Georg Friedrich Schmidt

from Wikipedia, the free encyclopedia
Georg Friedrich Schmidt, self-portrait “with the spider”, etching, St. Petersburg 1758

Georg Friedrich Schmidt (born January 24, 1712 in Schönerlinde near Berlin , † January 25, 1775 in Berlin) was a German engraver , etcher and pastel painter who worked as a court engraver under Friedrich II . He is considered a master of the Frederician Rococo in his field .

Life

Beginnings in Berlin

Georg Friedrich Schmidt's parents were poor cloth makers. Her son was actually destined to learn the cloth-making trade like his father. But the boy did not agree with that, because he was enthusiastic about the drawing art from an early age . After the family, which included two of the artist's sisters, moved from Schönerlinde , his birthplace, to Berlin , the fourteen-year-old Georg Friedrich was allowed to take free drawing lessons at the Berlin Art Academy . After his talent became evident there, the parents, on the advice of the academy teachers, gave their son a three-year apprenticeship with the copper engraver Georg Paul Busch in 1727, probably because a painter was not available for the artistic training of the young Georg Friedrich . According to Karl von Lützow, however, Schmidt's actual teacher is said to have been the Prussian court engraver Johann Georg Wolfgang ; For Busch, the extremely talented young Schmidt would only have worked as an engraver on the side for financial reasons. Edwin von Campe writes similarly about Schmidt: "He learned the art of copperplate engraving at the Berlin Academy and then came to GP Busch as an assistant, whom he soon surpassed in terms of ability." In order to perfect himself as an artist, Schmidt also took drawing courses Painting courses at the Berlin Art Academy, especially since he was also interested in painting.

From 1730 the young artist completed his military service in the Prussian army and became a gunner there . In his free time he continued to attend the art academy and worked as a copper engraver on his own account. Schmidt had his first successes in the early 1730s with copper engraving portraits of Crown Prince Friedrich , some of which he engraved for Georg Paul Busch. With the approval of Friedrich's mentor, Field Marshal Friedrich Wilhelm von Grumbkow , Schmidt left military service prematurely in 1736 and started his own business.

At the art academy he met Georg Wenzeslaus von Knobelsdorff , who became a long-time friend. He also made friends with the Prussian court painter and academy director Antoine Pesne , who, like Knobelsdorff, was "in intimate, personal contact" with Friedrich II. Pesne, who came from France, provided Schmidt with a letter of recommendation to Nicolas Lancret . With this recommendation, the German engraver went to Paris in 1736 to perfect his engraving craft there. On the way there he was accompanied by his friend, the decorative painter Friedrich Wilhelm Hoeder , who like his other friend Knobelsdorff had probably also been trained by Pesne at the Berlin Academy.

Close friendship with Johann Georg Wille

Le Théatre Italien after Nicolas Lancret, published by Larmessin, Paris 1737 or 1738

• On the way, Schmidt made friends with the engraver Johann Georg Wille in Strasbourg . Schmidt, Wille and Hoeder arrived in Paris at the end of July 1736. In the French metropolis, Schmidt and Wille moved into a shared apartment for several years until Schmidt was accepted into the Académie royale de peinture et de sculpture . How close the relationship between the two artists was, Wille makes clear in retrospect in his Mémoires : There he recalls the happy friendship that developed between him and Schmidt during the trip from Strasbourg to Paris and which "grew stronger and stronger" in the French metropolis. emphasizing that the two artists agreed in their thinking and acting and “couldn't get enough of being together”. There was never any boredom. Wille also mentions that the witty Schmidt, despite “noble” principles, was a little more satirical than he was. Wille goes on to describe in detail how he and Schmidt, who often “drove badass”, constantly made the area around Paris unsafe with their sketch pads, constantly drawing a wide variety of motifs and sketching each other in all possible positions. According to Wessely, the friendship between the two engravers was “so close that they [also] mutually participated in their copper plates; one stabbed the portrait, the other the accessories ... “When Schmidt moved into a larger apartment of his own after years of living together, Wille felt lonely and mourned the happily spent time together, because where are two other young artists who are more sincere Friends be as will and Schmidt! The friendly relationship was maintained until Schmidt's death, despite the abandonment of the shared apartment and even after Schmidt was appointed court copper engraver to Berlin (see below), as can be seen from the regular correspondence between the two artists.

Perfection of training and success as an engraver in Paris

Frederick II , who had already been interested in Schmidt as Crown Prince, supported Schmidt, who had gone to Paris, immediately after his accession to the throne in 1740 with an annual allowance or a "pension" of 3000 livre, which allowed Schmidt to enjoy more freedom in the French metropolis the progress of his art as well as private amusements.

Schmidt and Wille, who initially decorated rifle stocks with engravings for armourers and only learned the art of engraving a little later, relatively quickly made contact with the court painter Hyacinthe Rigaud and the president of the royal art academy Nicolas de Largillière in Parisian artistic circles . While Wille initially struggled with the ornamentation of rifles and had to train himself more intensively in the engraving technique, it was thanks to Pesnes' letter of recommendation that Lancret gave him a place in the workshop of his engraver Nicolas de Larmessin (1684–1755). Larmessin, the “engraver du Roy”, accepted Schmidt as his pupil in the workshop that he ran in his house, where he completed a seven-month training course. During this time, several engravings were made after works by Lancret (“The beautiful Greek woman”; “The Turk in love”). Schmidt gained an excellent reputation under Larmessin, perfected his engraving craft and for a while did portraits on behalf of art dealers and for other artists. In the early days he even worked a lot of overtime, for example in the early hours of the morning and on Sundays and holidays, when he cut a few small portraits for the publisher Michel Odieuvre in order to earn extra income .

Around 1740 he was gradually able to become self-employed. Rigaud, who had allowed him in 1739 to engrave his oil portrait of Count d'Evreux, helped him. Schmidt's copperplate engraving, which turned out to be to the full satisfaction of the painter and the count, also met with approval from art lovers. This was due to the fact that Schmidt made the Crayon manner , which was invented around 1740 and developed into success, his own. After further successful engravings, such as the portrait of the Archbishop of Cambrai, Louis Charles de Saint-Albin (1741), from a painting by Rigaud , King Louis XV issued the royal art academy granted special permission to admit the Protestant Schmidt to the institution that is otherwise only accessible to Catholic artists. In the meantime, Schmidt had helped train his friend Wille in copperplate engraving to the point that he could participate in his work. With a portrait engraving after Rigaud, Wille had even achieved his first independent success in 1743.

