Georg Lisiewski

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A tall fellow , grenadier of the royal regiment , 1737. A typical soldier image

Georg Lisiewski (* 1674 ; † January 6, 1750 in Berlin ) was a portrait painter at the court of King Friedrich Wilhelm I in Prussia . Lisiewski, who was of Polish origin , founded an important family of painters in Germany that lasted for three generations.

Life

The years up to 1713

Georg Lisiewski's life up to his arrival in Berlin around 1700 is known only as his year of birth 1674, his Polish origins and membership of the Lutheran Church . Georg Lisiewski probably came from the Prussian Oletzko , where the name Lisiewski was widespread among the Polish minority who immigrated from Mazovia in the 15th and 16th centuries and became Lutheran.

The statement that Georg Lisiewski was born in Olesko , Galicia , is based on an unaccounted for account by Carl Heinrich von Heineken that appeared in 1768 and that has since been passed on without verification, later embellished by belonging to the Polish "noble family Lisiewski ". Heineken could have mistaken the small town of Oletzko for the almost noisy, at that time more important, Olesko.

The Prussian literary historian and contemporary Georg Christoph Pisanski reported that Lisiewski was born in 1674 near Marienwerder . In the Prussian hereditary homage files of the old Marienwerder office from 1690, the name Lyseffsky can be found in the list of the town of Garnsee bei Olschowken (also Olszewko in Polish ) kept by the then governor Georg Heinrich von der Groeben . His son and direct successor in office, Otto Friedrich von der Groeben , published a black art sheet by Lisiewski in Marienwerder as early as 1694, which Lisiewski had signed with Georg Lisewsskij, later he wrote to George Lisiewsky . He met his wife Maria Elisabeth Kahl in Pomerania . Her father was a proven organ builder in Stargard and Köslin . Lisiewski's marriage in Berlin on November 24, 1707 is guaranteed. The couple belonged to the Nikolai congregation in Berlin, which was pietistically influenced by Provost Philipp Jacob Spener .

Heineken reports that the Swedish architect Johann Friedrich Eosander von Göthe had his "servant" Lisiewski trained as a painter and took him with him in 1699 when he was called to Berlin by Elector Friedrich III. von Brandenburg followed. Eosander had lived in the Swedish-Pomeranian Stettin from 1693 to 1697 and then in Stockholm . The Swedish court painter David von Krafft Lisiewski's teacher or role model was possibly there . Krafft's portraiture avoided splendor and pathos and was characterized by excessive limbs, like the Lisiewski's later.

In the time of the soldier king

Margrave Friedrich von Brandenburg-Bayreuth , on the occasion of his marriage to Wilhelmine of Prussia in 1731
The sons of King Friedrich Wilhelm: Crown Prince Friedrich , August Ferdinand , August Wilhelm and Heinrich (from left to right), around 1737. The attribution to Francesco Carlo Rusca is disputed
Henriette Marie von Brandenburg-Schwedt with a widow's hood, 1747.
The image of the tobacco college of Friedrich Wilhelm, a "low point of court painting in Prussia", is probably wrongly ascribed to Lisiewski

The inauguration of the ostentatious "soldier king" Friedrich Wilhelm I in 1713 was associated with reallocations of expenditure in favor of the army, which brought the artistic life of Berlin to a virtual standstill. However, this did not apply to Lisiewski because his sober, factual portrait style had won the king's approval. In questions of the conception of life and art, the court was divided into the family camp of Queen Sophie Dorothea , which was fond of the emerging rococo style based on the French model, and the personal environment of the king, who strived for a pietistic ideal of usefulness, thrift and the fulfillment of duty . There Lisiewski was able to assert himself as court painter against the more important Antoine Pesne .

His clients were mainly the King and the generals of Prussia, including Prince Leopold von Anhalt-Dessau , many of whose family portraits are still hanging in Mosigkau Castle today . Lisiewski painted Prussian regiment owners for the king's living quarters in the Potsdam City Palace , and simple soldiers from the royal regiment for the corridors . If the portrayed died, their portraits were put in a “chamber of the dead”. In 1715, when he was stationed in Stettin, Christian August von Anhalt-Zerbst called Lisiewski to have him portray the subaltern officers of his Prussian infantry regiment . A second series of these “uniform” pictures followed in 1738. Christian August took them to his Zerbst residence in 1742 when he took office . All 44 pictures were burned in April 1945 during the air raid on Zerbst . In addition, Lisiewski portrayed court and city officials, Brandenburg aristocrats, Berlin merchants and entrepreneurs, as well as their wives and children, on a private assignment.

