Karl Joseph Litschauer

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Karl Joseph Litschauer (born March 1, 1830 in Vienna , † August 8, 1871 in Düsseldorf ) was an Austro-German painter.

Life

The son of a civil servant received his first artistic training at the Vienna Art Academy in St. Annahof, where he moved to Ferdinand Georg Waldmüller's studio , which was in the house. When the academy was partially closed in connection with the German Revolution in October 1848 and Waldmüller had to give up his studio in 1850, Litschauer went to Düsseldorf, where, after initial studies at the Art Academy, he became a private student of the Norwegian painter Adolph Tidemand in 1850 . In 1853 and from 1856 to 1871 Litschauer was a member of the Malkasten artists' association .

On June 1, 1861, he married the London-born merchant's daughter Emilie Havenith (1838-1889), whose mother Emilie Anna Maria (1817-1857) joined in 1856 after the death of her father Johann Leonard Havenith (1808-1854) married the painter Josef Schex (1819–1894) again. Litschauer thus also became the brother-in-law of the painter Hugo Havenith and the painter Ernst Bosch , who married Emilie's sister Berta Havenith (1839-1891). Litschauer's marriage had four children, the only son of whom died shortly after birth. From Havenith's legacy, Litschauer and Bosch had their brother-in-law, the Düsseldorf architect Hermann Havenith , build two neighboring houses with studios in Pempelfort at Rosenstrasse 35 and 37, at that time on the northern outskirts of Düsseldorf. The painter Schex lived next door in house number 39. - After Litschauer's death, his house was sold by the widow in 1872; later the painter and professor of the art academy Eduard von Gebhardt lived next door in No. 41, and the painter Wilhelm Eckstein in Bosch's house . Both houses were destroyed in World War II.

plant

The Artist's Model (The Cheap Model) , around 1860

In his artistic work Litschauer initially devoted himself to the description of scenes from the Thirty Years' War and became, alongside Heinrich Mücke , Carl Friedrich Lessing , Wilhelm Camphausen , Hermann Wislicenus and others, an important representative of history painting at the Düsseldorf School of Painting . One of his earliest pictures, The Lurking Warrior , was exhibited in the art exhibition of the Academy of Fine Arts in Vienna in 1850. This was followed by the compositions The Frozen Violinist , The Freedom Column (1853) and the painting The Last Companion , which was shown in both Düsseldorf and Vienna in 1853 and which the Austrian Art Association bought. Other titles were Priestly Duty (1854), A Dying Soldier Receives Holy Communion (1855), which came to the Fürstlich-Liechtensteinische Galerie in Vienna, Escape from a monastery stormed by the enemy (1856) and The Ambush (1857), the Collection of Emperor Franz Joseph in the Belvedere in Vienna . As a result, the painter turned to narrative painting ( genre painting ), with anecdotal image compositions that are located in an indefinite present. Several appeared as woodcut reproductions in popular magazines or as lithographs , including in the Düsseldorf artist album at Arnz & Comp. in Düsseldorf, including The Cheap Model , The Bell Founder (1862), The Armourer at the Blade Trial and the Counterpart The Counterfeit . The latter was exhibited in Amsterdam in 1862 and earned the painter both a gold medal and honorary membership of the Amsterdam Academy . The picture was acquired from the Nassauische Galerie in Wiesbaden and distributed as a wood engraving. With titles such as The Ham Breakfast , The Funny Cooper (1867), The Happy Shot (1869) or The Stuffed Liebling (1870), his choice of subjects became increasingly banal, but also more and more successful in the taste of the time: Litschauer often produced several versions of a motif and found buyers mainly in the United States of America. In the Wiesbaden Museum you can find the paintings The Snare Maker and Good Friends .

letter

  • KJ Litschauer: Handwritten letter to Mr. König. Düsseldorf, March 28, 1859, Bonn University Library, manuscript department, autograph collection.

