Liberat one hundred pounds

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Dying virgin
Family portrait of Fidelis Butsch

Liberat Hundertpfund (born November 11, 1806 in Bregenz , † March 28, 1878 ibid) was an Austrian portrait, history and church painter and art writer.

Life and works

Liberat Hundertpfundt was the son of a shoemaker and was born as the fourth of six children of the family, who had lived in Bregenz since the 15th century. He studied with Peter Krafft at the Vienna Art Academy like his friend Gebhard Flatz . Together with Flatz, he returned to his hometown in 1827, where he initially mainly painted altarpieces . After Flatz moved to Innsbruck in 1829 , Hundertpfund concentrated on miniature and oil portraits . The portraits of Innsbruck's mayor Johann Nepomuk Reiner, which came to the Vorarlberg State Museum in Bregenz, the city doctor Dr. Schneider, Franziska Schwärzler, the lawyer Felder and the regional judge Strele in Feldkirch .

In 1832 Hundertpfund moved to Munich . There he had contact with Moritz von Schwind , Joseph Binder and Ludwig Schaller , whom he had known from his time in Vienna, but initially received no commissions. In 1833, however, King Ludwig I ordered a portrait of the gallery director Dillis from him after seeing a work Hundertpfunds in the Münchner Kunstverein. This painting ended up in the Neue Pinakothek . In addition to portraits, Hundertpfund also painted various genre pictures during his time in Munich .

From 1835 he lived and worked in Augsburg . There he portrayed the gallery curator Andreas Eigner and the bishop Ignaz Albert von Riegg . In 1837 he created two altarpieces on his order, depicting Christ on the Mount of Olives and Peter on the sea. In 1839 Hundertpfund painted his self-portrait, which is said to have taken him only three hours. It ended up in the State Museum in Bregenz.

In his later years Hundertpfund turned back to religious painting and created numerous altarpieces as well as some frescoes . Thieme / Becker names works mainly in churches in the diocese of Augsburg : Oxenbrunn (1844), Deffingen (1846), Aislingen (1854), St. Nikolaus in Großaitingen (crucifixion image on the high altar and a side altar leaf, 1858) and Röhling (1865). In 1859 Hundertpfund painted for the St. Wolfgang chapel in Mergentheim , as well as for a church in Apfelbach and for the parish church of St. Sebastian in Langen , for which he worked again in 1864. The local altarpiece with a crucifixion can no longer be seen in the church, but in custody. In 1854 he created a glass painting for the Church of St. Anna in Eisleben , which showed the baptisms of Christ, Isaiah and John the Baptist and which is said to have been donated by the citizens of Augsburg. He renewed the gusset cartouches with the church fathers in the parish church of St. Michael in Mering in 1854. His works in the parish church of St. Johannes Baptist in Gennach date from the 1860s . Altar paintings of one hundred pounds have been preserved in the church of St. Georg in Mittelstetten , and frescos in St. Pankratius in Aretsried . The ceiling painting in St. Martin in Gablingen dates from 1864 .

During his time in Augsburg, Hundertpfund created a total of 628 large and small paintings, frescoed five churches and, together with a worker, provided glass windows for 16 churches.

Hundred pounds mostly signed with "100 U". From 1876 he lived in Bregenz again, where he maintained his contacts with Flatz, who also returned there in 1870, and with the poet Kaspar Hagen .

Liberat Hundred Pounds also wrote on the theory of painting. In 1847 in Augsburg he published painting traced back to its simplest and safest principles . This work was published in English in 1849 in London and was used as a textbook at the Munich Academy.

Several hundred-pound paintings did not survive the change in taste over time. For example, the pictures on three altars in the St. Ulrich church in Deffingen from 1846/47 were removed in the middle of the 20th century. Glass windows painted by one hundred pounds, which were installed in the church in Herbertshofen in 1859 , were removed at the beginning of the 20th century and replaced by slug panes . More stained glass windows disappeared, particularly in the 1950s and 1960s, when the Nazarenes were no longer valued.

style

Vanessa Haberland characterized Hundertpfund's style and that of some of his contemporaries as follows: “The simple, popular expression of the Nazarene art , as represented by Schraudolph , continued to have an effect on many smaller masters into the 20th century. In addition to Karl Keller , a few other painters active in Swabia should be mentioned here: Johann Baptist Kaspar (1822–1885), Ferdinand Wagner (1819–1881), Liberat Hundertpfund (1806–1878) and Georg Lacher (1809–1882). The works of these artists are iconographically undemanding; They have a calm, "dreamy" mood. In the clear compositions, the image personnel is usually reduced to a minimum. The striving for harmonization and balance usually corresponds to a color palette in which earth and pastel colors predominate. "

Swabian district nurse Peter Fassl sees his particular strengths on the one hand in his portrait art, which shows a lively naturalness, and in the colors of his church pictures, which are more traditional and schematic in terms of composition and drawing. Hundertpfund imposed restrictions on ecclesiastical art, his creative will retreats to the colors, while the faces appear impersonal and removed from the world.

Exhibitions

In 2009 at least two paintings Hundertpfunds were shown in the exhibition Discoveries in the Schaezlerpalais in Augsburg: In the studio from 1849 and family portrait Fidelis Butsch from 1837. In 2016 works Hundertpfunds were shown in the exhibition Companions of Lenbach in Schrobenhausen .

Honors

There is a Liberat Hundred Pound Street in Bregenz.

literature

Web links

Commons : Liberat Hundred Pounds  - Collection of Pictures, Videos and Audio Files

Individual evidence

  1. ↑ So the spelling in Thieme / Becker, presumably Oxenbronn is meant, where in 1854 two windows were built after oil paintings one hundred pounds, cf. Yearbook of the Association for the History of the Augsburg Diocese V. . Der Verein, 1990, p. 374.
  2. ↑ St. Nikolaus in Großaitingen , on schwabenmedia.de
  3. ↑ Parish Church of St. Sebastian , on long.at
  4. ↑ Martin Klonnek: Augsburg Land: Sights of the district of Augsburg . epubli, February 17, 2015, ISBN 978-3-7375-3220-4 , p. 68.
  5. ↑ Mittelstetten , on rain.de
  6. ↑ Church , on aretsried.de
  7. ↑ Our parish church , on bistum-augsburg.de
  8. ↑ St. Ulrich in Deffingen , on heilig-geist-guenzburg.de ( Memento of the original from September 1, 2016 in the Internet Archive ) Info: The archive link was automatically inserted and not yet checked. Please check the original and archive link according to the instructions and then remove this notice. @1@ 2Template: Webachiv / IABot / www.heilig-geist-guenzburg.de
  9. ^ The pastors of St. Martin and St. Clemens , on bistum-augsburg.de
  10. ↑ Vanessa Haberland, Karl Keller (1823-1904) , in: Andreas Tacke (Ed.): Autumn of the Baroque. Munich and Berlin 1998, ISBN 3-422-06229-7 , pp. 513-524, here p. 517.
  11. ^ Günter Ott: From the belly of the museum. In: Augsburger Allgemeine. January 24, 2009 ( augsburger-allgemeine.de ).
  12. ^ Companions of Lenbach from April 24th. by September 30 , 2016 , on schrobenhausen.de ( memento of the original from September 1, 2016 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. @1@ 2Template: Webachiv / IABot / www.schrobenhausen.de
personal data
SURNAME Hundred pounds, Liberat
BRIEF DESCRIPTION Austrian painter and art writer
DATE OF BIRTH November 11, 1806
PLACE OF BIRTH Bregenz
DATE OF DEATH March 28, 1878
Place of death Bregenz