In the same year Schmidt engraved a portrait of Frederick II in Paris, as Wille did in 1742. Their model was probably a painting by Pesnes intended for the French court, which the Prussian court painter had made in 1742 by repeating his portrait of the crown prince from 1738. A portrait engraving by Johann Georg Wolfgang published in 1740 and 1741 could also have served as a model. Charles Étienne Jordan , however, said that he could discover little resemblance [to the monarch] to the copperplate version by Wille, which looks quite similar to that of Schmidt, but is somewhat harder in execution and more sober in the accessories .

Knobelsdorff had visited Schmidt in 1740 during his study trip to Paris and wanted to bring the talented copperplate engraver back to Berlin at the request of his king and benefactor Friedrich , but because of the outbreak of the First Silesian War , more concrete written negotiations did not begin until the beginning of 1742, the 1743 for Schmidt's employment as court copper engraver for an annual salary of 600 thalers . However, Schmidt initially stayed in Paris for a while, in order to achieve a prestigious permanent membership there after his temporary admission to the Paris Academy with the support of the French king. In 1744, after submitting his masterful portrait of the painter Pierre Mignard based on a painting by Rigaud, he actually became a full member of the Académie royale.

Court engraver of Frederick the Great in Berlin

Schmidt engraved the Schmettau plan of Berlin in 1748 , (updated from 1750)
Julien Offray de La Mettrie , 1751, after Schmidt's oil painting from 1750

In autumn 1744, in the middle of the Second Silesian War , Schmidt returned to Berlin as a renowned artist, where he was "welcomed with open arms" by Knobelsdorff and his old Berlin artist friends and took up his post as royal court engraver. On behalf of the Prussian King, he made plans for the battles near Hohenfriedberg , Soor and Kesselsdorf , which were published in January 1746 and in the months that followed.

In the same year Schmidt engraved another portrait of the king after a painting by Pesne from 1739. Seidel considered Schmidt's copper engravings from 1743 and 1746 to be the “best graphic depictions of Friedrich”, even if they were engraved from painted portraits despite their excellent technical quality where it is not certain whether they authentically reflect the real appearance of the monarch.

According to a contemporary report, it is questionable that Knobelsdorff introduced Schmidt to the king in Potsdam in July 1746, seven months after the end of the Second Silesian War, "who received him very graciously", seems questionable because Friedrich has been away since December In 1744 (two months after Schmidt's arrival in October 1744) and from January to March 1745 stayed very often in Berlin and Potsdam, where he must have met Schmidt. The fact that Friedrich was interested not only in the war business but also in art at court at that time, namely 1744/45, is not only based on an invoice dated November 5, 1744 for the lavish framing of apparently newly acquired paintings by the Parisian painter Nicolas Lancret, who was friends with Schmidt, but also from an exterior view sketched by the king for Knobelsdorff himself in December 1744 for the planned new building in Sanssouci, as well as from the many decoration work carried out by Schmidt's friend Hoeder on Friedrich's order since 1745. Also Gerd Heinrich writes that the king, even though he led for five years of war, during the winter time "controlled and directed" the progress of the artistic works in Berlin and Potsdam. In addition, under Schmidt's first work completed for the Prussian king, the plan for the battle of Hohenfriedberg had already been delivered in January 1746, which is why it can be assumed that Friedrich personally influenced the exact design of the battle plans in a conversation with Schmidt as early as 1745. In a letter from 1746 to his sister, Margravine Wilhelmine von Bayreuth , Friedrich praised the beautiful pastel pictures by the engraver Schmidt, who worked for him, without saying that he only recently welcomed Schmidt in Potsdam, although he mentioned in the same letter that the Italian painter Innocente Bellavite only recently started working for him and French artists are yet to arrive.

Schmidt married Dorothée Luise Viedebandt (also spelled Videbant) in October 1746, the daughter of the director of the Russian trading company in Berlin, who brought a large dowry into the marriage. In the opinion of the editors, it can be deduced from the correspondence that the high dowry was one of the decisive factors for the marriage - a marriage about which Schmidt's long-time friend Wille expressed himself with some confusion and “astonishment”. From this marriage the son August was born in 1748. From 1752 Schmidt lived with his family in their own house in Neu-Kölln .

As a royal court engraver, Schmidt also received larger commissions in Berlin and Potsdam. For example, he had to illustrate Friedrich's writings and set up an in-house print shop in the pharmacy wing of the Berlin Palace to print them . Until 1749 Schmidt produced the Œuvres du philosophe de Sans-Souci (works by the philosopher von Sans-Souci) for the first volume alone , which contains the comic heroic poem “Le Palladion”, which describes the homoerotic adventures of Frederick's reader Claude Étienne Darget, 80 Vignettes and illustrations, including six full-page engravings. The illustrations adorned the king's volumes of poetry, for example, with sensual putti floating in the air and with mythological and gallant scenes. In one depiction, for example, Apollo is accompanied by dancing muses and a loving satyr who points his arrow. The production of the books was secret, they were intended as gifts from Frederick to close friends and were published in very small numbers under the signet Au Donjon du Château (In the tower of the castle).

After Voltaire had started editing the oeuvres at Friedrich's court in 1750 , Friedrich called the painter and draftsman Blaise Nicolas Le Sueur from Paris to Berlin in 1751 . Friedrich, who valued French art and literature more highly than German, determined that Schmidt's illustrations of his works now had to be based on Le Sueur's preliminary drawings. His historical work Mémoires pour servir à l'histoire de la Maison de Brandenbourg appeared as a magnificent work, but was only partially illustrated according to Schmidt's ideas. 33 stitches came from him here. Because the secrecy failed and pirated prints appeared, in 1751 Friedrich allowed the publisher Christian Friedrich Voss for the first time to publish an abridged edition of the Mémoires and, in 1760, his various Poésies in larger editions. Schmidt rose to become the “celebrated illustrator” of Friedrich's works.

In addition to his extensive artistic work on the illustration of Friedrich's works, Schmidt had also engraved portraits of private clients with great success, occasionally painting his original in oil himself , as in the case of Julien Offray de La Mettries . By 1757 he had made sixteen large portrait engravings, mostly of Prussian philistines. In addition, Schmidt trained in the art of etching , with Rembrandt van Rijn being his great role model. In addition to works based on Rembrandt's etchings and paintings, a number of small character heads were also created using this technique.

