Joachim von Sandrart

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Joachim von Sandrart
(Fig. From the book Two Hundred German Men , 1854)

Joachim von Sandrart the Elder (born May 12, 1606 in Frankfurt am Main , † October 14, 1688 in Nuremberg ) was a German painter , engraver , art historian and translator .

family

George Desmarées : Portrait of Esther Barbara von Sandrart (née Bloemart)

Sandrart came from an old family from Mons (Dutch: Bergen) in the Belgian province of Hainaut , whose direct lineage begins with Jean Sandrat (1449–1509), captain of the papal guard . This received in 1500 from Pope Alexander VI. the fiefs of Lescaille and Fay near Mons and was raised to the nobility . Sandrart's descendants later settled in Frankfurt am Main as merchants. Joachim von Sandrart received the imperial nobility and coat of arms confirmation in Regensburg on July 20, 1653 .

On January 31, 1637, he married Johanna von Milkau, the daughter of a Calvinist jeweler who had also emigrated from the southern Netherlands. After her death in 1672, Sandrart married Esther Barbara Bloemart (1651–1731 or 1733), 45 years his junior, from a Nuremberg merchant family on November 5, 1673, whose famous portrait is often mistaken for a representation of Maria Sibylla Merian . Both marriages remained childless.

The Nuremberg engraver and art dealer Jacob von Sandrart was his nephew.

Life

November , 1643, Schleissheim Castle Picture Gallery
Bust of Sandrart in the Ruhmeshalle , Munich
Memorial plaque on the birthplace of Joachim von Sandrart in Frankfurt am Main, Braubachstr. 36

Around 1615, at the age of nine or ten, Sandrart began an apprenticeship as a copper engraver and painter in Nuremberg with Peter Isselburg (1620/21) and in Prague with Egidius Sadeler the Elder. However, he had received his first artistic lessons earlier in the workshop of Daniel Soreau . Ten years later (1625) he became a pupil of Gerrit van Honthorst in Utrecht and remained so until 1629. In the following six years (until 1635) Sandrart traveled to England and Italy with his teacher Honthorst. Among other things, he painted Seneca's death there , a night piece entirely in the style of Honthorst. He also provided numerous drawings for the collection of engravings of ancient statues published between 1635 and 1637 by the Marchese Vincenzo Giustiniani , the Galleria Giustiniana . Sandrart received several commissions through Pope Urban VIII . These were mostly portraits and biblical scenes for the interior decoration of Roman churches. Some of the drawings that Sandrart made in his Italian years later served as templates for copperplate engravings in the Itinerarium Italiae nov-antiquae by Martin Zeiller and the Archontologia cosmica by Johann Ludwig Gottfried .

In 1635 Sandrart returned to Frankfurt am Main and lived there for two years. In 1637 he went to Amsterdam and settled there until 1645, where he soon became one of the most sought-after portrait painters. He found entry into the most important social circles and frequented them as a respected art connoisseur, merchant and painter. For Maximilian I of Bavaria , Sandrart created the Twelve Months and the allegorical representation Day and Night for his gallery in Schleissheim . Around 1643 he returned to Germany from the Netherlands, where he then settled on the estate at Stockau Castle near Ingolstadt , which his father-in-law had inherited . In the re-Catholicized Duchy of Palatinate-Neuburg he was granted the privilege of religious freedom and the title Palatinate-Neuburg Council ; In 1646 he received the court march justice .

In 1649 Sandrart went back to Nuremberg, where he expected a better order situation. He mainly painted the ambassadors present there. His most important work from that time is the representation The Great Peace Supper , which shows the meal of Count Palatine Karl Gustav with the imperial and Swedish commissioners and the imperial estates as part of the peace enforcement congress on September 25, 1649 . After he was Emperor Ferdinand III in Vienna . , whose wife, as well as the Roman King Ferdinand IV. and the Archduke Leopold, he was raised to the Austrian nobility in gratitude. As a further honor, he was accepted into the Fruit Bringing Society in 1676 by Duke August von Sachsen-Weißenfels . The Duke gave him the company name of the non-profit and the motto stands out . He was given the red fir tree as an emblem. Sandrart's entry can be found in the Koethen Society Register under no.836.

