Joseph Haller

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Joseph Haller , also Josef Haller (* before March 3, 1737 in St. Martin in Passeier ; † May 2, 1773 in St. Leonhard in Passeier ), was a Tyrolean painter during the late Baroque period . Together with Nikolaus Auer , Johann Benedikt Auer and a few other artists, he belonged to the Passeier School of Painting in Passeier .

Life and artistic activity

From 1752–1756 the artist was a student of Nikolaus and Johann Benedikt Auer in St. Martin in Passeier . From September 1761 and in the following years it is proven in Augsburg . The “glass painter”, in whose apprenticeship Haller “entered” there after Beda Weber , has been identified with Johann Wolfgang Baumgartner , who initially worked as a reverse glass painter and later also as an oil and fresco painter, from Josef Ringler . The strong echoes of the Viennese academy style, which was influenced by Paul Troger , cannot be explained , as Johann Kronbichler assumed, by Haller's trip to Lower Austria , but by an apprenticeship at Franz, who trained around the Vienna Academy and worked in Augsburg around 1760 Sigrist . Close stylistic and motivic references indicate Haller's collaboration on Sigrist's ceiling frescos in Zwiefalten and Seekirch . Haller was again in St. Martin in Passeier by 1764 at the latest, and since 1766/67 in the neighboring town of St. Leonhard in Passeier . He created oil paintings for the churches in Passeier (often in collaboration with the sculptor Anton Ferner , for example in the parish church of St. Martin a high altar picture that was lost in the original, cartouches with rosary secrets for the former curate church of Rabenstein in Hinterpasseier (today in Graz ), partially in the Joanneum and partly privately owned), but also ceiling frescoes in two country churches in the Brenner Pass area. Haller's specialty were small-format cabinet pictures, often in pairs or series, with religious themes, probably for members of the Merano nobility.

Haller's works, which are a high point of Rococo painting in Tyrol , are unmistakable in their idiosyncratic synthesis of Augsburg and Viennese style elements. Haller associates Johann Wolfgang Baumgartner with the pretentious surface structure of the pictures, “the way of drawing in details with a pointed brush dipped in thin paint” (Elfriede Baum). The round faces and muscular bodies with the characteristic red and green heights of the flesh, the bright, bright colors and the wrinkled folds of the robes refer to Franz Sigrist and ultimately Paul Troger. The forced chiaroscuro of some cabinet pictures suggests Haller's knowledge of Rembrandt's etchings and their imitations in the work of southern German artists (e.g. Johann Evangelist Holzer ). Two “Rembrandtesque” pictures with scenes from the Christmas story, which were offered at Sotheby's in 1994 as works by Januarius Zick , were ascribed to Haller. The dark cirrus clouds that Haller likes to use as an internal frame motif show parallels to Franz Joseph Spiegler's ceiling frescoes in Zwiefalten . As the author of the ceiling fresco in Neustift im Stubaital , in which Haller was assisted by the Viennese painter Franz Altmutter , the older literature mentions an undetectable Franz Haller, but also the Innsbruck painter Philipp Haller . Ursula Pechloff incorrectly calls the artist Franz Joseph Haller. Josef Ringler's assignment of a series of partly labeled “Joh. Haller ”marked chalk drawings (Innsbruck, Ferdinandeum ) to this artist Haller from Passeier is questionable.


Oil paintings

(unless otherwise stated, oil on canvas ):


Ceiling fresco St. Georg Neustift


  • Moos in Passeier , parish church, scenes of the Holy Sepulcher, 1771–1773 (unfinished).


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