Because the already little creative work based on Le Sueur's models had come to an end, the outbreak of the Seven Years' War from 1756 onwards worsened the order situation in Berlin's art production and tensions arose with his colleagues in Berlin, Schmidt followed an invitation from Empress Elisabeth to Russia in 1757 .

Court engraver in Saint Petersburg

Count Shuvalov , 1760

On leave from his king, Schmidt went to Saint Petersburg in 1757 for five years with an annual salary of 1,500 rubles . He left his wife and child in his Berlin house. From 1758 he headed a copper engraving school in St. Petersburg. It is unclear whether this was contractually related to the Imperial Art Academy opened by Elisabeth in the same year . In any case, through his work in St. Petersburg, Schmidt was able to incorporate much of his French style, but also his enthusiasm for Rembrandt's etchings into the Russian engraving scene. Hundreds of his drawings that the German artist had brought with him served as teaching material for Russian drawing courses for decades.

In addition to teaching, Schmidt created portrait engravings based on paintings by Louis Tocqué of important people at the Russian court, for example in 1759 of the ambassador of the Holy Roman Empire , Count Nikolaus Esterházy (1711–1764), the influential Count Peter Schuwalow and the hetman Kirill Grigorjewitsch Rasumowski , who himself made the engraving cost 1000 thalers. From 1759 to the end of 1761, Schmidt engraved the state portrait of Empress Elisabeth after an oil painting by Tocqué over a period of two years. To Tocqué's annoyance, the engraving deviated from the painting with the nose lengthened at the request of the Tsarina. It is uncertain whether the Empress, who died a few days later on January 5, 1762, paid Schmidt the fee of 1,000 ducats .

Despite the requests of his friends, patrons and clients to stay in St. Petersburg, Schmidt left the Russian metropolis on August 2, 1762 and was back in Berlin on September 18. His students later included important Russian engravers, such as Yevgraf Chemezov , Yefim Vinogradov and Dmitri Gerasimow .

Back in berlin

Dorothee Louise Schmidt , 1761. She leafed through the oeuvres of Frederick the Great.

With his work in Paris, the illustrations of the works of Frederick the Great and the engravings of numerous celebrities of his time, Schmidt had gained a European reputation. As a sought-after portrait engraver, he became a wealthy man. In addition to portraits of contemporaries and other works for the Prussian King, for example on the illustrations for the three-volume edition of the Mémoires pour servir à l'histoire de la Maison de Brandenbourg , published in 1767 in the second edition, or the Palladion edition published in 1774 , he produced again in Arrived in Berlin, but also numerous etchings based on templates and in the style of Rembrandt. Over the years he had built up an extensive collection of etchings by the Dutch master. In 1768 Schmidt was even commissioned to complete an original plate by the Dutch artist in the possession of the Berlin collector and publisher Jacques Trible . From the motif, an old man shading his eyes with his hand, Rembrandt had only executed the head and the hand. After Schmidt's extensive treatment, which was completed in 1770, "the old man, half Rembrandt, half Schmidt, stately dressed, sits on the windowsill in front of a curtain next to a lobed window with books and a laurel-wreathed poet's bust."

As he had done before, Schmidt gave lessons in copperplate engraving at the Berlin Academy. From 1764 onwards, Daniel Berger, who later became Vice Director of the Royal Academy, was one of his students .

As before in St. Petersburg, Schmidt had numerous high-ranking clients in Berlin, including the king's brother, Prince Heinrich , but over the years the court engraver became more and more a loner in the artistic scene in the Prussian metropolis. After the Seven Years' War, representatives of a new generation of engravers such as Daniel Chodowiecki (1726–1801) and Johann Wilhelm Meil (1733–1805), who broke away from the Rococo style and also sold their works to publishers, proved to be more popular for the Berlin public Could offer illustration of calendars and books cheaper.

Loss of family members, death, estate and former burial site

Schmidt's son August did not get beyond a few artistic beginnings, but caused his father a lot of grief as he was "unwary". For example, he stole his father's stitches to sell them secretly and then squandered the money. He died at a young age in 1766. Schmidt's wife died on May 1, 1771. The artist himself died of a stroke in his home on January 25, 1775 . In his letter of condolence to the deceased's two sisters, Frederick II regretted the loss of his court engraver, who was a "man of great talent".

Schmidt's estate, especially his Rembrandt collection, was scattered through an auction which, according to Wessely, took place in Berlin on November 20, 1775 and at which, in addition to numerous red chalk drawings , engravings and etchings by the artist, paintings and copperplate engravings by other masters from his possession were sold . The artist's grave was in vault 6 of the Luisenstadt church in Berlin, which burned out during the Second World War . The grave vaults, looted in 1945, were filled in in 1964 with the rubble created by the demolition of the fire ruins.

reception

Empress Elisabeth , after Louis Tocqué , 1761. The engraving is considered one of Schmidt's major works

Schmidt's copperplate engravings are considered to be "the most valuable of the Frederician Rococo ". More than 200 signed engravings and etchings as well as a small number of oil and pastel pictures can be verified.

It is unclear which of the engravings that appeared under the names Busch, Larmessin and the Russian engravers he trained in St. Petersburg were actually by Schmidt. This is particularly true of the illustrations made for Larmessin after Lancret in the edition of the Fables of Jean de La Fontaines , published in Paris in 1743, and of the engravings commissioned by Michel Odieuvre (1687–1756) that appear in the Portraits des personnages illustres de l ' un et l'autre sexe (Paris 1735 to 1745) were published.

Paul Kristeller wrote about Schmidt that in his art of engraving he “did not follow the painterly direction of the Watteaustcher”, “which his teacher and his first role models could have guided him, but the strictly linear style that Drevet had formed from Edelinck's master technique . Like them, he sticks to the clear, regular line and tries to reproduce the plasticity of the forms and the uniqueness of the fabrics solely through the diversity of the groupings of lines, their bends and degrees of strength. Its line formation is generally much thinner and more delicate than that of almost all French engraver artists. Nevertheless, he retains a much greater freedom and breadth of tones than Wille, in particular he avoids the hard metallic sheen, which often has a disturbing effect in Wille's engravings. Although his line systems in long waists are broad and uniform, each individual shape is treated independently according to its type and color. The colored contrasts, all the details of the form are very cleverly used to liven up the surfaces. He is always tasteful and never loses his enthusiasm for his work, even with the toughest technical test of patience. His portraits thus completely retain the freshness of life and the colorful charm of the originals. ”According to Kristeller, his most brilliant achievements were“ the works of his Parisian years ”. Karl Woermann has a similar opinion on the quality of Schmidt's art: “With his portrait engraving of the painter Mignard in Paris in 1744, he reached the highest level in the achievement of painterly material effects through 'firmly established regularity of the lines' ( Lippmann ). He knew how to reproduce inimitably the different sheen of shimmering silk and shimmering linen fabrics. "

