Johann Baptist Lampi the Elder

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Self-portrait (1808–1810), Innsbruck.
Self-portrait at the age of 76 (1828), Vienna.

Johann Baptist Lampi the Elder, until 1782 Lamp, from 1798 Knight of Lampi, Italian Giovanni Battista Lampi senior, Polish Jan Chrzciciel Lampi starszy, Russian Иоганн Баптист Лампи Старший (born  December 31, 1751 in Romeno , Principality of Trento ; † February 11, 1830 ; †  February 11, 1830 in Vienna ), was an Italian portrait painter who worked mainly in Vienna, Warsaw and Saint Petersburg .

Life stations

Romeno, Salzburg

Johann Baptist was the fourteenth child of the painter Matthias Lamp (approx. 1698–1780), an illegitimate farmer's son from the Pustertal ( Tyrol ), who married Chiara Margherita Lorenzoni (1706–1752), daughter of a chancellor from Cles , in Romeno in the Non Valley in 1730 would have. Johann Baptist's mother died four days after giving birth. Until the father entered into a new marriage with Maria Anna Pedranzi, widowed Campi, in 1756, the eldest sister Isabella (married Gilli) was probably looking after the half-orphan.

In 1768 we find the sixteen-year-old in Salzburg with a cousin, the painter Pietro Antonio Lorenzoni or Lorenzi (around 1721–1782), known for his portraits of the Mozart family . He apprenticed the boy to Franz Xaver König (approx. 1711–1782), then to Franz Nikolaus Streicher (1736–1811).

Verona, Trento, Rovereto

After his first commissions in Trento he stayed in Verona in 1772 , where Johann Baptist took lessons from Francesco Lorenzi (1720–1787) - a pupil of Giambattista Tiepolos (1696–1770). In the same year he married Anna Maria Franchi (1749–1795) from Cloz in the Non Valley, who not only bore him seven children, but also rubbed the paints, primed the canvases, etc. In 1773 he became a member of the Verona Academy.

Johann Baptist worked in Trento for a total of seven years. In addition to paintings for churches, he painted the newly elected Prince-Bishop Pietro Vigilio Thun in 1776.

In Rovereto he created an early masterpiece in 1779 with the portrait of the bishop of Sutri and Nepi , Girolamo Luigi Crivelli.

Innsbruck, Klagenfurt

In the year mentioned Johann Baptist moved to Innsbruck . At that time he asked for eight ducats for a portrait. In 1781 he received the first commission from the imperial family, a portrait of Archduchess Elisabeth .

Lampi's first wife Anna Maria with their son Franz Xaver (1783), Innsbruck.

Elisabeth's sister Marianne then invited him to Klagenfurt , where he painted his wife with their son Franz Xaver in 1782 .

Vienna (until 1788)

Mozart's sister-in-law Aloisia Lange as Zémire (approx. 1784), missing.

In 1783 the artist, who had called himself Lampi since the previous year, ventured to Vienna . There he lived next door to Mozart in the so-called Figaro House ( Domgasse  5). Among the first to have himself painted by him were the naturalist and Freemason Ignaz von Born , the banker Johann Fries and General Ludwig von Terzi . Lampi also portrayed Mozart's sister-in-law Aloisia Lange, nee Weber, as Zémire in Grétry's opera Zémire et Azor . In 1784 the court commissioned him to portray Elisabeth of Württemberg , the fiancée of the future Emperor Franz II.

In 1785 he became a member of the Academy of Fine Arts . In 1786 three portraits of him, now lost, were sent to Saint Petersburg - Joseph II., Franz (II.) And Elisabeth von Württemberg. After he had created another monumental portrait of the emperor, Joseph II appointed him - although Lampi was hardly active in this field - as professor of history painting at the academy.

Warsaw

Stanisław Szczęsny Potocki with his sons (1788–1790), Paris.
Zofia de Witte as Victorious Venus (approx. 1794–1796), Saint Petersburg.

From 1788 to 1791 the Russo-Austrian Turkish War reduced earning opportunities in Vienna. Against this background, Lampi stayed in Warsaw in 1788/89, for which he received leave from the Academy. King Stanislaus II August had invited him personally. In addition to the ruler of Poland , Lampi portrayed members of the "Long Sejm " gathered in Warsaw . He portrayed reformers loyal to the king in Western clothing or, like Paweł Grabowski, in national costume, and supporters of the aristocratic republic collaborating with Russia such as Franciszek Ksawery Branicki and Stanisław Szczęsny Potocki, historicizing in knight armor . After painting the heads, he completed the paintings in Vienna. He portrayed Potocki's lover and later wife, Zofia de Witte, née Glavani , once as a vestal virgin and once as the victorious Venus .