Grave of Sandrarts Johanniskirchhof in Nuremberg

Sandrart (also called the "German Vasari ") had less original strength than a talent for replication. You can still find some of his works in southern German and Austrian galleries and churches. For the Würzburg Cathedral he had created a Descent from the Cross and an Assumption of Mary around 1670 (burned during the bombing of Würzburg on March 16, 1945 ). Sandrart earned more merit than an artist through his writings. After his nephew Jacob von Sandrart founded the first German art academy in Nuremberg in 1662 , he headed it from 1664 as director and was also active as a publisher in the form of the publication of academic writings, which his nephew and legacy then continued.

From 1670 to 1673 he founded a private art academy in Augsburg, a predecessor of today's Augsburg University of Applied Sciences . In 1675 the painting Jacob's Dream was painted on the south wall of the Barefoot Church in Augsburg.

In 1681, Sandrart took care of the renovation of Albrecht Dürer's grave (St. Johannis I / 0649) at the St. Johannisfriedhof in Nuremberg , where he finally found his final resting place in 1688 (grave St. Johannis IC / 003b).

The German Academie

His main work on art theory and art history, the Teutsche Academie der Noble Bau-, Bild- und Mahlerey-Künste , whose concept he designed with the help of his nephew Jacob von Sandrart , appeared in several parts between 1675 and 1679. It was created in collaboration with the Nuremberg poet Sigmund von Birken , who revised Sandrart's texts and added numerous poems. It is regarded as the first theoretical work on art in German and contains the first biography of the artist Matthias Grünewald , an important German painter and graphic artist from the Renaissance period. A year later (1680), Sandrart created another epoch-making translation by Vincenzo Cartaris 'Le imagini colla sposizione degli dei degli antichi' (in German: 'Iconologia Deorum' or 'Illustration of the gods who were worshiped by the ancients' ) Art history writing to follow.

Johann Wolfgang von Goethe also later wrote a review of the 'Teutschen Academie' in the 'Frankfurter Gelehrten Advertisements', as did JG Herder, and in it commented on the importance of Ovid's metamorphoses.

Works

Fonts

  • L'Academia Todesca della Architectura Scultura et Pictura: Or Teutsche Academie der Edel Bau- Bild und Mahlerey-Künste , 1st part, Nuremberg (Johann-Philipp Miltenberger) 1675 (Volume 1,1: digitized and full text in the German Text Archive , Volume 1 , 2: digitized and full text in the German text archive , volume 1,3: digitized and full text in the German text archive )
  • Teutsche Academie second and last main part , Nuremberg (Ch. G. Froberger) 1679 (volume 2,1: digitized and full text in the German text archive , volume 2,2: digitized and full text in the German text archive , volume 2,3: digitized and Full text in the German text archive )
  • P. Ovidii Nas. Metamorphosis or the bloody sense of the Ovidian poems of change thorough interpretation:… 1. – 12. Book [with] P. Ovidii Nasonis curriculum vitae / from the Dutch Carls von Mander ... into German transl. and incorporated into the Sandrartische Academie , Nuremberg [Froberger], 1679
  • Iconologia deorum, or illustration of the gods who were worshiped by the ancients , Nuremberg (Christian Siegmund Froberger) 1680 ( digitized and full text in the German text archive )
  • Sculpturae veteris admiranda , Nuremberg (Christian Siegmund Froberger) 1680
  • Academia nobilissimae artis pictoriae , Nuremberg (Christian Sigismund Froberger) 1683
  • Romae antiquae et novae theatrum , Nuremberg (Christian Sigismund Froberger) 1684
  • The great show-place of old and new Rome , Nuremberg 1685
  • Insignium Romae templorum prospectus exteriores et inferiores . Nuremberg: self-published, 1690