Thomas Huber and David Matthieu were among his students . Lisiewski also taught his children Barbara Rosina , Anna Dorothea and Christoph Friedrich Reinhold in portrait painting and also procured them commissions. In 1730, he established his daughter Rosina's relationship with the Anhalt family by traveling with her to Stettin, where she portrayed Christian August's wife Johanna Elisabeth .

The names and status of the godparents of his nine children, who included aristocrats from the military and administration as well as craftsmen and artists, attest to Lisiewski's high social standing in the Berlin Residence.

Last years under Friedrich II.

Around the heir to the throne Friedrich a Prussian rococo had developed as a variety of courtly art in Rheinsberg . After Frederick's accession to the throne in 1740, this trend had a breakthrough at court, the Frederician Rococo began , competitor Antoine Pesne was celebrated and Lisiewski's brittle painting was no longer in demand. Notwithstanding close ties to the Berlin court, the Anhalt-Dessauischer Hof remained unaffected by the change in style; rather, Lisiewski was “showered” with commissions from there in the following years. The death of Prince Leopold in 1747 initially did not change the conservative understanding of art in Anhalt.

Georg Lisiewski did not experience the radical cultural turn to classicism under Prince Friedrich Franz in 1763, but his son Christoph Friedrich Reinhold, whom he had introduced in Dessau, lost touch at court and went to Berlin.

Work and reception

Georg Lisiewski rarely signed his paintings, they differ greatly in quality and he changed his individual style depending on the client. Their assignment is therefore difficult.

Lisiewski's first well-known work, a small black art sheet as an illustration of Otto Friedrich von der Groeben's oriental travelogue , which was published in Marienwerder in Brandenburg-Prussia in 1694 , was not followed until around twenty years later. Lisiewski appeared after King Friedrich Wilhelm I's accession to the throne in 1713 at the Berlin-Potsdamer Hof in his environment as a fully trained, self-employed portrait painter. His painting evidently corresponded in its sparseness to the widespread attitude there, which, deliberately differentiating it from the exemplary Versailles in Prussia, had produced an “astonishing style of poverty”. The “toy-like stiff” soldiers painted by Lisiewski “stand as if rooted to the spot” or are “simply added” to community portraits. However, the attribution of the seemingly naive painting by the Tobacco College Friedrich Wilhelm to Lisiewski is doubtful. A comparison of the number of multiplications through copperplate engravings of Lisiewski's portraits with those of Friedrich Wilhelm Weidemann and Johann Harper indicates an equally high level of recognition and thus his corresponding appreciation in the art of the time. In his later years, Lisiewski found an exact representation of the materiality of the costumes, which also influenced the son's work.

The younger contemporaries Joachim Martin Falbe and Abraham von Humbert , on whom Heineken relied, report on “Lisiewski's family pieces that are not to be despised” and refer to “his good coloring”, which tended to be colorful. One of Lisiewski's best works is the life-size portrait of Crown Prince Friedrich from 1720. It shows the eight-year-old in a self-confident pose with an attentive, waiting gaze. The image of the sons of King Frederick William writes Boersch-Supan stylistic reasons Georg Lisiewski and not Francesco Carlo Rusca to, because he whose "gravitätisches pathos" is missing. In contrast, it shows similarities with Lisiewski's portrait of the family of General Karl Friedrich von Derschau . and is strongly reminiscent of a portrait of the Crown Prince von Lisiewski from 1729. The few surviving works by Lisiewski include a portrait of Hofrat Carl Gottfried Schrader for his epitaph , which Johann Georg Glume created for the Nikolaikirche in Berlin in 1726, and a life-size portrait of Severin Schindler in the Schlosskirche zu Schöneiche near Berlin .

Later art criticism paid no particular attention to Lisiewski's work. Adolf Feulner called him a "portrait manufacturer". He is only mentioned as the progenitor of an artist family and teacher of his children. A single publication on the painter Georg Lisiewski has not yet been published.

family

Since three of his children and four of his grandchildren also turned successfully to painting, Georg Lisiewski is considered the founder of a family of artists . Lisiewski gave his daughters the Polish name form "Lisiewska".
Lisiewski's wife Maria Elisabeth died in Berlin on September 24, 1733.
Children of the Lisiewskis were:

  • Johann Paul (born 1709);
  • Dorothea Elisabeth (1711–1740), married to the court painter David Matthieu , child of the marriage was the portrait painter
  • Barbara Rosina (1713–1783), portrait painter, married to David Matthieu after the death of her sister Dorothea Elisabeth in 1741, she was married to Ludwig de Gasc (1716, Berlin - 1783, Braunschweig) in her second marriage , also known by his name ; The children from the first marriage were
  • Maria Christina (born 1715);
  • Maria Magdalena (1717–1771), married Schwanefeldt;
  • Maria Elisabeth (born 1719);
  • Anna Dorothea (1721–1782), named after her husband Die Therbusch , painter;
  • Christina Sophie (born 1723) and
  • Christoph Friedrich Reinhold Lisiewski (1725–1794), painter, his daughter

