Friedrich Wilhelm IV. In his study

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Friedrich Wilhelm IV. In his study [1] (Franz Krüger)
Friedrich Wilhelm IV. In his study
Franz Kruger , 1846
Oil on canvas
Copy from the Minden Museum : 61 cm × 47 cm; the copy shown here from the German Historical Museum (Berlin): 62 × 49.50 cm

The oil painting Friedrich Wilhelm IV. In his study is a portrait of the ruler of the Prussian court painter and portraitist Franz Krüger . It illustrates the monarchical self-image of the Prussian King Friedrich Wilhelm IV. In the painting, the king portrays himself as a ruler of bourgeois style and an art lover. The room reflects his Christian-class state concept.

In addition to the original of the picture, which Friedrich Wilhelm IV gave to the astronomer Friedrich Wilhelm Bessel and which is now the property of the Minden Museum , two copies were made, one of which is lost and the other belongs to the holdings of the German Historical Museum in Berlin.

Historical context

The portrait of a ruler in the 19th century

Jacques-Louis David: Napoleon in his study

The German monarchs of the 19th century had to struggle with a fundamental cultural and social change: Their rule came under fundamental criticism in the course of the Enlightenment , the French Revolution and the Napoleonic Wars . In portraits of rulers, an increasing distinction was made between the roles of the head of state and the private person. The representations thus got some intimate and private features. As a result, in addition to the life-size portraits of the rulers , which found their place in the representative rooms of the castles, a series of small-format pictures were created that genre-like praised the family life of the royal family or dutifully showed the ruler at work. This kind of self-portrayal took up “the bourgeois separation between the 'private' and the 'official' sphere” and shaped the “ruler in the image of the citizen”. In this context, one of the earliest depictions of the ruler at his desk is the portrait of Napoleon painted in his study by Jacques-Louis David in 1812 , which was followed by similar depictions of other rulers in the 19th century, including the painting by Friedrich Wilhelm IV in his study .

Relationship of Friedrich Wilhelm IV. To portrait art

For the Prussian King Friedrich Wilhelm IV. (1795–1861), art was a means of “creating visions”, according to the historian Renate Franke . With the help of art, he believed he could influence the people in terms of educational policy in order to win them over to their "romantic, ideally conceived kingship". Friedrich Wilhelm IV was open to the modern media possibilities of his time. He had lithographs with images of his family members printed in 10,000 copies. The visual reproduction made a significant contribution to the monarchy being able to demonstrate its presence in the remote regions of Prussia. So the image of the ruler in Prussia developed into a symbol, with whose possession many people wanted to express their patriotic attitude.

History of origin

Franz Krüger as a Prussian court painter

Franz Krüger: Friedrich Wilhelm IV. , 1844, life-size portrait
Franz Krüger: King Friedrich Wilhelm III. von Prussia , 1837, life-size portrait

Franz Krüger has been known as the “most famous painter of Berlin's Biedermeier ” since the 1820s and was already highly regarded for his equestrian and horse paintings . In 1824 Krüger was commissioned - probably through the mediation of Crown Prince Friedrich Wilhelm - to make 18 portraits of members of the royal family. In doing so, Krüger defied the usual courtly standards. Although the portrayed appeared in front of a representative backdrop of columns and curtains, they did not wear any symbolic badges of their high position. In the bust portraits, the artist placed the individual facial features in the foreground. This created views that exuded a more intimate atmosphere. The reigning King Friedrich Wilhelm III. rewarded the artist for this with the appointment of court painter .

Krüger's series of portraits from around 1824 includes the portrait of the then crown prince who was to succeed his father as Friedrich Wilhelm IV. Krüger shows the Crown Prince in front of the Royal Museum (now the Altes Museum ), which is under construction, underscoring the sitter's interests in architecture and the visual arts. When Friedrich Wilhelm IV took office in 1840, Krüger painted the large historical picture The Homage to Friedrich Wilhelm IV in Berlin's Lustgarten on October 15, 1840 from 1840 to 1843 . The new king also had himself depicted by Krüger in the painting Parade of the 2nd Prussian Infantry Regiment in front of Friedrich Wilhelm IV. In Stettin in 1841 . Here Friedrich Wilhelm IV is portrayed on horseback in uniform while he is taking off a parade accompanied by other military riders. The picture, executed as a tondo , shows the castle church of Szczecin in the background. From 1842 to 1844, the portrait of Friedrich Wilhelm IV was also created as a tondo , in which Krüger shows the king as a half-length portrait. Two versions of this portrait were created, one with Charlottenhof Palace and one with Sanssouci Palace in the background.

