Marie Wiegmann

Marie Wiegmann at the age of 25, painted by Karl Ferdinand Sohn in 1845

Marie Elisabeth Wiegmann , née Hancke (born November 7, 1820 in Silberberg , Breslau administrative district in Silesia , today Srebrna Góra, Poland ; † December 4, 1893 in Düsseldorf ), was a German romantic painter of children's pictures, mythological scenes , genres and portraits . She married the Düsseldorf painter , architect and professor Rudolf Wiegmann , had three children and a foster child.

Life

In his biography of Marie Wiegmann, Rudolf Wiegmann names Silberberg in Silesia as the place of birth , but does not provide any information about her date of birth or her family relationships. There is no information about their origin, childhood or youth in the specialist literature either.

Mrs. Carl vom Rath . Oil painting by Marie Wiegmann.

Marie Hancke came to Düsseldorf for artistic training in 1841 , where she worked until around 1843 under the direction of the history painter Hermann Stilke . She then learned portrait painting and the ideal genre from Karl Ferdinand Sohn . She studied and worked in his studio for private students and based on his painting style.

Until 1850 she mainly painted genre pictures of fairy tales and romantic poems, later also portraits of famous scholars, women and children and individual figures in historical costumes. In 1843 Karl Ferdinand Sohn painted a portrait of the 23-year-old beautiful and distinctive woman, which is now in the Museum Kunstpalast in Düsseldorf.

In 1841 Marie Hancke married the Düsseldorf painter, architect and professor Rudolf Wiegmann . She then bore the name Marie Wiegmann . He had studied architecture and art studies and had been professor of architecture at the Düsseldorf Art Academy from 1839 and from 1846 to 1865 he also ran the academic secretariat. Her marriage to Rudolf Wiegmann gave her access to the academy, but not to the academic classes. The few women who succeeded in entering the Düsseldorf school studied privately, among others with Karl Ferdinand Sohn. At that time, women artists were generally disadvantaged in Düsseldorf. Membership in the Düsseldorf artists' association Malkasten was denied to women until 1977.

The marriage with Rudolf Wiegmann had three children: the daughter Klara (* 1842), the son Arnold (* 1846) and the son Walter (* 1861), who was only four years old.

In 1843, Marie Wiegmann sold a painting for the first time: Hagar and Ismael . In the years 1843 and 1845 she made trips to Rome and Venice in the footsteps of her husband. Rudolf Wiegmann had undertaken a study trip to the German artists' colony in Rome from 1828 to 1832 and from there researched the architecture of antiquity and the subsequent period, examined the wall paintings in Pompeii and devoted himself to archaeological excavations. At the time, a study visit to Rome lasting several years was considered an essential addition to university studies and an important preparation for professional advancement. At that time, the German artists' colony in Rome was an essential center of German research and an important meeting point for German artists, architects and scientists, and made it possible to get to know the important personalities who were renowned in the small German states.

In 1846, Marie Wiegmann and her family moved into the semi-detached house at Pfannenschoppenstrasse 32 (now Klosterstrasse ), which was built in 1840 . In the second half, No. 33, Karl Ferdinand Sohn lived with his family from 1844. Your immediate neighbors at Pfannenschoppenstrasse 35 were Alwine and Adolph Schroedter .

In 1853 she went on a study trip to England. She improved her skills through extensive visits to museums and galleries in Germany (Dresden, Berlin), Holland, Belgium, England and Italy (Venice).

Her husband died of consumption at the age of 61 on his 61st birthday, April 17, 1865, and their four-year-old son Walter also died a month later. In the same year she took on a foster daughter, Auguste Bettauer , called Else Wiegmann, in his place .

Her son Arnold died on August 6, 1870 in the Battle of Spichern . On December 4, 1893, Marie died after a short illness in Düsseldorf in her house in Pfannenschoppenstrasse. 32 , after having lived and worked successfully in the city of Düsseldorf for 52 years.

Marie Wiegmann in contemporary assessment

Marie Wiegmann, née Hancke , photo by Arnold Overbeck , Réunion des musées nationaux et du Grand Palais des Champs-Élysées

Wolfgang Müller von Königswinter assessed Marie Wiegmann as follows in 1854:

The most talented student of Sohn's is Mrs. Maria Wiegmann, née Hanke, who in several fairies, such as a Damajanti, has shown the most indubitable testimony to a rich, fragrant talent that is almost only found in women. In her dancing gypsy family, who dances a (r?) Cottage in front of an aristocratic English family in the garden, she has also delivered a graceful work. Delicate, soft sensation, graceful drawing and soft, swelling colors give her pictures a peculiar charm. We admire the same characteristics in her portraits, which are at the same time superbly characterized and often place the striving men in the background.