Since the 1770s, the daughters signed "von Lisiewska" and "de Lisiewska". Christoph Friedrich Reinhold later wrote himself "von Lisiewsky" and in 1787 he was referred to as "Count Lisiewski". In doing so, they underlined the fact that they belonged to the Polish aristocracy, which is recognizable by the name ending "-wski". There was never an elevation to the Prussian nobility and there was also no connection between the Georg Lisiewskis family and the noble family of the same name in Mazovia, as represented in 1887 by the Polish historian Dunin-Borkowski under the Drya coat of arms .

literature

  • Helmut Börsch-Supan , Wolfgang Savelsberg (ed.): Christoph Friedrich Reinhold Lisiewski (1724-1795) , Deutscher Kunstverlag, Berlin, Munich 2010, ISBN 978-3-422-07036-3 [quoted here. as "Börsch-Supan / Savelsberg"]; therein on Georg Lisiewski's biography: Helmut Börsch-Supan: Gemalte Menschlichkeit , pp. 17–40, especially pp. 20–25, [quoted here. as "Börsch-Supan"]
  • Information on the Lisiewski family from Johann Dominik Fiorillo : History of the drawing arts from their revival to the most recent times. History of the drawing arts in Germany and the united Netherlands. Third volume. Gebrüder Hahn, Hannover 1818, pp. 322–325 (Reprint: Complete Writings. 12 volumes in 14 parts, with a foreword by Achim Hölter , Volume 8 [1820], Olms, Hildesheim, Zurich, New York 1997, ISBN 3-487 -10452-0 , books.google.de )
  • Lisiewski, Georg . In: Hans Vollmer (Hrsg.): General lexicon of fine artists from antiquity to the present . Founded by Ulrich Thieme and Felix Becker . tape 23 : Leitenstorfer – Mander . EA Seemann, Leipzig 1929, p. 284 .