It was not until 1844 that King von Krüger had himself painted as a life-size full portrait. The painting Friedrich Wilhelm IV shows the king in the uniform of a general of the infantry, standing in the park of Sanssouci with the New Palais in the background. It follows that already for Friedrich Wilhelm III. The type of representative representation of monarchs implemented by Krüger and puts the dynastic continuity in the foreground. What is striking is the ever-present architecture in Krüger's portraits of kings, which is continued in the interior design of the painting Friedrich Wilhelm IV in his study in the Berlin Palace from 1846.

Origin background

The painting by Friedrich Wilhelm IV. In his study was created at the request of Friedrich Wilhelm Bessel , the director of the Königsberg observatory who was friends with the king . The terminally ill Bessel wrote to the natural scientist Alexander von Humboldt in November 1845 to find out whether it would be possible to obtain a painting by the king. Humboldt, who held the office of First Chamberlain at the royal court , discussed the request with Friedrich Wilhelm IV, who then commissioned Franz Krüger to create the painting. On February 16, 1846, Friedrich Wilhelm IV. Bessel announced in a personal letter that he would be giving him the painting. It shows him "in an overcoat, unbuttoned and leaning against the table, how [he] used to receive acquaintances in [his] cabinet".

The suggestion for the composition of the picture came from Bessel himself: “A king can only be represented in a whole figure, not in a bust; the King of Prussia only in daily dress, not in festive garb, because this type of representation is reminiscent of solemnity and less of the king ... “The motif of the ruler in his work environment, which should determine the finished painting , had become common since Napoléon . King Friedrich Wilhelm III. linked. In 1828 he had himself portrayed “sitting at his desk” in what is now the Kronprinzenpalais in Berlin . This depiction probably served as a model for Krüger. In the portraits of this epoch, according to Cohn, despite the “bourgeois character [es]”, the “status and position” of the person depicted should be emphasized and “the idea of ​​his state” should be embodied. Therefore, full-body portraits were preferred.

Copies

A mezzotint by Friedrich Oldermann after the painting by Franz Krüger

A total of three versions of the painting were created: The first version was donated by Friedrich Wilhelm IV. Bessel, who bequeathed it to his native Minden in his will . After Bessel's death, the picture was transferred from Königsberg to Minden, where it arrived on July 27, 1846. Later it was varnished and provided with a glass plate; the frame was gilded. It is now in the Minden Museum .

The copy exhibited in the German Historical Museum , a gift to the Prussian Queen Elisabeth , wife of Friedrich Wilhelm IV, originally hung in Sanssouci Palace , which the king used as a summer residence . On the centennial exhibition of German art of the year 1906 in Berlin this version was first issued the painting.

A third version, presented to the public in the Berlin Academy Exhibition in 1846, was a gift to the naturalist Alexander von Humboldt . It was owned by the von Humboldt family in their Tegel Castle and has been lost since 1945. The painting became known to a broader public through a mezzotint by Friedrich Oldermann and its reproduction by means of galvanography , which is less complex and allows more prints per copper plate.

description

The painting shows Friedrich Wilhelm IV. In the former Erasmus Chapel of the Berlin City Palace , which Caspar Theiss had laid out from 1538. Between 1824 and 1826, he had the room redesigned into his study and library based on designs by Karl Friedrich Schinkel . The representation of the architecture, especially the Gothic elements, goes back to a perspective room study by the painter Karl Beckmann , who worked as a teacher for architecture and perspective at the Prussian Academy of the Arts in Berlin. The catalog of the 1846 Academy Exhibition described the picture as: Portrait of His Majesty the King in the study of the Palace in Berlin. The architecture of Prof. Beckmann (gift from the king to Alexander v. Humboldt). The king takes the axis of the picture on the small painting, which serves as a “friendly reminder and unofficial representation” and maintains the conventions of portraying the ruler with a clear distance from the viewer.

Portraits and views of landscapes and church rooms hang on the walls. Immediately to the left behind the monarch, above the stove, there is a painting showing St. Peter's Basilica , which he visited privately in 1828 and which was made by the painter Wilhelm Brücke . Above is a depiction of the Marienburg refectory in West Prussia, the medieval seat of the Teutonic Order . The painting on the left shows the dormitory of the same castle. There are numerous busts, glasses, sculptures and other small works of art on the desk and wall cupboards, including the statuette of Frederick II. A wooden barrier divides the room. The late Gothic loop rib vault of the room, which was exposed again under Friedrich Wilhelm IV, is clearly recognizable .

