Ludwig Neureuter

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Ludwig Neureuter (born November 10, 1796 in Meisenheim am Glan; † March 11, 1871 in Trier ; actually Franciscus Antonius Ludovicus, also Louis) was a German painter, gilder and manufacturer of picture clocks. He is often confused with members of the Neureuther family of painters (with th), especially with Ludwig Neureuther (* around 1770 in Jägersburg, † 1832 in Bamberg).

Origin and education

Neureuter was born in the troubled times of the French Revolution as the son of the Alsatian Franz Anton Neirauder (= Neureuter), hussar lieutenant in the French army, and Apollonia Keihl from Spang (-Dahlem) near Wittlich in Meisenheim am Glan. In April 1796 in Trier-St. Laurentius married and returned to Trier in 1801 at the latest.

The artistic career of the young Ludwig Neureuter can only be sketched out in outline. On the basis of his own information in several advertisements in the Trierische Zeitung of 1829 and as evidenced by his letter of recommendation (printed leaflet) to the Trier clergy from 1832, it can be said that he was an apprenticeship as a church painter with a craft-oriented training as a painter, gilder and painter and then expanded his knowledge and skills over several years in “the most respected cities in Germany and especially those in Switzerland”.

When he returned to Trier in 1829, Ludwig Neureuter was 32 years old, had been married to Sophie Petry from Bernkastel since 1822 and had two children. After he had entered a second marriage to Margarete Thönnes as a widower in 1844, his family expanded to a total of eight children.

The portraitist

Ludwig Neureuter initially switched to the portrait subject, which found its most unbroken form in the first half of the 19th century and was also very popular among the Trier middle class. A portrait exhibition organized around 100 years later in 1929 was able to prove the rich production of 185 portraits of Trier citizens, painted by 31 artists; the accompanying catalog emphasized Neureuter's special empathy for the psyche of those portrayed. This was due not least to the stimulating role model of the painter Johann Anton Ramboux , who had made a name for himself with outstanding portraits, among other things. Neureuter only emerged from the shadow of this overpowering competitor in terms of origin, talent and career when Ramboux set out on a second long stay in Italy in 1832. Now Neureuter also got the longed-for portraits, especially those of the Trier clergy, which he carried out without heroic exuberance, striving to be true to nature and objectivity. He participated in the few Trier art and trade exhibitions in 1840, 1842 and 1854 with several oil paintings, the genre of which is unknown.

The picture clock manufacturer

Picture clock "Dom zu Trier", painted by Ludwig Neureuter in Trier
Picture clock "Porta Nigra as St. Simeonskirche", painted by Ludwig Neureuter in Trier

A specialty of Ludwig Neureuter were the picture clocks he created from the 1830s, a combination of wall clock and painting that was very popular in the Biedermeier period . Clocks, strikes and games were built into architecture and landscape paintings; On the front, a small dial, usually on a tower, indicated the time, while the deep painting frame served as a clock and resonance box. Neureuter modified the picture clocks, which were mainly manufactured in southern Germany and Austria, with Trier monumental buildings depicted close up. He benefited from the fact that he could not only make the paintings, but also the elaborate frames as a gilder. Clocks and striking mechanisms by the Trier cathedral and city clockmaker Nikolaus Schlöder (born October 21, 1790 in Pfalzel near Trier; † April 30, 1867 there) or works by other manufacturers completed the picture clocks.

So far, two motifs from Trier by Neureuter have become known, which he repeated in an extensive and stylistically consistent form: On the one hand, the "Dom zu Trier" (5 copies, including a version signed and dated "Louis Neureuter, 1836") a representation of the west facade and the cathedral courtyard in front with rich staffage . On the other hand, the "Porta Nigra als St. Simeonskirche" (2 copies), a nostalgic reference to the condition before the demolition of the post-Roman additions and additions at the beginning of the 19th century. Like the view porcelain from the Trier porcelain factory or the lithographed view portfolios by the Trier artist Christoph Hawich and the aforementioned Johann Anton Ramboux, the Neureuter picture clocks were also sophisticated souvenirs for travelers of early Moselle tourism and sought-after wall decorations for Trier citizens.

The church painter

In the already quoted letter of recommendation to the clergy from 1832, Neureuter had self-confidently his training as a church painter and his wide range of products from the production of "altar leaves, flags and other church pictures" to "every kind of church ornamentation - gilding, painting, painting and the like “Highlighted. However, only a few sacred works have survived, written references in monument topographies and parish chronicles indicate considerable losses. Because Neureuter leaned in the design of his sacred paintings on the religious-romantic art direction of the Nazarenes with their recourse to old German masters and Italian Renaissance . The late Nazarene painting of the Apollinari church in Remagen shines through most clearly as a template in his altar leaves. A little later, scolded as anemic and sentimental, the art of the Nazarenes only experienced rehabilitation and new appreciation from the middle of the 20th century. It came too late, at least for the numerous works of art that had already fallen victim to the often radical transformation of Catholic churches in an "iconoclasm" of modernity.