Web links

Commons : Georg Lisiewski  - Collection of pictures, videos and audio files

Individual evidence

  1. ↑ Georg Lisiewski announced his year of birth in 1750 in the signature of the portrait of Anna Wilhelmine von Anhalt-Dessau ; see Börsch-Supan, p. 24 f.
  2. ↑ On the origins of Lisiewski see Ingo Pfeifer: Liszewski, Lisiewski or Lisiewsky . In: Börsch-Supan / Savelsberg, pp. 14-16.
  3. ^ News from artists and art things (Volume 1), Leipzig, 1769 ( digi.ub.uni-heidelberg.de ).
  4. ↑ As with Leopold von Zedlitz: Lisiewski. In: Neues Prussisches Adels-Lexicon, or, Genealogische und Diplomatische Nachrichten (1836-1843) - 6th volume, supplement. Gebrüder Reichenbach 1839. There was no connection between the noble family "Lisiewski" residing in Mazovia and the Georg Lisiewski family, see Ingo Pfeifer: Liszewski, Lisiewski or Lisiewsky . In: Börsch-Supan / Savelsberg (lit.), p. 15 ( books.google.de ).
  5. ↑ George Lisiewski. In: Rudolf Philippi (ed.): GC Pisanski's draft of a Prussian literary history in four books. With a note about the author and his book. Hartung, Königsberg 1886, p. 701 [Unchanged reprint, publisher: Association for Family Research in East and West Prussia eV, E. Meier, Oberhausen 1994, ISBN 3-922953-88-3 ]
  6. ↑ In: Hans Heinz Diehlmann (ed.): Hereditary homage files of the Duchy and Kingdom of Prussia. Part 3 - 1678 to 1737. Secret State Archive of Prussian Cultural Heritage Budget Ministry Title 87d No. 39 to 55. Association for Family Research in East and West Prussia eV, Hamburg 1992, p. 102 [ ISBN 3-922953-75-1 ]
  7. ↑ Church scribes and other contemporaries wrote the name phonetically : Lischeffsky ( IPA mark left: ʃɛvski ). Also Lisewski , Lisiewsky , Liscewski and Luschewski have been handed down in writing. Liszewski , the correct spelling in Polish , was first used by his son Christoph Friedrich Reinhold and his daughters after 1775, later often with the nobility predicate: von Liszewskÿ . The Polish author Edward Rastawiecki took the name Liszewski in 1850 from the publication Georg Liszewski by CH Wäterling in Friedrich Nicolai's New Berlin Monthly of 1808, Polonized the first name in Jerzy and claimed that the name had been "twisted" by "the Germans". See Ingo Pfeifer: Liszewski, Lisiewski or Lisiewsky. In: Börsch-Supan / Savelsberg (Lit.), pp. 14-16; on the copperplate engraving by Lisiewski, Georg . In: Hans Vollmer (Hrsg.): General lexicon of fine artists from antiquity to the present . Founded by Ulrich Thieme and Felix Becker . tape
     23 : Leitenstorfer – Mander . EA Seemann, Leipzig 1929, p. 284 . ; Edward Rastawiecki: Słownik malarzów polskich tudziež obcych w polsce osiadłych lub czasowo w niej przebywających: Directory of Polish painters, both those who live in Poland and who temporarily reside there. Self-published, Warszawa 1850–57, p. 270 f. Text archive - Internet Archive .
  8. ↑ See Ingo Pfeifer: Liszewski, Lisiewski or Lisiewsky . In: Börsch-Supan / Savelsberg, p. 16.
  9. ↑ Börsch-Supan, p. 23
  10. ↑ Poor reproduction. In reality, her dress is shiny silver and she is sitting on a bright blue armchair. Your pug's pillow is the same color. See the illustration in Börsch-Supan / Savelsberg (Lit.), p. 221
  11. ^ Hans-Joachim Giersberg : The Potsdam City Palace . Potsdamer Verlagbuchhandlung , Potsdam 1998, ISBN 3-910196-01-2 , p. 51
  12. ↑ Börsch-Supan, p. 22f.
  13. ↑ Bärbel Kovalewski: "It is [...] an honor to see yourself at the level of the great artists [...]". Painters of the Lisiewsky family . In Börsch-Supan / Savelsberg, pp. 95–105, here p. 95
  14. ^ Reinhard Melzer: Christoph Friedrich Reinhold Lisiewski in Anhalt Dessau. In: Börsch-Supan / Savelsberg (Lit.), p. 55
  15. ↑ Börsch-Supan, p. 30
  16. ↑ Börsch-Supan, p. 23
  17. ↑ Börsch-Supan, p. 39, note 38
  18. ↑ Ratio 17:16:16, Börsch-Supan, p. 21
  19. ↑ Börsch-Supan / Savelsberg, p. 107f.
  20. ↑ Börsch-Supan, p. 25
  21. ↑ Börsch-Supan, p. 23. For the attribution see also Arnold Hildebrand (Red.): Das Bildnis Friedrichs der Großen. Contemporary representations . Nibelungen-Verlag, Berlin 1942², p. 94 f .; Black and white reproduction of the picture at akg-images .
  22. ↑ Börsch-Supan p. 24
  23. ↑ This is also pointed out by Börsch-Supan. The portrait in a picture in Rotary Magazine, 10/2012
  24. ↑ Knut Brehm: Funerary Art from Four Centuries. Epitaphs and grave monuments in the Nikolaikirche in Berlin . Märkisches Museum, Berlin 1994, ISBN 3-87024-278-7 , pp. 97–99, color plate 34, p. 154
  25. ↑ Felix Escher:  Schindler, Severin. In: New German Biography (NDB). Volume 22, Duncker & Humblot, Berlin 2005, ISBN 3-428-11203-2 , p. 792 f. ( Digitized version ).
  26. ↑ Melzer cit. Adolf Feulner: Sculpture and Painting of the 18th Century in Germany. Handbook of Art History. Athenaion, Wildpark-Potsdam 1929, p. 193
  27. ↑ Neither a monograph nor an essay, as of 2010, see Reinhard Melzer: Christoph Friedrich Reinhold Lisiewski in Anhalt Dessau . In: Börsch-Supan / Savelsberg, pp. 53–65, here p. 55
  28. ^ Ingrid Münch: Lisiewska [de Gasc], Anna Rosina. In: Horst-Rüdiger Jarck , Dieter Lent et al. (Ed.): Braunschweigisches Biographisches Lexikon - 8th to 18th century . Appelhans Verlag, Braunschweig 2006, ISBN 3-937664-46-7 , p. 448 .
  29. ↑ See Ingo Pfeifer: Liszewski, Lisiewski or Lisiewsky. In: Börsch-Supan / Savelsberg, p. 15
personal data
SURNAME Lisiewski, Georg
ALTERNATIVE NAMES Lisiewsky, Georg
BRIEF DESCRIPTION Baroque portrait painter
DATE OF BIRTH 1674
DATE OF DEATH January 6, 1750
Place of death Berlin