According to Margarethe Cohn, the picture is characterized by “careful lighting”, the details are all painted with the same clarity and executed with “painstaking care”.

The king is dressed in a simple uniform skirt with red cloak lapels and a red stand-up collar , does not wear any medals and leans against the top of his desk. He looks head-on in the direction of the viewer and has a “casual” (according to Rainer Schoch) posture, with his arms crossed and his legs bent over each other. Friedrich Wilhelm IV carries a pince-nez in his right hand and a white cloth in his left hand.

interpretation

Franz Krüger: Prince August of Prussia (around 1817)

According to Margarete Cohn, Franz Krüger lets himself be guided by the knightly ideal in his portraits. For his full-body portraits, he often chooses the pose with one leg in front and one hand leaning on an adjacent table. Cohn sees the picture of Friedrich Wilhelm IV in connection with a Krüger picture of Prince August : In both pictures the depiction of a large number of accessories has the task of completing the psychological characteristics.

The art historian Rainer Schoch also sees the parallel in the relationship between the person depicted and the furnishings in the room with the picture of Prince August . He comes to the conclusion that the selected furnishings of the room reflect “the memories and artistic inclinations of the monarch”. The room is given the “character of a microcosm”, which includes the “spiritual horizon of the king in the interior”; Friedrich Wilhelm's “romantic Christian kingdom” takes shape in it.

Wilfried Beer praises that Krüger understood how to “transfer the private atmosphere of the cabinet into his painting”. He also considers it remarkable how civil Friedrich Wilhelm IV appears as the Prussian king. His uniform was "barely recognizable as such (...) and differed from the (...) Prussian uniform image" of the time.

Frank-Lothar Kroll sees the picture as “a testimony to the genre-like realism that has characterized Krüger's work since the early 1820s”. The painting testifies to a change in the function of the ruler's portrait, which no longer served to represent the sitter and his position, but propagated his conception of rule. The picture tries - ultimately in vain - to unite two contradicting aspects of Friedrich Wilhelm IV's conception of rule. On the one hand, the king is portrayed in his private environment as a "national father with domestic ties to the people" (according to Kroll). The desk portrait emphasizes the bourgeois ideal of work. The kingship should be explained to the observer as a "profession" which aims at the welfare of the country. The impression is created that the king has just been interrupted from his desk work. On the other hand should gothic - sacral aura of the interior design as well as the interior of the most medieval -oriented Christian- sized state concept reflects the king. According to this idea, individuals are born into certain classes and guilds , with which their respective task in society is predetermined: If each individual takes his or her permanent place, the conflict-free functioning of the community is ensured, at the head of which the king "by the grace of God" is all ensured Resolve conflict.

The ecclesiastical character of the room can also be interpreted as an allusion to the divine right and reminiscence of the Holy Roman Empire. The many small works of art are to identify the king beyond as "artistic and ingenious people," the self-performers was particularly in the field of architecture and its connoisseurship "as a real creative talent" in this area even from the Schinkel student Ludwig Persius was highlighted . The art historian Irmgard Wirth emphasizes that the portrait was an ideal match for the royal self-perception, as it depicted Friedrich Wilhelm as a "silent scholar" in the midst of his study objects. Friedrich Wilhelm IV. Described and understood himself as a " universal dilettante ".