After Maria Countess Lanckorońska and Richard Oehler , Schmidt found himself “at the height of his ability” with the illustrations for Friedrich's L'Art de la Guerre , printed in 1760. In his late years in Berlin, on the other hand, his engravings, even if worked “neatly and carefully”, no longer achieved “any particular artistic value” according to Paul Dehnert. Rembrandt was the model for his portraits, landscapes and genre paintings and depictions of biblical history. Schmidt not only imitated him, as in his St. Petersburg “Self-Portrait with the Spider”, but he also adapted his habitus. While Schmidt's etchings in the style of Rembrandt and his student Govaert Flinck were highly valued in the collection of Johann Ernst Gotzkowsky in the 18th century, Paul Kristeller criticized these sheets in the 20th century. Even the best of them remained “dry and cold, petty in hatching and without fire and power of tones. One would think that he never saw anything but faint impressions of Rembrandt's etchings. His technique is also mostly reminiscent of Vliet, or at most Bol and Livens, than of the master himself. "

Schmidt had received high honors during his lifetime, he was considered one of the best in his field in the 18th century, but he was denied fame. His work never became known to the general public. Frederick the Great's works with Schmidt's illustrations only appeared in small editions until Adolph von Menzel replaced him as illustrator of the much-printed editions in the 19th and 20th centuries. His portraits of famous or wealthy clients remained in their family property, the other prints became out of fashion and soon only interested art collectors. However, Schmidt's role as an important "artistic mediator between Western Europe and Russia" is undisputed.

Exhibitions

  • Георг Фридрих Шмидт (1712–1775). Гравер короля [Georg Friedrich Schmidt (1712–1775). King's engraver]. Hermitage, St. Petersburg, 6th September to 19th November 2017. Exhibition of 68 copperplate engravings by the artist.

literature

  • Message from Mr. Georg Friedrich Schmidt in Berlin. In: Carl Heinrich von Heineken (Hrsg.): Messages from artists and art things . Volume 1, Krauss, Leipzig 1768, pp. 164-174 ( digitized version of the Heidelberg University Library ).
  • Ludwig David Jacoby: Schmidt's works, or, descriptive directory of all copper engravings and etchings which the famous artist George Friedrich Schmidt, Königl. Preuss. Hofkupferstecher, member of the Royal. Academies in Berlin, Paris, and the Imperial in St. Petersburg from 1729 until his death in 1775 . Jacoby's Kunsthandlung, Berlin and IBG Fleischer, Leipzig 1815.
  • Georg Kaspar Nagler : New general artist lexicon or news of the life and works of painters, sculptors, builders, engravers, shape cutters, lithographers, draftsmen, medalists, ivory workers, etc. Volume fifteen: "Santi, Antonio - Schoute, Jan". Verlag von EA Fleischmann, Munich 1845, pp. 299-337 ([digitized]).
  • Joseph Eduard Wessely : Critical lists of works by outstanding engravers. Volume 1: Georg Friedrich Schmidt. List of his engravings and etchings . Haendcke & Lehmkuhl, Hamburg 1887 ( digitized version ).
  • Paul Seidel : On the history of art under Frederick the Great. In: Hohenzollern yearbook. Research and illustrations on the history of the Hohenzollern in Brandenburg-Prussia 5, 1901, pp. 60–86 ( digital.zlb.de ).
  • Paul Seidel: Frederick the Great and the fine arts . Giesecke & Devrient, Leipzig / Berlin 1922.
  • WB: Schmidt, Georg Friedrich . 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. 142-143 .
  • Paul Dehnert: Georg Friedrich Schmidt, the king's court engraver. In: Jahrbuch Preußischer Kulturbesitz Volume 16, 1979, pp. 321–339.
  • Rainer Michaelis: reflections on the painterly work of the Prussian court copper engraver Georg Friedrich Schmidt (1712–1775). In: Jahrbuch Preußischer Kulturbesitz Volume 35, 1999, pp. 221–235.
  • Christoph Frank: The Frederician Art Transfer to Russia: The Significance of Rembrandt and Georg Friedrich Schmidt. In: Brunhilde Wehinger (ed.): Geist und Macht. Frederick the Great in the context of European cultural history . Akademie-Verlag, Berlin 2005, pp. 245–270.
  • Ниёле Казимировна Масюлионите: Георг Фридрих Шмидт (1712–1775). Гравер короля . Exhibition catalog. Hermitage, St. Petersburg 2017.
  • Tilman Just: Georg Friedrich Schmidt - corrections and additions to the "list of his engravings and etchings, described by JE Wessely". 2018 ([URL: http://archiv.ub.uni-heidelberg.de/artdok/volltexte/2018/5702 Digitalisat Universitätsbibliothek Heidelberg]).
  • Konstantin Vladimirovič Malinovskij: Schmidt, Georg Friedrich . In: General Artist Lexicon . The visual artists of all times and peoples (AKL). Volume 102, de Gruyter, Berlin 2018, ISBN 978-3-11-023268-4 , p. 53.