Facsimile and new editions

  • Teutsche Academie der Noble Bau-, Bild- und Mahlerey-Künste . Nürnberg: Uhl, 1994 (volumes 1–3, reprint of the Nürnberg 1675–79 edition) - ISBN 3-921503-79-5
  • Teutsche Academie der Bau-, Bild- und Mahlerey-Künste , scientifically commented online edition, ed. by Thomas Kirchner , Alessandro Nova , Carsten Blüm, Anna Schreurs and Thorsten Wübbena, 2008–2012, available at http://ta.sandrart.net
  • Sculpturae veteris admiranda / Academia nobilissimæ artis pictoriæ / Romæ antiquæ et novæ theatrum , scientific online edition, ed. by Thomas Kirchner, Alessandro Nova, Carsten Blüm, Anna Schreurs and Thorsten Wübbena, 2012, available at http://la.sandrart.net/

Translations

  • Iconologia Deorum or illustration of the gods worshiped by the ancients. - Nuremberg: Froberger, 1680

painting

Minerva and Saturn protect art and science , 1644, Kunsthistorisches Museum, Vienna
  • Monthly pictures in Schleissheim Palace near Munich, January – December, 1642
  • Annunciation and St. Johannes Baptist and Cäcilia (Mariä-Verkündigungs-Kapelle Frauenkirche Munich), 1664
  • High altar picture St. Walburg Abbey Church (Eichstätt), 1666
  • Kajetan's wonderful intervention in the plague in Naples (altarpiece left transept in the Theatine Church in Munich), 1670, approx. 850 × 440 cm, oil on canvas
  • Elector Maximilian I of Bavaria in: Alte Pinakothek Munich (attributed to; after an engraving by Michael Natalis)
  • Farewell of the Apostles (side altarpiece Jesuit Church Landshut ), 1644
  • St. Sebastian and St. Irene (side altarpiece Jesuit Church Landshut), 1644
  • Joseph and Joachim and John the Baptist (St. Anna Altar St. Peter Munich), 1647
  • Peace Supper (Nuremberg, Nuremberg City Museums , Painting and Sculpture Collection , Inv.-No .: Gm 0009, currently Stadtmuseum Fembohaus ), 1650, 290 × 445 cm
  • Maria von Baaden and Hochberg , Nuremberg, 1650
Mystical engagement of St. Catherine , 1647, Kunsthistorisches Museum, Vienna

in Austria:

  • Farewell of the apostles Peter and Paul (side altarpiece Schottenkirche Vienna ), 1652
  • Crucifixion of Christ (side altar picture of the Lambach collegiate church ), 1652–1656
  • Whitsun miracle (side altarpiece Lambach collegiate church), 1652–1656
  • Glorification of the Rosary (side altarpiece Lambach Abbey Church), 1652–1656
  • Martyrdom of St. Placidus (side altarpiece Lambach Abbey Church), 1652–1656
  • A dead boy is awakened by St. Benedict (side altarpiece, Lambach Abbey Church), 1652–1656
  • Martyrdom of St. Sebastian (side altarpiece of the Lambach collegiate church), 1652–1656
  • Presentation of the relics of St. Julian to Archduchess Claudia (side altarpiece of the Lambach collegiate church), 1652–1656
  • Death of St. Joseph (side altarpiece of the Lambach collegiate church), 1652–1656
  • Crucifixion (side altarpiece for St. Stephen's Cathedral , later in the Garrison Church and in the Neulerchenfeld parish church in Vienna, from 2019 placed again above the entrance to the Adlertor in St. Stephen's Cathedral), 1653
  • Crucifixion (side altarpiece Schottenkirche Vienna ), 1654
  • Assumption of the Virgin Mary (high altar picture collegiate church Lambach), 1656, 700 × 350 cm, oil on canvas
  • Anna Selbdritt (side altarpiece Salzburg Cathedral ), 1656
  • Heavenly Glory (formerly high altar painting Schottenkirche Vienna, now in the prelate hall of the Schottenstift ), 1671, 700 × 400 cm, oil on canvas

other:

