend Johann Michael Sattler to Salzburg , where he a. a. until 1829 when his employee worked on a large panorama picture of the city . Here Loos found his calling as a landscape painter, from spring to autumn he made sketches in the great outdoors, which he shaped into independent oil paintings in winter. In 1826 emerged as his first major work The Mönchsberg in Salzburg with Josef Sturm . In this first phase of his work he followed up on his role models Joseph Anton Koch and Carl Gustav Carus . He earned his living with commissioned oil paintings and drawings. In 1834 he finally presented a work for the first time with the title Salzburg Alpine Region: The Poching and Washing Works of the Gold Mine on the Hohe Sonnblick in Rauris at the Vienna Academy Exhibition.

Creative phase in Vienna, Klosterneuburg and Italy (1835-1852)

Returning to Vienna in 1835, he was immediately represented again with two works at the academy exhibition and a year later his exhibition piece An Autumn Noon from the Salzburg Mountains was purchased for the Imperial and Royal Gallery . In the years that followed, Loos was able to live well on the commissions he received from the court and from wealthy Viennese art lovers. He hiked his motifs in the surrounding mountains and along the Danube. In 1840 he made his first study trip to Istria , where he made studies of the Mediterranean landscape. In 1842 he moved to Klosterneuburg . During this phase, his panoramic landscapes were supplemented by working rural people and animals. In 1846 Loos finally set out for Italy and finally came to Rome via Graz, Trieste , Venice and Florence , where he moved into an apartment at 29 Via della Quattro Fontane. In April 1847 he took part in the last Cervaro Festival, which German artists had celebrated in Rome since 1824, and got to know Johann Christian Reinhart , who was considered the father of the German artist colony in Rome, shortly before his death. Loos then dedicated the memorial sheet to him with which he illustrated the poem Die Sibylle von Cervaro by his friend Heinrich Stieglitz . Stieglitz also accompanied him on his picturesque forays through Rome in 1847. Loos also visited the Campagna and Alban Mountains several times . In 1848 there was an uprising against the Papal States in Rome. Loos left the city because of the unrest and went to Naples , although he was ideologically on the side of the Democrats during the October Uprising in Vienna . After the suppression of the rebels and a visit to the island of Capri , however, he returned to Rome in the autumn of 1849. There he immediately began his major Italian works, the two panoramas of the ancient and modern city of Rome, which he only completed in 1851. After an exhibition of these and 17 other individual paintings in his studio at Via di Ripetta 17, Loos decided to travel with his works.

Creative phase in Bremen and Kiel (1852–1890)

In June 1852 Loos left Rome and first traveled to Lucerne via Genoa , Lake Maggiore and Ticino . From there it went up the Rhine to Düsseldorf , where the famous landscape painter and professor at the Düsseldorf Art Academy , Johann Wilhelm Schirmer , expressed himself very positively about his work. On the mediation of the painter Wilhelm Herbig , exhibitions at the Prussian Academy of Arts in Berlin and in the Krameramtshaus in Bremen followed . From 1853 to 1855 he lived in Bremen, but also undertook long trips in the area, for example. B. in November 1853 at the invitation of Grand Duke Peter II of Oldenburg to exhibit his pictures there.

In 1855 he finally set out north and on the journey via Hamburg to Copenhagen also came to Kiel , where he settled on his return from Copenhagen in November 1855. In Copenhagen he had with the support of Wilhelm Marstrand his paintings in the Royal Danish Academy of Art exhibited in Kiel it was, however, the art patron Lotte Hegewisch who supported him and, together with Gustav Ferdinand Thaulow moved to permanent stay in the Hanseatic city. From Kiel, Loos made a long trip to Norway in 1856 and visited Oslo and Hamar . In 1857 he founded the Kiel Art Association together with the painters Friedrich Ernst Wolperding and Theodor Rehbenitz and the writer Klaus Groth . From Kiel, his sponsor Grand Duke Peter II of Oldenburg repeatedly lured him to his summer residence in the nearby Eutin Castle over the next 10 years , from where Loos traveled to Eutin and Ostholstein during the summer months and made nature studies, which he did in his winter Kiel studio worked out.

After Theodor Rehbenitz died in February 1861 as a university drawing teacher at Kiel University , Loos applied for his successor, but initially lost out to Louis Gurlitt . It was only when the royal government in Copenhagen rejected Gurlitt's appointment because of his support for the Augustenburg line in the Danish succession dispute that the way was clear for Loos to take office as an academic drawing teacher in November 1863. One of the students of Loos was u. a. Hans Storm, son of the poet Theodor Storm . From 1870 onwards Loos himself made pen drawings and etchings in his work and visited a. a. the region Schwansen (1870), the island of Sylt (1874), Special castle (1875) and the peninsula Eiderstedt (1877). In 1882 he was awarded the Prussian Crown Order 4th class on the occasion of his 85th birthday . At the age of 91 Loos was still painting one of his main works: View of the ruins of the Temple of Venus and Roma . Friedrich Loos died in Kiel at the age of 92. He left behind a handwritten catalog raisonné for the years 1817 to 1866.

family

Loos had married Juliane Zaunrith in Salzburg in 1832, who came from a respected family of booksellers in Salzburg and who had accompanied him throughout his life.