Web links

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

Individual evidence

  1. ^ Joseph Eduard Wessely: Georg Friedrich Schmidt. List of his engravings and etchings . Haendcke & Lehmkuhl, Hamburg 1887, p. IV.
  2. ^ Wessely: Georg Friedrich Schmidt. List of his engravings and etchings. SV
  3. ↑ Since Wolfgang, “in addition to his position as court engraver, was also a teacher of his subject at the Berlin Academy, where Schmidt began his studies, it is highly probable that he was also its teacher. Usually the engraver GP Busch is named as such. However, Busch was a bungler from whom Schmidt could learn nothing more, 'he only worked for him and improved his records to earn money, since Busch had a widespread clientele that the young, unknown artist did not acquire during his six years of service as a soldier could '(Seidel). “See Carl von Lützow : History of German copper engraving and woodcut . Berlin 1891, p. 254.
  4. ↑ Edwin von Campe (ed.): The graphic portraits of Frederick the Great from his time and their models . Volume 1. Bruckmann, Munich 1958, p. 9.
  5. ↑ Von Campe: The graphic portraits of Frederick the Great from his time and their models . Volume 1, pp. 9, 39, 65; Wessely: Georg Friedrich Schmidt. List of his engravings and etchings. P. 17; Paul Seidel: "On the history of art under Frederick the Great: 1. Georg Friedrich Schmidt, the first illustrator and printer of Frederick the Great". In: Hohenzollern yearbook. 1901, p. 62. The engraving from 1733 for the wedding of Crown Prince Friedrich and Elisabeth Christine von Braunschweig-Wolfenbüttel-Bevern , on the other hand, does not come from Georg Friedrich Schmidt, but from the Braunschweig engraver Johann Georg Schmidt (1694–1767) with Georg Friedrich Schmidt is occasionally confused. See the signature "JG Schmidt" and Gerhild HM Komander: The change of the "Sehepuncktes". The history of Brandenburg-Prussia in graphics from 1648 to 1810 . LIT Verlag, Münster and Hamburg 1995, p. 387 No. 122.
  6. ^ Wessely: Georg Friedrich Schmidt. List of his engravings and etchings. S. VI. He should as Enrollierter need while receiving fourteen years his military service.
  7. ↑ “Knobelsdorff came to Berlin in 1729 after quitting military service due to sickness, where he was supposed to teach the Crown Prince in drawing and was able to train himself at the Academy of the Arts. At the same time as him, the engraver Georg Friedrich Schmidt attended the academy. Both were on friendly terms. ”See Gerd Bartoschek: Antoine Pesne, 1683–1757 . Exhibition for the 300th birthday. General Directorate of the State Palaces and Gardens, Potsdam-Sanssouci 1983, p. 120.
  8. ↑ Paul Seidel: Friedrich the Great and the fine arts . Giesecke & Devrient, Leipzig and Berlin 1922, p. 40.
  9. ↑ Seidel: Frederick the Great and the Fine Arts. S. 153, 224. Schmidt was already a protégé of the court painter Pesne in the 1730s, and he was one of his many students. The well-known Berlin art historian Hans Mackowsky , one of the best connoisseurs of Old Berlin, wrote that Knobelsdorff “knew Schmidt as a protégé of the Berlin academy director and court painter Pesne.” See Hans Mackowsky: “The Friedrichs-Forum zu Berlin after the plan by GW v. Knobelsdorff ”. In: Zeitschrift für bildende Kunst. Vol. 45, NF 21, 1910, p. 16.
  10. ↑ Hans Müller emphasizes "that Pesne himself drew German artists' attention to what one could learn from his compatriots, as he recommended the young copper engraver Georg Friedrich Schmidt to his friend Lancret in Paris." See Hans Müller: Die Royal Academy of Arts in Berlin 1696 to 1896. From the founding by Friedrich III of Brandenburg to the restoration by Friedrich Wilhelm II of Prussia . Berlin 1896, p. 104.
  11. ↑ "Schmidt went to Paris in 1736 to perfect his training, sent from Pesne to Lancret, after whose pictures he first stabbed." See Bartoschek: Antoine Pesne, 1683–1757. P. 120. The date 1737 often mentioned in the literature for the departure to Paris is based on a misinterpretation by Wessely: Georg Friedrich Schmidt. List of his engravings and etchings , p. VII. See also Herbert Krüger on the correct date in 1736: “The journeyman migration of the 'French' engraver Jean-Georges Wille from Upper Hesse via Strasbourg to Paris in 1736”. In: Journal for the history of the Upper Rhine. NF, Volume 74, Issue 2 (1965), pp. 389-413.
  12. ^ "Schmidt etait accompagné par Höder, jeune Peintre de Berlin." See the biographical sketch by Johann Georg Wille about Schmidt, quoted in Elisabeth Décultot, Michel Espagne , Michael Werner (eds.): Johann Georg Wille (1715–1808). Correspondence . Max Niemeyer, Tübingen 1999, ISBN 3-484-36544-7 , p. 42.
  13. ^ Hoeder, Friedrich Wilhelm . In: General Artist Lexicon . The visual artists of all times and peoples (AKL). Volume 73, de Gruyter, Berlin 2011, ISBN 978-3-11-023178-6 , p. 498.
  14. ↑ "Mr Wille, qui allait également a Paris se joignit a eux a Strasbourg." Quoted in Décultot a. a .: Johann Georg Wille (1715–1808): Correspondence. P. 42.
  15. ↑ "Ils firent route ensemble et dans cette arriverent Patrie des Arts à la fin de Juillet 1736." See Decultot u. a .: Johann Georg Wille (1715–1808): Correspondence. P. 42.
  16. ↑ Wille, Johann Georg . 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. 11 . Wille also reports in detail about the time together in this apartment in his memoirs, which are published in French. See Mémoires et journal de J.-G. Will, engraver du roi . Edited by Georges Duplessis. 2 volumes. Jules Renouard, Paris 1857.
  17. ↑ Wille literally writes: “J'ai déjà observé que l'amitié entre Schmidt et moi s'étoit heureusement formée pendant notre voyage; j'ajoute qu'elle se fortifioit de plus en plus à Paris; nos façons de penser et d'agir étoient à peu près conformes; je l'allois voir souvent lorsqu'il aidoit M. de Larmessin dans la gravure des contes de la Fontaine, nous ne nous lassions jamais d'être ensemble, l'ennui n'étoit pas de notre essence. Schmidt avoit de l'esprit, et quoiqu'un peu satirique il étoit noble et honnête par principes. ”See Mémoires et journal de J.-G. Wille , Volume 1, p. 62.