Rudolf Wiegmann described her painting style in 1856 as follows:

A poetic, genuinely feminine conception of the objects chosen with a fine sense, a loving childlike devotion to them, in association with deep feelings for the simple truth and beauty in nature characterize this artist to a high degree within the area she has chosen. For several of her pictures she took the material from poems, but some are themselves three-dimensional original poems, such as B. the figurative picture "two grandmothers". In the field of portraits, too, she has gained unequivocal recognition, and in particular has shown a noble taste in the arrangement and in a spiritual and vital conception of the individuality to be reproduced. Her children's portraits are particularly popular because of the graceful naivete with which they are depicted.

The Biographisches Künstler-Lexikon states in 1882:

Just as her pictures of the ideal genre taken from the poems show a poetic, genuinely feminine conception, a deep feeling for natural truth and beauty and a powerful technique, so her portraits (especially of the children) show an intelligent conception of the personality concerned.

The journal for fine arts Kunstchronik wrote in the Nekrolog in 1894:

In the field of portrait painting, the artist's works were characterized by an ingenious and talented conception and a tasteful painterly arrangement; in the genre , too , the so-called ideal genre, she has achieved excellent results.

Awards

In 1859 she received the small gold medal at the Berlin Academy Exhibition . Here she showed her new oil paintings eleven times between 1848 and 1879.

membership

Marie Wiegmann was a member of the Association of Artists and Friends of Art in Berlin . Since it was founded in 1867, this association was geared towards the entire German-speaking area and neighboring countries. Today it is called the Association of Berlin Women Artists .

Master students

Ernestine Friedrichsen (* 1824 in Danzig, † 1892 in Düsseldorf)

Oil painting (selection)

Portrait of a woman with a prayer book , oil painting from 1864 by Marie Wiegmann

1843: A life-size half-length portrait of a woman

1843: Hagar and Ismael (purchase by the art association for Rhineland and Westphalia for raffle, acquired by the grammar school director Baaden in Arnsberg)

1846: Elfenliebe (acquired from Mrs. von Pritzelwitz in Berlin)

1847: The Elves based on the poem of the same name by Ludwig Uhland (purchased by the Kunstverein für Rheinland und Westfalen, 1847 raffled to Countess Schaffgotsch in Warmbrunn, shown in 1848 at the Berlin Academy exhibition under the number 1157)

1850: Elven knight , small picture (purchased by the Cologne Art Association for a raffle)

1850: Damajanti based on Friedrich Rückert's rework by Nala and Damayanti 1828 (purchased by the Kunstverein für Rheinland und Westfalen, raffled off to the medical officer Dr. Weese in Thorn)

1851: Damajanti 2nd version (purchased by the Russian legation secretary Scripizin in Hanover)

1851: Portrait of Julius Scheidt (purchased by Julius Scheidt in Kettwig. The picture is still owned by the family.)

1852: Planters' children bathing (bought by Queen Marie of Hanover )

1852: Mohren Wash (State Museum Hanover, no longer in stock)

1852: Portrait of Gabriele Countess von Hatzfeldt, née Countess von Dietrichstein , half figure

1852: Two grandmothers. Gypsy family before an aristocratic family. (Acquired by Queen Victoria for the Royal Collection , Osborne House, exhibited in 1852 and 1858 in the Berlin Academic Art Exhibition)

1853: The fortune telling gypsy (purchased by Queen Victoria, exhibited at the London German Art Exhibition 1853)

1855: Portrait of a woman , 80 × 65 cm

1856: A reunion after years , two life-size half-figures (exhibited at the Berlin academic art exhibition in 1856)

1858: Two grandmothers , 101 × 119 cm (last sold on June 26, 2004)

1858: Life-size portrait of a boy full figure (exhibited at the Berlin academic art exhibition in 1858)

1858: A reunion , a repentant daughter at her mother's feet (bought by the Kunstverein für Rheinland and Westfalen for raffle, exhibited at the Munich general and historical art exhibition in 1858, Berlin academic art exhibition in 1866, Kunstverein für Rheinland and Westfalen in 1867)

1860: Undine (exhibited at the Berlin academic art exhibition in 1860 and at the Cologne general German and historical art exhibition in 1861)