literature

  • Margarete Cohn: Franz Kruger. Life and works. Theodor Schatzky, Breslau 1909 (dissertation, University of Breslau), pp. 38–41 ( digitized version ).
  • Rainer Schoch : The image of rulers in 19th century painting. Prestel, Munich 1975, pp. 107-110.
  • Irmgard Wirth : Berlin painting in the 19th century. From the time of Frederick the Great to the First World War. Siedler, Berlin 1990, p. 123.
  • David E. Barclay: Anarchy and Goodwill. Friedrich Wilhelm IV. And the Prussian monarchy. Siedler, Berlin 1995, pp. 174-175.
  • Renate Franke: Better to be unceremonious than dishonest. Friedrich Wilhelm IV. And Franz Krüger in the field of tension between ideal and reality. In: Hans-Joachim Giersberg (ed.): Friedrich Wilhelm IV. Artist and King. Frankfurt am Main 1995, pp. 112-118.
  • Frank-Lothar Kroll : “Citizen King” or “King by God's Grace”? Franz Krüger's portrait of Friedrich Wilhelm IV as a reflection of contemporary ideas about rulers. In: Helmut Altrichter (Hrsg.): Pictures tell stories. Rombach, Freiburg i. Br. 1995, pp. 211-222; reprinted in: Frank-Lothar Kroll: Das Geistige Preußen. On the history of ideas of a state. Schöningh, Paderborn et al. 2001, ISBN 3-506-74829-7 , pp. 115-124 ( digitized version ).
  • Frank-Lothar Kroll: Monarchy and divine right in Prussia 1840–1861. In: Peter Krüger , Julius H. Schoeps (ed.): The misunderstood monarch. Friedrich Wilhelm IV. In his time. Verlag für Berlin-Brandenburg, Potsdam 1997, pp. 45–70, here: pp. 46–47; reprinted in: Frank-Lothar Kroll: Das Geistige Preußen. On the history of ideas of a state. Schöningh, Paderborn et al. 2001, pp. 55-74 ( digital copy ).
  • Helmut Börsch-Supan : Catalog part. In: The painter Franz Krüger: 1797–1857. Prussian correct - Berlin witty. Deutscher Kunstverlag, Munich 2007, p. 206 f.