  18. ↑ Mémoires et journal de J.-G. Wille , Volume 1, pp. 84-85. Seidel: Frederick the Great and the fine arts. P. 217.
  19. ^ Wessely: Georg Friedrich Schmidt. List of his engravings and etchings. P. VII.
  20. ↑ Wille writes literally: “Il n'y a donc rien de stable en ce monde! C'est dans l'ordre, je le vois; mais je suis isolé! Schmidt, cet ancien camarade, a quitté cette demeure! Où est ce temps heureux si peu éloigné, mais passé, qu'une seule cloison de planches nous séparoit? Où-rencontre-t-on deux jeunes artistes, courant la même carrière, qui aient été des amis plus sincères que nous? ”See Mémoires et journal de J.-G. Wille , Volume 1, p. 84.
  21. ↑ See Décultot et al.: Johann Georg Wille (1715–1808). Correspondence. passim. Will writes z. For example: "C'est de ce voyage [meaning the joint journey from Strasbourg to Paris] que date l'amitié qui a constamment subsisté entre Schmidt et Wille." Ibid, p. 42.
  22. ↑ According to Louis-Abel de Bonafous, Abbé de Fontenai (1737–1806), an excellent expert on the Parisian art scene of the 18th century, who lived in Paris as a cultural journalist for decades, Frederick the Great was already interested in Schmidt's good reputation as Crown Prince , and he expressly emphasizes that Schmidt appreciated the unexpected favor on the part of the prince and that it spurred his sensitive heart on to new artistic advances. See Abbé de Fontenai: Dictionnaire des artistes . Paris 1776, part 2, p. 535.
  23. ↑ Fontenai writes: “Le roi de Prusse actuel, alors prince royal, voyoit avec complaisance la reputation de Schmidt parvenir jusqu'à lui. Appréciateur éclairé des sciences & des arts, qu'il protégé & récompense avec autant de sagesse que de discernement, Frédéric ne fut pas plutôt sur le throne, qu'il gratifia notre artiste d'une pension de trois mille livre. Il lui en accorda même la jouissance pendant le temps qu'il resteroit à Paris, pour lui laisser la liberté de terminer les ouvrages qu'il avoit commences. Cette faveur inattendue de la part de ce prince, & le prix inestimable qu'il sçait y avouer par la maniere don't il répand ses bienfaits, surent de motifs bien puissants sur le coeur sensible de Schmidt, qui s'empressa de témoigner sa reconnaissance par de nouveaux progress dans son art. ”See Fontenai: Dictionnaire des artistes , part 2, p. 535. Cf. also Wessely: Georg Friedrich Schmidt on the annual allowance granted . List of his engravings and etchings. S. IX.
  24. ↑ Wille, Johann Georg . 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. 11 .
  25. ^ Wessely: Georg Friedrich Schmidt. List of his engravings and etchings. S. IX.
  26. ↑ LD Jacoby: Schmidt's works, or, descriptive directory of all copper engravings and etchings which the famous artist George Friedrich Schmidt, Königl. Preuss. Hofkupferstecher, member of the Royal. Academies in Berlin, Paris, and the Imperial in St. Petersburg from 1729 until his death in 1775 . Jacoby's Kunsthandlung, Berlin and IBG Fleischer, Leipzig 1815, p. 5.
  27. ↑ Schmidt's engraving by Comté d'Évreux from 1739 (Stéphan Perreau: Le portrait du comte d'Evreux , Overblog ).
  28. ^ Paul Dehnert: "Georg Friedrich Schmidt, the king's court engraver". In: Yearbook Preussischer Kulturbesitz. 16, 1979, p. 327.
  29. ^ Georg Friedrich Schmidt (after Hyacinthe Rigaud): Louis Charles de Saint-Albin (1741).
  30. ↑ A German translation of this permit can be found at Jacoby: Schmidts Werke. Pp. 9-10.
  31. ↑ On Pesne's painting from 1738 and Willes and Schmidt's engravings from 1742 and 1743, see Arnold Hildebrandt: Das Bildnis Friedrichs der Großen. Contemporary representations. 2nd Edition. Nibelungen-Verlag, Berlin 1942, pp. 107-108; Schmidt's copperplate engraving Fridericus III. Rex Borussiae (Friedrich III. King of Prussia) from 1743, Virtual Print Room ; Schmidt and Willes presumed model: Pesne's portrait of Frederick from 1742 intended for Paris ; here in a detail of Antoine Pesne's original painting, his oil painting Kronprinz Friedrich from 1738 at friederisiko , 2012.
  32. ↑ Von Campe: The graphic portraits of Frederick the Great from his time and their models. P. 77, cat.-no. 524 and Fig. 16. Andrea M. Kluxen: Picture of a King. Frederick the Great in the graphic. CA Starke Verlag, Limburg an der Lahn 1986, p. 59, Fig. 3.
  33. ↑ See the comparison in Kluxen: Bild einer König. Frederick the Great in the graphic. Pp. 64–65, Figs. 4 and 5.
  34. ^ Letter of September 8, 1742. Quoted in Hildebrandt: The portrait of Frederick the Great. Pp. 107-108.
  35. ^ Georg Friedrich Schmidt: Pierre Mignard (engraving from 1744) , Virtual Kupferstichkabinett .
  36. ↑ Although his French artist friends tried for a long time to keep Schmidt in Paris with lucrative offers, he went to Berlin in September 1744. See Wessely: Georg Friedrich Schmidt. List of his engravings and etchings , p. XII. He arrived there on October 2, 1744. See Hans Droysen : "Daily calendar of Frederick the Great from June 1, 1740 to March 31, 1763". In: Melle Klinkenborg (Ed.): Research on Brandenburg and Prussian history . Volume 29. Verlag von Duncker & Humblot, Munich and Leipzig 1916, p. 109.
  37. ↑ Seidel: Frederick the Great and the Fine Arts. P. 219.
  38. ↑ Seidel: Frederick the Great and the Fine Arts. Pp. 218-219.
  39. ↑ For the painting Pesnes from 1739 and the reversed and modified copper engraving by Schmidt from 1746 see Arnold Hildebrandt: Das Bildnis Friedrichs der Großen. Contemporary representations . Nibelungen², Berlin 1942, pp. 108-110; Schmidt's copperplate engraving from 1746, Virtual Kupferstichkabinett.
  40. ↑ See Seidel: Friedrich the Great and the Fine Arts. P. 219.
