Interior painting

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A woman drinks to two men; Pieter de Hooch, (around 1660)
Couple at the window ( Georg Friedrich Kersting , around 1815)

As interior painting images are referred to, in which room or interior of a building are shown. The milieus described in it range from the world of work to the domestic, sometimes intimate environment, to rather impersonal, public or representative spaces with a strictly perspective. As in genre painting , people living or staying there can also be included in addition to the facility.

history

The representation of interiors has been an independent genre since the 17th century. It originated in the Netherlands (e.g. Jan Vermeer , Pieter de Hooch , Gerard ter Borch ) and in the 18th and 19th centuries it became a popular, courtly or civic pictorial theme in Central and Northern Europe (e.g. Jean Siméon Chardin , William Hogarth , Daniel Chodowiecki , Georg Friedrich Kersting ), but less so in Italian painting. Such images can contain allegorical statements , for example , or capture moments of everyday life in a loving, humorous, drastic, ironic or moralizing way, or refer to the preferences or worldview of the residents using the furnishings such as the still life , or simply the beauty of the Show spatiality and the things in it.

In the 19th century, painting with room pictures discovered the deserted room (e.g. Adolph Menzel , Vincent van Gogh ). French Impressionism avoided interior spaces, in contrast to German Impressionism , here August von Brandis stood out in particular .

The interior in the magical existence and in metaphysical horror filled space used z. B. Paul Klee , Giorgio de Chirico and Karl Hofer ; it is only rarely a place of security (e.g. Pierre Bonnard ).

literature

Web links

Commons : Interiors in art  - collection of images, videos and audio files

Individual evidence

  1. ^ Aachener Kunstblätter - Volumes 19-21, p. 132, 1960.
  2. Entry interior. In: Meyers Enzyklopädisches Lexikon . Bibliographical Institute, Mannheim / Vienna / Zurich 1973, Volume 12, p. 648.