Traditional works

Portraits

  • Portrait of Katharina Maria Dausch b. Klotz, oil painting, 41 × 33 cm, signed and dated "Ludwig Neureuter 1829". Lost since World War II. Archive photo in the possession of the City Museum Simeonstift Trier.
  • Pendant portrait of the painter Franz Anton Dausch, oil painting, 41 × 33 cm, also signed and dated "Ludwig Neureuter 1829", lost, archive photo as before.
  • Portrait of the Bishop of Trier (1824–1836) Josef Ludwig Alois von Hommer, oil on canvas, 63 × 56 cm, signed “L. Neureuter ”, undated (around 1832), Trier Cathedral Museum, inv. No. M15.
  • Portrait of Trier Auxiliary Bishop Wilhelm Arnold Günther, oil on canvas, 84 × 70 cm, signed and dated “L. Neureuter 1834 ”, State Main Archive Koblenz, Rommersdorf branch.
  • Portrait of the cathedral capitular Viktor Joseph Dewora , oil on canvas, 73.5 × 60 cm, signed and dated “L. Neureuter 1834 ”, private property.
  • Portrait of the Trier Bishop Charles Mannay, oil on canvas, 78 × 60.5 cm, signed and dated on the reverse “Ludw. Neureuter pinx. 1868 “, (copy after a painting by the Trier painter Carl Ruben, 1830), Trier Cathedral Museum, inv. No. M 37.

Picture clocks

  • Trier Cathedral , oil on wood, 78 × 93 cm, signed and dated on the reverse "Louis Neureuter, 1836", unmarked walking and percussion mechanism on a gong, private collection.
  • Trier Cathedral , oil on wood, 78 × 92.5 cm, unsigned, around 1835/40, walking and striking mechanism lost, Stadtmuseum Simeonstift Trier, inv. No. III 1283.
  • Trier Cathedral , oil on wood, approx. 80 × 90 cm, unsigned, around 1835/40, walking, striking and alarm clock mechanism, additional gong spring mechanism with imitation of the cathedral bells, signed Nikolaus Schlöder, private collection.
  • Trier Cathedral , oil on wood, approx. 80 × 90 cm, unsigned, around 1835/40, clock and striking mechanism anonymous, March 1977 in the art trade at the 8th West German Art Fair in Cologne.
  • Trier Cathedral , oil on wood, approx. 80 × 90 cm, unsigned, around 1850, walking and striking mechanism lost, private property.
  • Porta Nigra as St. Simeon's Church , oil on wood, 76.5 × 88 cm, unsigned, around 1835/40, walking and striking mechanism signed “Japy Frères” (Baderel, Switzerland), City Museum Simeonstift Trier, inv. No. III 1347.
  • Porta Nigra as St. Simeon's Church , oil on wood, approx. 80 × 90 cm, unsigned, around 1835/40, replacement clockwork, private property.

Sacred paintings

  • St. Martinus, oil on canvas, approx. 190 × 90 cm, signed and dated “L. Neureuter 1857 “, Catholic parish church St. Martin, Mertesdorf.
  • Crucifixion, oil on canvas, approx. 160 × 95 cm, signed and dated “L. Neureuter 1860 ”, Catholic parish church St. Martin, Mertesdorf.
  • St. George, oil on sheet iron, 141 × 96 cm, one of a total of nine panels from a cycle of the Holy Helpers, one panel (St. Barbara) signed and dated “L. Neureuter 1862 “, Sankt Sebastian (Kirscher Chapel) in Longuich-Kirsch.
  • Way of the Cross, IX. Station (Jesus falls for the third time under the cross), oil on canvas, 100 × 80 cm, signed and dated on two of the 14 station pictures “L. Neureuter 1857 ”, 1977 in the Saarbrücken art trade.