  41. ↑ Charles Étienne Jordan already missed the resemblance to the real Friedrich in Willes engraving from 1742, which is comparable to Schmidt's engraving from 1743. Rainer Michaelis claims that the model for Schmidt's engraving from 1746, namely Pesne's painting of the Crown Prince from 1739, was the “last authentic picture” of Friedrich (see Friedrich the Great in the mirror of the works of Daniel Nikolaus Chodowiecki. In: Stiftung Preußische Schlösser und Gardens Berlin-Brandenburg : The Risk of Friederike. Friedrich the Great. The Essays. Hirmer, Munich 2012, ISBN 978-3-7774-4701-8 , p. 263), but Andrea M. Kluxen emphasizes in a special chapter dedicated to " Problem with similarity ”takes a position that baroque representational portraits (like that of Pesne) are pictures“ without an absolute claim to similarity ”. “One can assume that there is no realistic image of Friedrich.” See Kluxen: Image of a King. Frederick the Great in the graphic. P. 33, 34. Seidel also writes: “The portraits of Pesne, of which the most famous one is probably the one painted in Rheinsberg in 1739, are all more or less parade pictures in which the prince, the future royal majesty, is expressed shall be; as a result they all suffer from a certain spiritual monotony which the true man cannot express ”. See Paul Seidel: "Frederick the Great as Crown Prince in Rheinsberg and the fine arts". In: Yearbook of the Royal Prussian Art Collections. 9, 1888, p. 116. As a result, Schmidt's engraving based on this idealized late Baroque portrait could not have correctly reproduced the real appearance of the Prussian king.
  42. ^ "Message from Mr. Georg Friedrich Schmidt in Berlin." In: Abraham Humbert and JM Falben: Messages from artists and art things . First part, volume 1 (1768), p. 173, where it says literally: “The second Silesian campaign lasted until the end of the 1745th year, and Schmidt was only able to present Schmidt to his king in Potsdam in July 1746 through the general manager von Knobelsdorff who received him very graciously. ”This source is also followed by Rainer Michaelis: Reflections on the painterly work of the Prussian court engraver Georg Friedrich Schmidt (1712–1775). In: Yearbook Prussian Cultural Heritage. Volume XXXV (1999), p. 232.
  43. ↑ The same anonymous contemporary “message” about Schmidt also says: “Knobelsdorff… came to Paris in the autumn of 1740; who then immediately called on his former drawing comrade and wanted to take him with him to Berlin, because without this the king, as he said, would soon recall our Schmidt. "See" Message from Mr. Georg Friedrich Schmidt in Berlin ", p. 170. This suggests that Friedrich and Schmidt already knew each other before 1746, as can be seen from the specific information given above by the Abbé de Fontenai, which makes it clear that the Crown Prince was already in contact with Schmidt.
  44. ↑ Karl Heinrich Siegfried Rödenbeck: Diary or history calendar from Friedrich's regent life (1740–1786) . Volume 1. Berlin 1840.
  45. ↑ See Christoph Martin Vogtherr: “Friedrich II of Prussia as a collector of French paintings. Problems and perspectives of research. ”In: Pierre Rosenberg: Poussin, Lorrain, Watteau, Fragonard… French masterpieces of the 17th and 18th centuries from German collections. An exhibition by the Art and Exhibition Hall of the Federal Republic of Germany, Bonn, the Bayerische Staatsgemäldesammlungen, Munich, the Haus der Kunst Foundation, Munich, and the Réunion des Musées Nationaux, Paris, 2005, pp. 92-93, which indicates that ( With the exception of the works of the Prussian court painter Pesne) there are no French pictures at Friedrich's court before this point in time, but there are Dutch paintings.
  46. ↑ "Berlin and the Mark Brandenburg". In: Wolfgang Braunfels (ed.): Art in the Holy Roman Empire of the German Nation . Volume I: The secular principalities . CH Beck, Munich 1979, p. 124.
  47. ^ Hoeder, Friedrich Wilhelm . In: General Artist Lexicon . The visual artists of all times and peoples (AKL). Volume 73, de Gruyter, Berlin 2011, ISBN 978-3-11-023178-6 , p. 498.
  48. ^ Gerd Heinrich: Friedrich II of Prussia. A great king's achievement and life . Duncker & Humblot, Berlin 2009, p. 89.
  49. ↑ Seidel: Frederick the Great and the Fine Arts. P. 219.
  50. ↑ See The Works of Frederick the Great: in German translation. The king to Margravine Wilhelmine von Bayreuth (November 16, 1746) .
  51. ↑ Décultot et al. (Ed.): Johann Georg Wille (1715–1808). Correspondence. Pp. 23, 65-68. Schmidt himself says in his letter of November 1, 1746 to Wille that he is giving up his bachelor existence because he has met the most amiable female character in the world, this woman would bring in 40,000 livres into the marriage, and because a rich uncle from London, who has neither children nor siblings, nor can more be expected. And he adds that because of all these advantages, Wille would certainly not have advised him to remain single. (In the year of his marriage, Schmidt also made an engraving of the aforementioned extremely wealthy London uncle, Henry Voguell, based on a portrait executed by Pesne. See Wessely: Georg Friedrich Schmidt. List of his engravings and etchings. Pp. 51–52, No. 114. Georg Friedrich Schmidt: Henry Voguell (1746) .) In his draft of an answer dated November 15, 1746, Wille is not sure whether he should respond to the wedding of his close friend with “joy and pleasure” or “astonishment and amazement” , and he points out that two of his brothers also married because of the high dowry. About one of them he writes: "Thirty thousand Livers has brought him his wife" and if the seriously ill sister of this woman "dies, he has twice".
  52. ↑ On marriage, house and grave (see below) see Rainer Michaelis: Reflections on the painterly work of the Prussian court engraver Georg Friedrich Schmidt (1712–1775). P. 235 Note 25 with evidence.
  53. ↑ See Hans Droysen: "Friedrichs des Große Druckerei im Berliner Schlosse". In: Hohenzollern yearbook. 8, 1904, pp. 83-91.
  54. ↑ See Eduard Cauer: "About the Palladion, a comical heroic poem of Frederick the Great". In: Journal for Prussian History and Regional Studies. 3, 1866, pp. 481-501; Gerhard Knoll: 'Le Palladion' - an involuntary philologist satire from Bremen on a comical epic of Frederick II of Prussia. In: Capri. Gay History Magazine. 4.2, 1991, pp. 32-44.
  55. ^ The Berlin court engraver Georg Friedrich Schmidt (1712–1775). In: Jürgen Overhoff, Vanessa de Senarclens (ed.): To my mind. Frederick the Great in his poetry. An anthology . Ferdinand Schöningh, Paderborn / Munich / Vienna / Zurich 2011, pp. 311–312.