Web links

Individual evidence

  1. ↑ This title can be found in Margarete Cohn: Franz Krüger. Life and Works , p. 65, in the catalog Hugo von Tschudi: Century Exhibition of German Art 1906, p. 290 and Frank-Lothar Kroll: Das Geistige Preußen , p. 118, while the catalog of the Centennial Exhibition 1906 headlines Friedrich Wilhelm IV. In the study (Board of directors of the German Century Exhibition (ed.): Catalog for the "Exhibition of German Art from the Period 1775–1875 in the Royal National Gallery, Berlin 1906". Volume 2. Bruckmann, Munich 1906, p. 290 No. 938 ( digitized version )) . Deviating from this, Kroll names the title Friedrich Wilhelm IV. In his study in the Berlin Palace in Friedrich Wilhelm IV. Of Prussia. Politics - Art - Ideal , p. 20 ( digitized version ). Similarly, the designation Friedrich Wilhelm IV., King of Prussia, in his study in the Berlin Palace in the database of the exhibiting German Historical Museum or King Friedrich Wilhelm IV. Of Prussia (1795–1861) in his cabinet in the database of the Prussian Palaces and Foundation Gardens Berlin-Brandenburg , who owns a version of the painting. In literature, the title Friedrich Wilhelm IV. Can also be found in his work cabinet in the Berlin Palace in the comprehensive Krüger monograph on the exhibition from 2007 Prussian correct - berlinisch wititzt , p. 206. The Minden version of the painting is simply called Friedrich Wilhelm IV in Wilfried Beer, Siegfried Kessemeier: 1844, one year in his time , Westphalian State Museum for Art and Cultural History Münster, 1985, p. 143; the catalog for the Berlin academy exhibition of 1846 lists the painting under the title Portrait of His Majesty the King in the study of the Palace in Berlin. The architecture of Prof. Beckmann (gift from the king to Alexander v. Humbold) ( XXXV. Art Exhibition of the Royal Academy of Arts. 1846. Berlin 1846, No. 1760; see also Helmut Börsch-Supan: catalog part. In: Gerd Bartoschek (ed .): The painter Franz Krüger: 1797–1857. Prussian correct - Berlin witted. Deutscher Kunstverlag, Munich 2007, pp. 99–228, here: p. 207).
  2. ↑ a b c Wilfried Beer: Catalog part Weber. In: Siegfried Kessemeier (Ed.): 1844: A year in his time. Exhibition of the Westphalian State Museum for Art and Cultural History. Regional Association of Westphalia-Lippe. Münster 1985, pp. 109–177, here: p. 143.
  3. ↑ King Friedrich Wilhelm IV of Prussia (1795-1861) in his cabinet. Inventory number (SPSG): GK I 5673.
  4. ↑ Andrea M. Kluxen : The end of the state portrait. The importance of English painting for the German portrait from 1760 to 1848. Fink, Munich 1989, p. 108.
  5. ^ Rainer Schoch: The image of the ruler in 19th century painting. Prestel, Munich 1975, p. 107.
  6. ^ Rainer Schoch: The image of the ruler in 19th century painting. Prestel, Munich 1975, p. 108. Further examples of such desk pictures are Joseph Stieler : King Max I Joseph at his desk from 1814 and Friedrich Amerling : Emperor Franz I of Austria at his desk from 1833, Schoch p. 109.
  7. ↑ Renate Franke : Better to be unholy than dishonest. Friedrich Wilhelm IV. And Franz Krüger in the field of tension between ideal and reality. In: Hans-Joachim Giersberg (ed.): Friedrich Wilhelm IV. Artist and King. Fichter, Frankfurt am Main 1995, pp. 112–118, here: p. 113.
  8. ↑ David E. Barclay: Anarchy and Good Will. Friedrich Wilhelm IV. And the Prussian monarchy. Siedler, Berlin 1995, pp. 174-175.
  9. ↑ Frank-Lothar Kroll: Monarchy and Divine Right in Prussia 1840–1861. In: Peter Krüger , Julius H. Schoeps (ed.): The misunderstood monarch. Friedrich Wilhelm IV. In his time. Verlag für Berlin-Brandenburg, Potsdam 1997, pp. 45–70, here: p. 45.
  10. ↑ Renate Franke: Better to be unholy than dishonest. Friedrich Wilhelm IV. And Franz Krüger in the field of tension between ideal and reality. In: Hans-Joachim Giersberg (ed.): Friedrich Wilhelm IV. Artist and King. Fichter, Frankfurt am Main 1995, pp. 112–118, here: p. 114.
  11. ↑ Renate Franke: Better to be unholy than dishonest. Friedrich Wilhelm IV. And Franz Krüger in the field of tension between ideal and reality. In: Hans-Joachim Giersberg (ed.): Friedrich Wilhelm IV. Artist and King. Fichter, Frankfurt am Main 1995, pp. 112–118, here: p. 116.
  12. ^ Franz Krüger: Crown Prince Friedrich Wilhelm (IV.) Of Prussia , around 1825, black chalk and opaque white on light brown tinted paper, 26.4 × 24.3 cm, SPSG, GK II 970. In: Helmut Börsch-Supan : catalog part Der Painter Franz Krüger: 1797–1857. Prussian correct - Berlin witted , p. 123.
  13. ^ In: Helmut Börsch-Supan: catalog part of the painter Franz Krüger: 1797–1857. Prussian correct - Berlin witted , pp. 194–195.
  14. ↑ It shows the king's visit to Stettin in autumn 1840. The painting was completed by Krüger in 1841 and was shown in the Berlin Academy Exhibition in 1842. The king gave the picture to the garrison in Szczecin; it has been lost since 1945. A lithograph by Friedrich Jentzen was created after the painting. In Helmut Börsch-Supan: catalog part of the painter Franz Krüger: 1797–1857. Prussian correct - Berlin witted , p. 192.