Works

  • View from the Hütteneckalm to the Dachstein (Vienna, Belvedere , inv. No. 5158), oil on panel, 36 × 51 cm
  • Motif from Oberschützen (Vienna, Belvedere, inv.no.3919), 1826, oil on canvas, 24 × 34 cm
  • The Mönchsberg in Salzburg with the Powder Tower (Vienna, Belvedere, inv. No. 3284), 1826, oil on cardboard, 37 × 52 cm
  • View from the Mönchsberg in Salzburg to the Hohensalzburg Fortress (Vienna, Belvedere, inv. No. 3181), around 1830, oil on cardboard, 30 × 40.5 cm
  • The Falcon Tower on the Mönchsberg (Vienna, Belvedere, Inv.No. 5465), 1835, oil on cardboard, 29 × 41 cm
  • Ramsau near Berchtesgaden (Vienna, Belvedere, inv.no.3776), 1836, oil on canvas, 59 × 73 cm
  • View from Altmannsdorf towards the Anninger (St. Pölten, Museum Niederösterreich , Inv. No. 1202), 1840, oil on canvas, 63 × 65 cm
  • Walkers in a forest landscape (Vienna, Belvedere, inv. No. 5467), oil on cardboard, 20 × 25.5 cm
  • Distant view of Vienna from Bisamberg ( Wien Museum ), 1845, oil on canvas
  • The market square in Bremen ( Focke Museum , Bremen), 1853, oil on canvas, 84 × 108 cm
  • Landscape near Waterneverstorf (view from Stöfs of the Hohwachter Bay) ([Kiel, Kunsthalle, painting no. 496]), around 1860, 36 * 50 cm

literature

  • Constantin von Wurzbach : Loos, Friedrich (I.) . In: Biographisches Lexikon des Kaiserthums Oesterreich . 16th part. Imperial-Royal Court and State Printing Office, Vienna 1867, p. 28 f. ( Digitized version ).
  • Gsodam:  Loos (Joseph) Friedrich. In: Austrian Biographical Lexicon 1815–1950 (ÖBL). Volume 5, Verlag der Österreichischen Akademie der Wissenschaften, Vienna 1972, p. 309 f. (Direct links on p. 309 , p. 310 ).
  • Andreas Andresen: Friedrich Loos , in The German painter-etchers of the nineteenth century, after their lives and works , Vol. 2, Leipzig 1867, pp. 199–220.
  • Friedrich Loos , in: Ulrich Schulte-Wülwer, Schleswig-Holstein - in 19th century painting , Heide 1980, p. 22.
  • Friedrich Loos , in: Ulrich Schulte-Wülwer, Longing for Arcadia - Schleswig-Holstein Artists in Italy , Heide 2009, pp. 228–235.
  • Agnes Husslein-Arco et al. a .: Friedrich Loos . Exhibition catalog Vienna, Belvedere, 2015.
  • Mareike Wolf-Scheel, Telse Wolf-Timm: Friedrich Loos - A landscape painter between romanticism and realism , Wachholtz, Kiel / Hamburg 2015.

Web links

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

Individual evidence

  1. ↑ Andresen (1867): Friedrich Loos , pp. 198–199.
  2. ^ Mareike Wolf-Scheel, Telse Wolf-Timm (2015), Friedrich Loos , p. 18.
  3. ↑ Mareike Wolf-Scheel, Telse Wolf-Timm (2015), Friedrich Loos , p. 21.
  4. ^ Andresen (1867): Friedrich Loos , p. 208.
  5. ^ Mareike Wolf-Scheel, Telse Wolf-Timm (2015), Friedrich Loos , p. 29.
  6. ^ Andresen (1867): Friedrich Loos , p. 206.
  7. ↑ Mareike Wolf-Scheel, Telse Wolf-Timm (2015), Friedrich Loos , p. 74.
  8. ↑ Mareike Wolf-Scheel, Telse Wolf-Timm (2015), Friedrich Loos , pp. 154–165.
personal data
SURNAME Loos, Friedrich
BRIEF DESCRIPTION Austrian painter
DATE OF BIRTH October 29, 1797
PLACE OF BIRTH Graz
DATE OF DEATH May 9, 1890
Place of death Kiel