  56. ↑ Gerhard Strauss, Harald Olbrich a. a .: Lexicon of Art . Volume 6. EA Seemann, Leipzig 1994, ISBN 3-363-00044-8 , p. 498 (article about Schmidt).
  57. ^ Rainer Michaelis: reflections on the painterly work of the Prussian court copper engraver Georg Friedrich Schmidt (1712-1775). for the oil painting La Mettries see pp. 225–231; Julien Offray de La Mettrie , Schmidt's copperplate engraving based on his painting, around 1750.
  58. ^ Wessely: Georg Friedrich Schmidt. List of his engravings and etchings. S. XIV.
  59. ^ Wessely: Georg Friedrich Schmidt. List of his engravings and etchings. S. XV-XVI.
  60. ↑ On the reasons for his not entirely risk-free move to St. Petersburg see Christoph Frank: Der Friderizianische Kunsttransfer nach Russland: On the importance of Rembrandt and Georg Friedrich Schmidt. In: Brunhilde Wehinger (ed.): Geist und Macht. Frederick the Great in the context of European cultural history . Akademie-Verlag, Berlin 2005, ISBN 3-05-004069-6 , p. 251.
  61. ↑ One ruble was roughly equivalent to one thaler.
  62. ^ Dehnert: Georg Friedrich Schmidt, the king's court copper engraver. P. 336.
  63. ↑ On the background of this influence see Frank: Der Friderizianische Kunsttransfer nach Russland: On the meaning of Rembrandt and Georg Friedrich Schmidt. Pp. 245–270 (here especially the section “A Rembrandtist as Mediator between Prussia and Russia”, p. 248 ff.).
  64. ↑ AB Semyonova, GI Smagina (revised by Heiner Kranz): trip to St. Petersburg: History of Petersburg Germans . SiS (seminars in the castle), May 2008. Chap. 6: Germans at the Russian Academy of Arts, p. 19. sisra.de
  65. ↑ Illustration of the engraving ( Memento of the original dated February 3, 2017 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. in the National Széchényi Library , DSpace ; Information from the Comenius University on Nikolaus Esterházy . @1@ 2Template: Webachiv / IABot / dspace.oszk.hu
  66. ↑ Digitized version of the University of Regensburg , enter: "Portrait of Kirill Grigorjewitsch Rasumowsky".
  67. ↑ The tsarina's blunt nose, which was later extended, can still be seen on a test print. See Wessely: Georg Friedrich Schmidt. List of his engravings and etchings. S. XVII.
  68. ↑ Wessely suspects she didn't. See Wessely: Georg Friedrich Schmidt. List of his engravings and etchings. S. XVIII.
  69. ^ Wessely: Georg Friedrich Schmidt. List of his engravings and etchings. S. XVIII.
  70. ^ Wessely: Georg Friedrich Schmidt. List of his engravings and etchings. S. XIX. See for example the final ornament to the poem Le Palladion (1774), Staatliche Kunstsammlungen Dresden .
  71. ↑ Peter Dittmar: Original, but not original: You can do good business with printing plates from Rembrandt - even if some owners 'improve' the works. In: The world. January 28, 2012. See also Wessely: Georg Friedrich Schmidt on the “bearded old man with beret” . List of his engravings and etchings. P. 61 No. 145, as well as Frank: “The Friderizian Art Transfer to Russia: On the Significance of Rembrandt and Georg Friedrich Schmidt”, pp. 252–253.
  72. ^ Friedrich August Schmidt (ed.): New Nekrolog der Deutschen . Second year 1824. Second issue. Printed and published by Bernhardt Friedrich Voigt, Ilmenau 1826, p. 1214; Klaus Witte: Berger, Daniel . In: General Artist Lexicon . The visual artists of all times and peoples (AKL). Volume 9, Saur, Munich a. a. 1994, ISBN 3-598-22749-3 , p. 344.
  73. ^ Portrait of Prince Heinrich after Charles-Amédée-Philippe van Loo , 1765.
  74. ^ Wessely: Georg Friedrich Schmidt. List of his engravings and etchings. S. XX.
  75. ^ Jacoby: Schmidt's works. P. 16.
  76. ↑ In a letter of November 4, 1766 to Wille, Schmidt mentions the death of his son.
  77. ↑ This emerges from a letter from Schmidt dated March 24, 1772 to Wille.
  78. ↑ Quoted in Wessely: Georg Friedrich Schmidt. List of his engravings and etchings. S. XXI.
  79. ↑ For the auction catalog, see Thomas Ketelsen, Tilmann von Stockhausen: List of paintings sold in German-speaking countries before 1800 . KG Saur, Munich 2002, p. 83. There it says that the auction catalog has no date. The date for the auction can be found at Wessely: Georg Friedrich Schmidt. List of his engravings and etchings , p. XXI.
  80. ↑ German Biographical Encyclopedia . Volume 9. KG Saur, Munich 1998, ISBN 3-598-23160-1 , p. 8. Other sources even speak of 299 surviving sheets. See Strauss, Olbrich et al. a .: Lexicon of Art . Volume 6, p. 498.
  81. ^ Paul Kristeller: copper engraving and woodcut in four centuries. 3. Edition. Berlin 1921, pp. 539-541.
  82. ^ Karl Woermann: History of art of all times and peoples . Sixth Volume: The Art of the Younger Modern Era from 1750 to the Present. 2nd Edition. Bibliographical Institute, Leipzig / Vienna 1927, p. 38.
  83. ^ Dehnert: "Georg Friedrich Schmidt, the king's court copper engraver", p. 338, quoted Maria Lanckoronska, Richard Oehler : Die Buchillustration des XVIII. Century in Germany, Austria and Switzerland. Part 2. The German and Swiss book illustration of the pre-classicism . Maximilian Society, Berlin, Frankfurt am Main a. a. 1932-1934, p. 125.
  84. ^ Dehnert: "Georg Friedrich Schmidt, the king's court engraver", p. 338.
  85. ↑ Georg Friedrich Schmidt: "Self-Portrait with the Spider" (1758) . The model, Rembrandt's etching drawing a self-portrait on the window , around 1648, Staedel Museum .
  86. ^ Frank: The Friderizian Art Transfer to Russia: On the Importance of Rembrandt and Georg Friedrich Schmidt. P. 250.
  87. ↑ See Nina Simone Schepkowski: Johann Ernst Gotzkowsky. Art agent and painting collector in the Frederician Berlin . Akademie-Verlag, Berlin 2009, p. 248.
  88. ↑ Kristeller: copper engraving and woodcut in four centuries. 3rd edition, p. 542.
  89. ↑ Olbrich Strauss include: Encyclopedia of Art . Volume 6, p. 498.
  90. ^ Frank: The Friderizian Art Transfer to Russia. Pp. 245-272, here p. 250.
  91. ↑ Георг Фридрих Шмидт (1712–1775). Гравер короля
personal data
SURNAME Schmidt, Georg Friedrich
BRIEF DESCRIPTION German engraver, etcher and painter
DATE OF BIRTH January 24, 1712
PLACE OF BIRTH Schönerlinde near Berlin
DATE OF DEATH January 25, 1775
Place of death Berlin