  15. ↑ The Tondo with Charlottenhof Palace in the background was formerly located in Sagan Palace, the variant with Sanssouci Palace in the background is owned by the Hohenzollern family. In Helmut Börsch-Supan: catalog part of the painter Franz Krüger: 1797–1857. Prussian correct - Berlin witted , p. 193.
  16. ^ Franz Krüger: Friedrich Wilhelm IV., 1844 , 275 × 188 cm, SPSG, GK I 896. In Helmut Börsch-Supan: catalog part of the painter Franz Krüger: 1797-1857. Prussian correct - Berlin witted , p. 206.
  17. ^ Helmut Börsch-Supan: catalog part. In: The painter Franz Krüger: 1797–1857. Prussian correct - Berlin witty. Deutscher Kunstverlag, Munich 2007, p. 206.
  18. ↑ Renate Franke: Better to be unholy than dishonest. Friedrich Wilhelm IV. And Franz Krüger in the field of tension between ideal and reality. In: Hans-Joachim Giersberg (ed.): Friedrich Wilhelm IV. Artist and King. Fichter, Frankfurt am Main 1995, p. 117.
  19. ^ Ilse Foerst-Crato: The picture Friedrich Wilhelm IV. In the Mindener Heimatmuseum. In: Mindener Heimatblätter. Year 36, 1964, pp. 228–232, here: p. 228 ( digital copy ).
  20. ↑ Hans-Joachim Felber (Ed.): Correspondence between Alexander von Humboldt and Friedrich Wilhelm Bessel (=  contributions to Alexander von Humboldt research. Volume 10). Akademie Verlag, Berlin 1994, ISBN 3-05-001915-8 , p. 205 (letter from Bessel to Humboldt of November 1, 1845).
  21. ↑ a b c d Helmut Börsch-Supan : catalog part. In: Gerd Bartoschek (ed.): The painter Franz Krüger: 1797–1857. Prussian correct - Berlin witty. Deutscher Kunstverlag, Munich 2007, pp. 99–228, here: p. 207.
  22. ^ Margarete Cohn: Franz Krüger. Life and works. Breslau 1909, p. 39 ( digitized version ).
  23. ^ Ilse Foerst-Crato: The picture Friedrich Wilhelm IV. In the Mindener Heimatmuseum. In: Mindener Heimatblätter. Year 36, 1964, pp. 228–232, here: p. 232 ( digital copy ).
  24. ↑ Inv. No. 2807 (Rico Quaschny (ed.): Friedrich Wilhelm IV. And Bad Oeynhausen. Verlag für Regionalgeschichte, Bielefeld 2011, ISBN 978-3-89534-896-9 , p. 42).
  25. ↑ Renate Franke: Better to be unholy than dishonest. Friedrich Wilhelm IV. And Franz Krüger in the field of tension between ideal and reality. In: Hans-Joachim Giersberg (ed.): Friedrich Wilhelm IV. Artist and King. Fichter, Frankfurt am Main 1995, pp. 112–118, here: p. 118.
  26. ^ Board of Directors of the German Century Exhibition (ed.): Catalog for the "Exhibition of German Art from the Period 1775–1875 in the Royal National Gallery, Berlin 1906". Volume 2. Bruckmann, Munich 1906, p. 290 No. 938 ( digitized version ).
  27. ↑ XXXV. Art exhibition of the Royal Academy of Arts. 1846. Berlin 1846, No. 1760; see also Helmut Börsch-Supan: catalog section. In: Gerd Bartoschek (ed.): The painter Franz Krüger: 1797–1857. Prussian correct - Berlin witty. Deutscher Kunstverlag, Munich 2007, pp. 99–228, here: p. 207.
  28. ↑ Hans-Christof Kraus, Thomas Nicklas (ed.): History of politics: old and new ways. Oldenbourg, Munich 2007, ISBN 978-3-486-64444-9 , p. 358. Corresponding sheets by Oldermann can be found in the State Museum for Art and Cultural History in Münster or as galvanography in the art library of the State Museums in Berlin
  29. ↑ XXXV. Art exhibition of the Royal Academy of Arts. 1846. Berlin 1846, No. 1760; see also Helmut Börsch-Supan: catalog section. In: Gerd Bartoschek (ed.): The painter Franz Krüger: 1797–1857. Prussian correct - Berlin witty. Deutscher Kunstverlag, Munich 2007, pp. 99–228, here: p. 207.
  30. ↑ Gisold Lammel: Prussia Artist Republic of sheets up Liebermann: Berlin 19th century realists. Verlag für Bauwesen, Berlin 1995, p. 52.
  31. ^ Margarete Cohn: Franz Krüger. Life and works. Breslau 1909, p. 41 ( digitized version ).
  32. ↑ a b Rainer Schoch: The image of the ruler in 19th century painting. Prestel, Munich 1975, p. 110.
  33. ^ Margarete Cohn: Franz Krüger. Life and works. Breslau 1909, p. 40 ( digitized version ).
  34. ^ Rainer Schoch: The image of the ruler in 19th century painting. Prestel, Munich 1975, p. 109.
  35. ↑ Frank-Lothar Kroll: "Citizen King" or "King by God's Grace"? Franz Krüger's portrait of Friedrich Wilhelm IV as a reflection of contemporary ideas about rulers. In: ders .: The spiritual Prussia. On the history of ideas of a state. Schöningh, Paderborn, Munich, Vienna, Zurich 2001, pp. 117–119. 124 ( digitized version ).
  36. ↑ Frank-Lothar Kroll: "Citizen King" or "King by God's Grace"? Franz Krüger's portrait of Friedrich Wilhelm IV as a reflection of contemporary ideas about rulers. In: ders .: The spiritual Prussia. On the history of ideas of a state. Schöningh, Paderborn, Munich, Vienna, Zurich 2001, p. 121 f. ( Digitized version ).
  37. ^ Irmgard Wirth : Berlin painting in the 19th century. From the time of Frederick the Great to the First World War. Siedler, Berlin 1990, p. 123.
This version was added to the list of articles worth reading on September 19, 2018 .