  • Odysseus and Nausicaa ( Rijksmuseum Amsterdam , Inv.-No .: SK-A-4278), 1642, 104 × 168.5 cm, oil on canvas
  • Portrait of Pieter Cornelius Hooft ( Rijksmuseum Amsterdam , Inv.-No .: SK-A-364), 1641, 27 cm × 22.5 cm, oil on panel
  • The Good Samaritan ( Pinacoteca di Brera Milan), 1632, 133 cmx133 cm, oil on canvas

exhibition

  • 2013: Under Minerva's protection. Education and art in Joachim von Sandrart's “Teutscher Academie” , Herzog August Bibliothek , Wolfenbüttel. Catalog.

literature

  • Andreas Curtius: The artist family Sandrart , in: Matthias Henkel, Ursula Kubach-Reutter (eds.): 1662–1806. The early days of the Nuremberg Art Academy. An exhibition of the painting and sculpture collection of the Nuremberg City Museums in the Stadtmuseum Fembohaus , Nuremberg 2012, ISBN 978-3-940594-42-6 , pp. 58–69.
  • Esther Meier: Joachim von Sandrart. A Calvinist in the field of tension between art and denomination. Schnell & Steiner, Regensburg 2012, ISBN 978-3-7954-2573-9 .
  • Anna Schreurs (Ed.): Under Minerva's Protection. Education through art in Joachim von Sandrarts Teutscher Academie (= exhibition catalogs of the Herzog August Library. No. 95). With the participation of Julia Kleinbeck, Carolin Ott, Christina Posselt and Saskia Schäfer-Arnold. Herzog-August-Bibliothek, Wolfenbüttel 2012.
  • Anna Schreurs, Thorsten Wübbena: 'The gracious Schicksel had mercy on this darkness and would let a new sun rise in the German art world' | Joachim von Sandrart (1606–1688) - artist and citizen of the world from Frankfurt. In: Research Frankfurt. April 2008, pp. 57-61 ( urn: nbn: de: hebis: 30-55090 ).
  • Michael Thimann: Memory and Image Art. The order of artist knowledge in Joachim von Sandrart's Teutscher Academie. Rombach, Freiburg 2007.
  • Christian Klemm:  Sandrart, Joachim von. In: New German Biography (NDB). Volume 22, Duncker & Humblot, Berlin 2005, ISBN 3-428-11203-2 , pp. 425-427 ( digitized version ).
  • Doris Gerstl: Sandrart's "Peace Supper". In: Franziska Buchner et al. (Hrsg.): From teutscher Not to courtly splendor: 1648–1701. DuMont, Cologne 1998, pp. 26-30 et passim.
  • Peter Kränzle:  Sandrart, Joachim von. In: Biographisch-Bibliographisches Kirchenlexikon (BBKL). Volume 8, Bautz, Herzberg 1994, ISBN 3-88309-053-0 , Sp. 1314-1321.  ( Article / beginning of article in Internet archive )
  • Andrea M. Kluxen: On a reassessment of Joachim von Sandrart's "Teutscher Academie". In: Silvia Glaser, Andrea M. Kluxen (eds.): Musis et litteris. Festschrift for Bernhard Rupprecht on his 65th birthday. Fink, Munich 1993, pp. 523-536.
  • Christian Klemm: Joachim von Sandrart: Works of art and curriculum vitae. German publishing house for art history, Berlin 1986.
  • Paul Kutter: Joachim von Sandrart. Heitz, Strasbourg 1907.
  • Sandrart, Joachim von . In: Meyers Konversations-Lexikon . 4th edition. Volume 14, Verlag des Bibliographisches Institut, Leipzig / Vienna 1885–1892, p. 273.
  • Wilhelm Stricker:  Sandrart . In: Allgemeine Deutsche Biographie (ADB). Volume 30, Duncker & Humblot, Leipzig 1890, p. 358 f. (Family item)
  • Ludwig Bechstein (Hrsg.): Two hundred German men in portraits and descriptions of life. Wigand, Leipzig 1854 ( digitized version ).