literature

  • Catalogs of the Austrian Art Association (Vienna): 1852, November No. 17; 1853, January No. 42, September No. 3, October No. 9; 1854, November No. 5, December No. 11; 1857, March No. 15, November No. 5; 1858, April No. 30, October No. 26; 1859, March No. 40; 1865, January No. 13 and 16.
  • Litschauer, Carl Joseph. In: The artists of all times and peoples . Started by Prof. Ms. Müller, continued by Dr. Karl Klunzinger, Volume 2, Ebner and Seubert, Stuttgart 1860, p. 604.
  • Constantin von Wurzbach : Litschauer, Karl Joseph . In: Biographisches Lexikon des Kaiserthums Oesterreich . 15th part. Imperial-Royal Court and State Printing Office, Vienna 1866, p. 279 f. ( Digitized version ).
  • Moritz Blanckarts:  Litschauer, Karl Joseph . In: Allgemeine Deutsche Biographie (ADB). Volume 18, Duncker & Humblot, Leipzig 1883, p. 783.
  • Litschauer, Karl Joseph. In: Friedrich von Boetticher: painter works of the 19th century. Contribution to art history. Volume 1/2, sheets 31–61: Heideck – Mayer, Louis. Ms. v. Boetticher's Verlag, Dresden 1895, p. 887 ( archive.org ).
  • General artist lexicon. Lives and works of the most famous visual artists , prepared by Hermann Alexander Müller, edited by Hans Wolfgang Singer. Literary establishment Rütten & Loening, Frankfurt / Main 1921.
  • Litschauer, Carl Joseph . 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. 290 .
  • Litschauer, Karl Joseph. In: Austrian Biographical Lexicon 1815–1950 (ÖBL). Volume 5, Verlag der Österreichischen Akademie der Wissenschaften, Vienna 1972, p. 249.
  • Heinrich Fuchs: The Austrian painters of the 19th century. Volume 3. Vienna 1972.
  • Emmanuel Bénézit : Dictionnaire critique et documentaire des Peintres, Sculpteurs, Dessinateurs et Graveurs de tous les temps et de tous les pays. Volume 5, Paris 1976.
  • Hans Paffrath (Ed.): Lexicon of the Düsseldorf School of Painting 1819–1918. Volume 2: Haach – Murtfeldt. Published by the Kunstmuseum Düsseldorf in the Ehrenhof and by the Paffrath Gallery. Bruckmann, Munich 1998, ISBN 3-7654-3010-2 , pp. 352-353 (fig.).

Web links

Commons : Karl Joseph Litschauer  - Collection of Images

Individual evidence

  1. Bettina Baumgärtel , Sabine Schroyen, Lydia Immerheiser, Sabine Teichgröb: Directory of foreign artists. Nationality, studies and stay in Düsseldorf. In: Bettina Baumgärtel (Hrsg.): The Düsseldorf School of Painting and its international impact 1819–1918. Michael Imhof Verlag, Petersberg 2011, ISBN 978-3-86568-702-9 , Volume 1, p. 435.
  2. Emilie Johanna Havenith (1838–1889) , on geneanet.org, accessed on July 24, 2016.
  3. ^ Litschauer, Maler, Rosenstrasse 37; Bosch, Maler, Rosenstrasse 35 , in the address book of the mayor's office in Düsseldorf , 1865, p. 46.
  4. Sales and licensing: Auction house and garden Rosenstrasse under No. 37, next to painter Schex and Bosch , in the official gazette for the administrative district of Düsseldorf, year 1872. Public Gazette, No. 20, p. 153
  5. ^ Information from John E. Fletcher (†), grandson of Ernst Bosch, 1986.
  6. ^ Austrian Art Association, Vienna 1852.
  7. Reproduction as a wood engraving, drawn by Ludwig Heitland , In: Daheim , Volume 6a, 1869/70, p. 149.
  8. ^ Lithograph by August Lüttmann , In: Düsseldorfer Künstleralbum , 9th year, 1859.
  9. ^ Lithography by Moritz Ulffers , In: Düsseldorfer Künstleralbum, 15th year, 1865.
  10. Catalog Tentoonstelling van Levende Meesters , Amsterdam, 1862, No. 304. De Valsemunter .
  11. Gazebo . Illustrated family sheet . Leipzig 1865, p. 637 and p. 821.
  12. Fig. In: Lexicon of the Düsseldorfer Malerschule , Volume 2, p. 354.
  13. ^ Lithography by M. Ulffers, In: Deutsche Kunst in Bild und Lied , Leipzig 1868, p. 93.
  14. Illustration as a woodcut in: Berlinische Nachrichten für Staats- und schellochte Dinge , No. 261, November 7, 1869.
  15. Official catalog of the Gemäldegalerie Wiesbaden 1937, No. 377: Gute Freunde ; No. 378: The snare plate ; Clemens Weiler: The picture gallery of the Wiesbaden museum . Peters, Hanau 1968 (masterpieces of German museums).
  16. Probably relates to Litschauer's painting, A Studio Scene, exhibited in March 1859 in the art exhibition of the Austrian Art Association in Vienna .