1860: Child from the island of Marken

1861: The Prayer

1861: Playing planters children (exhibited at the Cologne general German and historical art exhibition in 1861, acquired by Princess Louise von Wied)

1861: Portrait of a lady (exhibited at the Cologne general German and historical art exhibition in 1861, acquired by Count Stanislaus von Kalckreuth in Weimar)

1861: The art historian Karl Schnaase , 88 × 69 cm. (Exhibited in Schulte's Düsseldorf art exhibition in 1875, purchased by the Alte Nationalgalerie in Berlin in 1875 , inv. AI 211). A photograph of the painting can be found in the “Photo Marburg” image archive (image index of art and architecture) under the keyword “Marie Wiegmann”.

1864: Portrait of Kobiety z Modlitewnikiem , 124 × 89 cm

1866: Portrait of Mrs. Carl vom Rath, mother-in-law of Adolf von Carstanjen , sitting on an armchair , 112 × 96 cm. (Acquisition by the Carstanjen family, last sale on July 5, 2003)

after 1865: portrait of Heinrich von Sybel

after 1865: portrait of Karl Ferdinand Sohn

1867: meeting

1868: Young women in traditional costume (exhibited at the Berlin academic art exhibition in 1868)

1870: A Florentine woman (exhibited at the Dresden academic art exhibition in 1870)

1870: Portrait of a woman with a rose , 650 × 520 cm (last sold in 2006)

1872: Posh Italian woman from the 15th century (exhibited at the Berlin academic art exhibition in 1872)

1872: Woman in traditional English costume (exhibited at the Berlin academic art exhibition in 1872)

1873: study heads

1873: Fine English lady from the 15th century (purchase by the Hannoversche Kunstverein for raffle)

1874: Girl watching two butterflies play (exhibited at the Düsseldorf General German Art Exhibition 1880)

1876: Venetian lady (exhibited at the Berlin academic art exhibition in 1876)

1876: Young girl with roses (exhibited at the Berlin academic art exhibition in 1876)

1876: French woman from 1792 (exhibited at the Berlin academic art exhibition in 1876)

1879: Group portrait (exhibited at the Berlin academic art exhibition in 1879, buyer: Reinhart in Worms)

1879: Portrait of Clara Viebig

without year: The bride's sea voyage

no year: The Colonist's Children Crowning a Negro Woman in the Landesmuseum in Hanover

Some art associations bought works by Marie Wiegmann and raffled them at their general assembly among those who had acquired shares in the art association. But they also presented the works bought for the raffle in exhibitions of other art associations. In 1873 the Hannoversche Kunstverein showed the painting Noble English Woman from the 15th century by Marie Wiegmann, which it had bought for a raffle, in the 183rd art exhibition of the Oldenburger Kunstverein.

Exhibitions

Berlin (1848: The Elves ; 1852 and 1858: Two grandmothers. Gypsy family before an aristocratic family .; 1856: A reunion after years ; 1858: Portrait of a boy .; 1860: Undine ; 1866: A reunion ; 1868: Young women in old age Traditional costume ; 1872: elegant Italian woman from the 15th century and woman in old English costume ; 1876: Venetian lady , young girl with roses and French woman from 1792 ; 1879: group portrait ).

Bremen (1876 and 1884).

Dresden (1870: A Florentine woman ).

Düsseldorf (1867: a reunion .; 1880: girl, watching the game of two butterflies ; 1875: the art historian Karl Schnaase and exhibitions of the pictures bought by the Kunstverein für Rheinland und Westfalen for raffle)

Hanover (1873: noble English lady from the 15th century )

kassel

Cologne (1861: Undine , planter children playing and portrait of a lady )

London (1853: The Fortune Telling Gypsy. )

Oldenburg (1873)

Munich (1858: a reunion. )

In the exhibitions she showed her romantic genre paintings, her portraits and her pictures of children. Her paintings have been bought by private collectors, public collections and the English royal family.