literature

  • Neureuter, Ludwig . In: Hans Vollmer (Hrsg.): General lexicon of fine artists from antiquity to the present . Founded by Ulrich Thieme and Felix Becker . tape 25 : Moehring – Olivié . EA Seemann, Leipzig 1931, p. 420-421 .
  • Ernst von Bassermann-Jordan, Hans von Bertele: watches. Braunschweig 1961, p. 234 ff.
  • Emmanuel Bénézit : Dictionnaire des Peintres, Sculpteurs, Dessinateurs et Graveurs. Nouvelle Edition, Volume 7, Paris 1976, p. 697.
  • Joachim Busse: International handbook of all painters and sculptors of the 19th century. Wiesbaden 1977, p. 900.
  • Stephan Schölzel: Electors and Citizens - A portrait catalog of the City Museum Simeonstift Trier. Trier 1984, pp. 212, 217, 219, 223, each with the illustration of portrait details.
  • Peter Heuer, Klaus Maurice: European pendulum clocks. Munich 1988, pp. 288-289.
  • Georg Himmeluchter (arrangement): Art of the Biedermeier period 1815–1835. Exhibition catalog, 2nd edition, Munich 1989, pp. 34–42.
  • Christl Lehnert-Leven: Ludwig Neureuter (1796–1871) - A painter in the shadow of Ramboux. In: Dieter Ahrens (Ed.): Painting and drawing - contributions to the painting and graphics collection of the Simeonstift Trier Municipal Museum. Trier 1992, pp. 83-104.
  • Christl Lehnert-Leven: Clocks in Trier - history, poems and holdings of the Museum Simeonstift Trier. Trier 1992, pp. 124-129.
  • Ian D. Fowler: Clocks from five centuries - From the collections of the Mainfränkisches Museum Würzburg. Würzburg 1999, pp. 196-199.
  • Christl Lehnert-Leven: Neureuter, Franciscus Antonius Ludovicus, called Ludwig, also Louis. In: Heinz Monz (Ed.): Trier Biographical Lexicon. Trier 2000, p. 324.
  • Christa Steinle: The return of the religious. Nazarenism between Romanticism and Rationalism. In: Max Hollein, Christa Steinle (ed.): Religion Power Art. The Nazarenes. Catalog for the exhibition in the Schirn Kunsthalle Frankfurt. Cologne 2005. pp. 15–35.

Web links

Individual evidence

  1. ↑ Diocese archive Trier - church book Meisenheim, baptism entry year 1796, p. 140.
  2. ↑ Diocese archive Trier, Dept. 560/5/4 No. 13 - Church book entry Trier-St. Laurentius of April 5, 1796.
  3. ^ Trierische Zeitung. No. 107 of September 6, 1829; No. 113 of September 20, 1829; No. 141 dated November 24, 1829, all Trier City Library.
  4. ↑ Letter of recommendation (handout) Ludwig Neureuters to the Trier clergy from July 30, 1832, drawn: “L. Neureuter, painter and gilder, Dietrichstraße N ° 828 “, private property.
  5. ↑ Diocese archive Trier, church book mapping of the parish of St. Gangolf, Dept. 77 No. 23, p. 459.
  6. ^ Advertisement in the Trierische Zeitung. No. 140 of November 22, 1829: "Ludwig Neureuter recommends himself to the honored public as a portrait painter." Trier City Library.
  7. ↑ Hans Lückger: The painter / biographical guide through the exhibition. In: Portraits exhibition - Trier 100 years ago. Organized by the local group Trier of the West German Society for Family Studies in connection with the Moselle Museum of the city of Trier. Trier 1929, pp. 26, 37 and 52.
  8. ↑ Trade exhibition in Trier in 1840, list of the trade products exhibited in the local theater. Trier 1840, p. 8: “Four different pictures v. Neureuter, painter in Trier. “Trier City Library, Sign. 11/709 8 °.
  9. ^ Philanthropist: Sheets for trade, house and agriculture and for entertainment, supplement to the Trier'schen Zeitung. 1843 No. 2: Report of the Society for Useful Research on the Trade Exhibition of 1842 with thanks to Neureuter for his participation. Trier City Library.
  10. ^ Catalog of the art and trade exhibition in Trier. August and September 1854. Trier 1854, p. 62: “L. Neureuter, painter in Trier, 2 oil paintings. “Trier City Library, Sign. 11/711 8 °.
  11. ↑ Wolfgang Meter: Schlöder Nikolaus, town and cathedral clockmaker. In: Heinz Monz (Ed.): Trier Biographical Lexicon. Trier 2000, pp. 402-403.
  12. ^ Ernst Wackenroder, Heinrich Neu (arr.): The art monuments of the district of Trier. Düsseldorf 1936, unchanged reprint Trier 1981, pp. 78–80 (“Crettnach”); "From the parish chronicle" (without indication of the author). In: Festschrift on the consecration of the parish church St. Martin in Mertesdorf (September 5, 1976), p. 35. Information from the Catholic parish office of Oberemmel, October 1988.
personal data
SURNAME Neureuter, Ludwig
ALTERNATIVE NAMES Neureuter, Franciscus Antonius Ludovicus (full name)
BRIEF DESCRIPTION German painter, gilder and maker of picture clocks
DATE OF BIRTH November 10, 1796
PLACE OF BIRTH Meisenheim am Glan
DATE OF DEATH March 11, 1871
Place of death trier