Iassy

In 1790 Lampi portrayed the new emperor Leopold II. In the same year the Russian commander-in-chief Potjomkin invited Lampi to his headquarters in Jassy (now Romania ). It was 1791 before the painter could accept the invitation. When he arrived in the capital of Moldova , Potjomkin was already dead. So he painted a phantom of the deceased and portrayed his entourage. Potjomkin's right-hand man, General Vasily Popov, got him an invitation from Catherine II to Saint Petersburg .

St. Petersburg

Catherine II (1792), Saint Petersburg.
Grand Duchess Maria Feodorovna (1795), Pavlovsk .

After the academy had extended his vacation, Lampi arrived from Jassy in 1792 in the capital of the Russian Empire. While revolutionary France put the monarchies on the defensive in Western Europe , he remained for five years in a world where wealth was still measured in “souls” ( serfs who could be sold freely ).

After portraits of her grandchildren turned out to be satisfactory, the 63-year-old monarch herself modeled for him. He depicted her with rejuvenated facial features in front of statues of Constantia and Prudentia . He also painted her 38 years younger lover Platon Zubov , her beautiful daughter-in-law Maria Feodorovna and numerous members of the court nobility.

In 1794 the Russian Academy appointed him an honorary member - the second artist after the sculptor Falconet . At the request of its President Alexei Musin-Pushkin, he drafted proposals for reforming education. As Élisabeth Vigée-Lebrun reports, who emigrated to Saint Petersburg in 1795 , she was welcomed by her colleague with selected dishes and table music.

In the last year mentioned, Lampi lost his wife, who had stayed in Vienna with the children. His eldest son came to live with him in Russia. Johann Baptist the Younger stayed there until 1804. The father, on the other hand, returned to Vienna in 1797 after his imperial patroness had died. From various information about his second marriage it can be deduced that he met Juliane Regini or Julia Rigin (1773–1829) in Saint Petersburg, whom he then married in 1807 in Vienna.

According to the painter Martin Johann Schmidt , Lampi had earned 100,000 rubles in Russia . He received 12,000 rubles for the aforementioned monumental portrait of the empress alone. Wurzbach writes: “The memory of the stay in Petersburg and especially of the Empress Katharina, to whom he owed fame and fortune, always remained alive in the artist's soul. The portrait of the Empress hung in his room and a lamp was always burning in front of it. "

Vienna (from 1797)

Platon Zubov (1802), Saint Petersburg.
Antonio Canova (1805/06), Vaduz.

In the suburb of Leopoldstadt , Lampi acquired the former “Zum Schwarzen Bären” inn, where he set up a collection of paintings, prints and 7,000 old coins. Vienna was already a tough place for the visual arts under Joseph II, even more so after Austria's defeat in the First Coalition War . In addition, in Lampi's absence, the painter Heinrich Füger had achieved a monopoly. He was now also the director of the academy, where the man who had returned from Russia resumed his teaching activities. In addition, Lampi completed portraits he had begun in Saint Petersburg, such as that of the Swedish King Gustav IV Adolf .

His clientele remained the high nobility . In 1798 he was raised to the rank of imperial knighthood by Emperor Franz II . In 1799 he received honorary citizenship of the city of Vienna. In 1800 the Stockholm Academy made him an honorary member. During the occupation of Vienna by the French (1805 and 1809), he commanded the Academic Legion, which guarded the art treasures of the imperial family. In 1805/06 he painted the sculptor Canova in front of his cenotaph for Archduchess Marie Christine , in 1810 Napoleon's bride Marie-Louise of Austria . In the last year his equipage , which is said to have cost 10,000 guilders , fell into the Danube Canal through the driver's fault . During the Congress of Vienna , younger artists such as Jean-Baptiste Isabey and Thomas Lawrence were preferred to him. The portrait of Cardinal Ercole Consalvi shows him still at the height of his abilities.

In 1819 Lampi donated a prize for life drawing. In 1822 he retired with full salary. In his last years he often stayed in Baden near Vienna for a cure. A self-portrait painted at the easel at the age of 76 is said to have been his last work. He died three weeks after his second wife and was buried in the cemetery in Währing .

Post fame, descendants, students

Johann Baptist Lampi the Younger with Son (approx. 1810), Innsbruck.

There has been a Lampigasse near Vienna's Augarten since 1875. In 1894 the painter was given an honorary grave in the central cemetery . His hometown Romeno erected a monument to him in 1925. There is a Piazza Gian Battista Lampi, streets named after the painter in Trento and other municipalities in Trentino . In 1992 the Associazione Culturale "Giovanni Battista Lampi" - Alta Anaunia was founded with its seat in Sanzeno .