Source material

literature

biography

Wiegmann, 2) Marie . In: Meyers Konversations-Lexikon . 4th edition. Volume 16, Verlag des Bibliographisches Institut, Leipzig / Vienna 1885–1892, p. 596 ..
Rudolf Wiegmann: The Royal Art Academy in Düsseldorf. Their history, furnishings and effectiveness and the Düsseldorf artists. Buddeus Verlag, Düsseldorf 1856; Page 266–268.
Friedrich von Boetticher: Wiegmann, Marie b. Hardie. In: Painters Works of the Nineteenth Century. Contribution to art history. 2nd volume, 2nd half, page 1013. Original edition: Fr. von Boetticher's Verlag, Dresden 1891–1901. Reprint: H. Schmidt & C. Günther Verlag, Hofheim am Taunus.
Yvette Deseyve, Ralph Gleis: Struggle for Visibility. Artists of the Nationalgalerie before 1919 . National Gallery. National Museums in Berlin, Berlin 2019, ISBN 978-3-496-01634-2 , pp. 166-167 .
Ariane Neuhaus-Koch, Marlo Werner, Mechthilde Vahsen and Petra Hedderich: Towards oblivion. Women in the intellectual history of Düsseldorf. Life pictures and chronicles. Documentation of an exhibition of the women's culture archive in Düsseldorf. Ahasvera Verlag, Neuss 1989, ISBN 3927720011 .
Annemarie Menke-Schwinghammer: Wiegmann (nee Hancke), Marie Elisabeth. In: Hans Paffrath (Ed.): Lexicon of the Düsseldorf School of Painting 1819–1918. Volume 3: Nabert-Zwecker. Published by the Kunstmuseum Düsseldorf in the Ehrenhof and by the Paffrath Gallery. Bruckmann, Munich 1998, ISBN 3-7654-3011-0 , p. 416 (with further references).
Ariane Neuhaus-Koch, (Women's Culture Archive): Marie Wiegmann (1820–1893) . Institute for German Studies at Heinrich Heine University Düsseldorf, Philosophical Faculty at Heinrich Heine University, Düsseldorf 2013.
Wolfgang Müller von Königswinter : Düsseldorf artists from the last twenty-five years. Art history letters. Leipzig: 1854, p. 180.

bibliography

Wolfgang Müller von Königswinter : Düsseldorf artist album . Arnz Verlag, Düsseldorf 1859 (with illustrations).

Web links

Commons : Marie Wiegmann - Collection of pictures, videos and audio files

Commons : Rudolf Wiegmann - Collection of images, videos and audio files

Marie Wiegmann (1820–1893) , biography in the portal germanistik.hhu.de
Original letter from Marie Wiegmann to Alwine Schroedter in the German Digital Library

Remarks

^ Friedrich von Boetticher: Wiegmann, Marie geb. Hardie. In: Painters Works of the Nineteenth Century. Contribution to art history. 2nd volume, 2nd half, gives the birth name Hardie . This information does not apply, however, since Rudolf Wiegmann gives the birth name Hancke .
↑ According to Ariane Neuhaus-Koch (Frauen-Kultur-Archiv), institute, the obituary notice in the “Generalanzeiger für Düsseldorf and surrounding area” of December 5, 1893 (No. 341) and the necrology there on December 6, 1893 (No. 342) for German studies at Heinrich-Heine-Universität Düsseldorf, Philosophical Faculty at Heinrich-Heine-Universität, Düsseldorf 2013 that Marie Wiegmann, born in 1820, died at the age of 73. The Zeitschrift für Bildende Kunst , Kunstchronik NF 5 (1894), page 146, wrote in the Nekrolog: On December 4th, the genre and portrait painter Marie Wiegmann, who was born in Silberberg in Silesia in 1826 and widow of the architect Rudolf Wiegmann, who died in 1865, died in Düsseldorf. Professors at the art academy. Due to this later source, the earlier specialist literature handed down the wrong year of birth 1826.
↑ In the exhibition catalog of the Berlin Academy Exhibition 1848 No. 1157 it says after her name: from Posen, in Düsseldorf . This information does not apply, however, since Rudolf Wiegmann mentions Silberberg in Silesia as the place of birth of Marie Wiegmann in his biography .
^ Artists of the Düsseldorf School of Painting (selection, as of November 2016): Wiegmann (née Hancke), Marie, from Silberberg / Srebrna Gera, in Düsseldorf since 1841. Until 1843 private lessons with Hermann Stilke; Private lessons Carl Ferdinand Sohn. (PDF) , from smkp.de, accessed on April 16, 2017
↑ This is the only reference for the writing: Maria .
^ Wolfgang Müller von Königswinter: Düsseldorf artists from the last twenty-five years. Art history letters. Rudolf Weigel Verlag, Leipzig 1854, pages 179-180. The spelling has been adjusted to the current spelling.
↑ The spelling has been adjusted to the current spelling.
↑ Dr. Hermann Alex. Müller: Biographisches Künstler-Lexikon , Verlag des Bibliographisches Institut, Leipzig 1882, page 556.
^ In: Kunstchronik NF 5 (1894), page 146.
↑ Source: http://www.fullbooks.com/Women-in-the-fine-arts-from-the-Seventh7.html Women in the fine arts, from the Seventh Century BC to the Twentieth Century AD by Clara Erskine Clement , Part 7 out of 7.
^ Sabine Schroyen, Hans-Werner Langbrandtner: Sources on the history of the artists' association Malkasten. A center of bourgeois art and culture in Düsseldorf since 1848. Finding aid. Rheinland-Verlag, Cologne 1992, pp. 118, 549.
↑ Düsseldorf artist album , 9th year 1859, Part II. Poems with illustrations: The Bride's Sea Voyage, illustrated by Mrs. M. Wiegmann