Web links

Commons : Joachim von Sandrart  - Collection of images, videos and audio files

Individual evidence

  1. ↑ Milkau, Johanna von. In: DFG project »Sandrart.net«. Goethe University Frankfurt am Main, accessed on May 22, 2013 .
  2. ↑ CV . In: German Academy . 1675, p. 24 ( online [accessed May 25, 2013]).
  3. ^ Portrait of Esther Barbara von Sandrart. In: Virtuelles Kupferstichkabinett. Herzog Anton Ulrich-Museum / Herzog August Bibliothek, accessed on May 22, 2013 .
  4. ^ Christian Klemm:  Sandrart, Joachim von. In: New German Biography (NDB). Volume 22, Duncker & Humblot, Berlin 2005, ISBN 3-428-11203-2 , p. 426 ( digitized version ).
  5. ^ Wilhelm Stricker:  Sandrart . In: Allgemeine Deutsche Biographie (ADB). Volume 30, Duncker & Humblot, Leipzig 1890, p. 358 f.
  6. ^ Anne-Dore Ketelsen-Volkhardt: Georg Flegel. 1566-1638. Deutscher Kunstverlag, Munich / Berlin 2003, ISBN 3-422-06378-1 , p. 28
  7. ↑ Andreas Tacke: Mars, the enemy of art. The effects of the war on art and artists according to Sandrart's "Teutscher Academie" . In: Klaus Bußmann and Heinz Schilling (eds.): 1648: War and Peace in Europe . Münster / Osnabrück October 24, 1998 to January 17, 1999. Catalog for the 26th Council of Europe exhibition. Tape. Münster 1998, ISBN 3-88789-127-9 , pp. 245-252 ( online [accessed May 25, 2013]).
  8. ↑ Stefan Kummer : Architecture and fine arts from the beginnings of the Renaissance to the end of the Baroque. In: Ulrich Wagner (Hrsg.): History of the city of Würzburg. 4 volumes; Volume 2: From the Peasants' War in 1525 to the transition to the Kingdom of Bavaria in 1814. Theiss, Stuttgart 2004, ISBN 3-8062-1477-8 , pp. 576–678 and 942–952, here: p. 624.
  9. ↑ Stefan Kummer: Architecture and fine arts from the beginnings of the Renaissance to the end of the Baroque. 2004, p. 624 f.
  10. ↑ Biller / Rasp, Munich Art & Culture, 2003, page 140.
  11. ^ Christian Klemm:  Sandrart, Joachim von. In: New German Biography (NDB). Volume 22, Duncker & Humblot, Berlin 2005, ISBN 3-428-11203-2 , p. 426 ( digitized version ).
  12. ↑ http://ta.sandrart.net/de/artwork/view/234
  13. ↑ Kajetan's wonderful intervention in the plague at Naples. In: Sandrart.net. Thomas Kirchner u. a., accessed on March 16, 2013 .
  14. ^ Josef Hugo Biller, Hans-Peter Rasp: Munich Art & Culture. City guide and manual. 15th completely revised edition. Ludwig, Munich 2003, ISBN 3-7787-5125-5 , p. 354.
  15. ↑ directory on the v.Derschauische Kunstkabinett to Nuremberg ... The auctioneer committed Schmidmer, Nuremberg 1825, p.43 ( Google Books ).
  16. ↑ Josef Weismayer: A cross returns. The crucifixion picture by Joachim von Sandrart (1653). In: The Cathedral. Bulletin of the Vienna Cathedral Conservation Association. Episode 2/2019 ZDB -ID 1054178-0 . Pp. 10-11.
  17. ↑ The Assumption of Mary. In: Sandrart.net. Thomas Kirchner u. a., accessed on March 16, 2013 .
  18. ↑ Heavenly Glory. In: Sandrart.net. Thomas Kirchner u. a., accessed on March 16, 2013 .
  19. ↑ The Good Samaritan - Joachim von Sandrart. Retrieved December 4, 2019 (American English).
personal data
SURNAME Sandrart, Joachim von
ALTERNATIVE NAMES Sandrart, Joachim von d. Ä .; Sandrart, Joachim von the Elder
BRIEF DESCRIPTION German painter, engraver and art historian
DATE OF BIRTH May 12, 1606
PLACE OF BIRTH Frankfurt am Main
DATE OF DEATH October 14, 1688
Place of death Nuremberg