Lampi's sons followed in his footsteps. Johann Baptist the Younger (1775–1837) took over his father's studio, while Franz Xaver (1782–1852) broke with it and settled in Warsaw as a portrait and history painter. The grandchildren Johann Baptist Matthias (1807–1857) and Alexander (1810–1832) also took up brushes.

Lampi's pupils included Wladimir Borowikowski (1757–1825), Joseph Kreutzinger (1757–1829), Johann Ender (1793–1854), Ferdinand Georg Waldmüller (1793–1865), Joseph Edward von Gillern (1794–1845), Peter Fendi ( 1796–1842), Leopold Kupelwieser (1796–1862) and Franz Eybl (1806–1880).

gallery

literature

Web links

Commons : Johann-Baptist Lampi d. Ä.  - Collection of pictures, videos and audio files

References and comments

  1. ↑ Also lomp (e.g. in the baptismal register).
  2. ↑ Also Giambattista, Gian Battista, Giovan Battista.
  3. ↑ The area of ​​the immediate imperial diocese of Trento belonged to Tyrol in 1803 / 14-1919 , which is why Lampi is referred to as Tyrolean in publications from this time.
  4. ↑ Von Schöny (see literature) once referred to as "Großoheim", once as uncle.
  5. ↑ Lampi seems to have jokingly called Streicher "Ueberstreicher" to Adelung (see literature).
  6. ^ Republic of Venice .
  7. ↑ (Joseph von Lemmen :) Tirolisches Künstler-Lexikon (…) Innsbruck 1830, p. 135.
  8. ↑ Cf. Roberto Pancheri: Lampi: opere sacre. Sanzeno 2013.
  9. ↑ "Welsche Confinen".
  10. ↑ Around 30 g of pure gold, which, however, had a multiple of its value compared to today.
  11. ↑ A delicate task, as the abbess of the noble women's monastery was popularly known as "die Kropfete Liesl".
  12. ↑ From the then Swiss Mulhouse
  13. ↑ Travel companion of Emperor Joseph II.
  14. ↑ Żupan and Kontusz .
  15. ↑ Joined the Targowica Confederation in 1792 .
  16. ↑ Compare the unfinished portraits of women and children of the House of Tomatis.
  17. ↑ Fernando Mazzocca, Roberto Pancheri, Alessandro Casagrande (eds.): Un ritrattista nell'Europa delle corti: Giovanni Battista Lampi, 1751-1830, Trento 2001, p. 230 f. (Vestalin), p. 276 f. (Victorious Venus). By having herself portrayed as a temple maiden, the beauty, celebrated all over Europe, probably wanted to demonstrate that she had broken with her past as a courtesan .
  18. ↑ How Stanislaus II. August a former lover of Catherine II.
  19. ↑ Personifications of steadfastness (in the light) and prudence (in the shadow).
  20. ↑ Sister Elisabeth von Württemberg.
  21. ↑ Schöny in the NDB (see literature); Fernando Mazzocca, Roberto Pancheri, Alessandro Casagrande (eds.): Un ritrattista nell'Europa delle corti: Giovanni Battista Lampi, 1751–1830, Trento 2001, p. 89 / note. 101, 337.
  22. ↑ Around 120 kg of pure gold.
  23. ↑ Wurzbach (see literature), p. 58.
  24. ↑ On today's Taborstrasse .
  25. ↑ He rejected the personality cult .
  26. ↑ Schöny (see literature) wrongly calls him "Edler von Lampi".
  27. ↑ In the Vienna Augustinian Church .
  28. ↑ This is the equivalent of 1.6 kg of pure gold.
  29. ↑ Fuchs (see literature), p. 126 / note *).
  30. ↑ Fuchs (see literature), p. 126.
  31. ^ Written in Saint Petersburg, probably according to Lampi.
  32. ↑ 60 percent of the text comes from Pancheri, against 25 percent (stay in Russia) from Casagrande. With catalog, biography, documents and bibliography.
  33. ↑ With biography, catalog, documents and bibliography.
  34. ↑ With documents and bibliography.
personal data
SURNAME Lampi, Johann Baptist the Elder
ALTERNATIVE NAMES Lamp, Johann Baptist; Lampi, Johann Baptist Ritter von; Lampi, Giovanni Battista senior; Lampi, Giambattista; Lampi, Jan Chrzciciel (starszy); Лампи, Иоганн Баптист (Старший)
BRIEF DESCRIPTION Italian portrait painter
DATE OF BIRTH December 31, 1751
PLACE OF BIRTH Romeno Trentino
DATE OF DEATH February 11, 1830
Place of death Vienna