personal data
SURNAME	Wiegmann, Marie
ALTERNATIVE NAMES	Wiegmann, Marie Elisabeth; Hancke, Marie Elisabeth (maiden name); Hardie, Marie Elisabeth (incorrectly referred to as maiden name)
BRIEF DESCRIPTION	German painter
DATE OF BIRTH	November 7, 1826
PLACE OF BIRTH	Silberberg , Silesia
DATE OF DEATH	4th December 1893
Place of death	Dusseldorf

[1] Friedrich von Boetticher: Wiegmann, Marie geb. Hardie. In: Painters Works of the Nineteenth Century. Contribution to art history. 2nd volume, 2nd half, gives the birth name Hardie . This information does not apply, however, since Rudolf Wiegmann gives the birth name Hancke .

[2] According to Ariane Neuhaus-Koch (Frauen-Kultur-Archiv), institute, the obituary notice in the “Generalanzeiger für Düsseldorf and surrounding area” of December 5, 1893 (No. 341) and the necrology there on December 6, 1893 (No. 342) for German studies at Heinrich-Heine-Universität Düsseldorf, Philosophical Faculty at Heinrich-Heine-Universität, Düsseldorf 2013 that Marie Wiegmann, born in 1820, died at the age of 73. The Zeitschrift für Bildende Kunst , Kunstchronik NF 5 (1894), page 146, wrote in the Nekrolog: On December 4th, the genre and portrait painter Marie Wiegmann, who was born in Silberberg in Silesia in 1826 and widow of the architect Rudolf Wiegmann, who died in 1865, died in Düsseldorf. Professors at the art academy. Due to this later source, the earlier specialist literature handed down the wrong year of birth 1826.

[3] In the exhibition catalog of the Berlin Academy Exhibition 1848 No. 1157 it says after her name: from Posen, in Düsseldorf . This information does not apply, however, since Rudolf Wiegmann mentions Silberberg in Silesia as the place of birth of Marie Wiegmann in his biography .

[4] Artists of the Düsseldorf School of Painting (selection, as of November 2016): Wiegmann (née Hancke), Marie, from Silberberg / Srebrna Gera, in Düsseldorf since 1841. Until 1843 private lessons with Hermann Stilke; Private lessons Carl Ferdinand Sohn. (PDF) , from smkp.de, accessed on April 16, 2017

[5] This is the only reference for the writing: Maria .

[6] Wolfgang Müller von Königswinter: Düsseldorf artists from the last twenty-five years. Art history letters. Rudolf Weigel Verlag, Leipzig 1854, pages 179-180. The spelling has been adjusted to the current spelling.

[7] The spelling has been adjusted to the current spelling.

[8] Dr. Hermann Alex. Müller: Biographisches Künstler-Lexikon , Verlag des Bibliographisches Institut, Leipzig 1882, page 556.

[9] In: Kunstchronik NF 5 (1894), page 146.

[10] Source: http://www.fullbooks.com/Women-in-the-fine-arts-from-the-Seventh7.html Women in the fine arts, from the Seventh Century BC to the Twentieth Century AD by Clara Erskine Clement , Part 7 out of 7.

[11] Sabine Schroyen, Hans-Werner Langbrandtner: Sources on the history of the artists' association Malkasten. A center of bourgeois art and culture in Düsseldorf since 1848. Finding aid. Rheinland-Verlag, Cologne 1992, pp. 118, 549.

[12] Düsseldorf artist album , 9th year 1859, Part II. Poems with illustrations: The Bride's Sea Voyage, illustrated by Mrs. M. Wiegmann