Max Roeder

Max Roeder , even Max Roeder (* 29. August 1866 in Moenchengladbach , Rhine Province , † 1947 in Rome ) was a German landscape and architectural painter and etcher , who spent most of his life in Rome and one of the last German Roman applies.

Life

Park landscape with water lily pond and nymphaeum , 1901, exhibited at the Great Berlin Art Exhibition in 1901

View of the Villa Falconieri , 1907, at the time the property of Ernst von Mendelssohn-Bartholdy and a center of German-Roman society

Roeder, the son of a merchant, was next to or after an apprenticeship in the company of the Mönchengladbach textile manufacturer Carl Brandts (1833–1913) for two years as a private student of Paul Nauen , who had moved into a studio in the so-called Wunderbau in Düsseldorf and taught there in the 1880s . From October 1888 Roeder lived and worked in Rome, having previously traveled to Italy from 1886. He had a studio and apartment on the Field of Mars in Via Margutta 51-A, a quarter of Rome's historic city center frequented by artists, art dealers and tourists.

By the beginning of the 1900s he had earned an excellent reputation for his painting, which was mainly associated with the work of Arnold Böcklin in Italy . In 1910 he was represented for the first time at the Venice Biennale . On July 20, 1913, he was elected to succeed Othmar Brioschi as a member and professor of the Accademia di San Luca . King Victor Emmanuel III distinguished him by purchasing works. During the First World War he was temporarily back in Germany. After this war, the Accademia di San Luca assigned him a studio at 155 Via del Babuino . In Rome, where Roeder represented Germany in the Pio Istituto Catel , he also worked as a teacher. One of his students was Ferruccio Ferrazzi . In addition to about Sigmund Lipinsky , Adolf Hirémy-Hirschl , Carlo Alberto Petrucci, Settimio Bocconi, Edoardo Del Neri, Vittorio Grassi, Umberto Prencipe and Dante Ricci Roeder resigned as a member of of Federico Hermanin excited, in 1921 founded Gruppo Romano Incisori Artisti (group of Roman engraver and Eraser).

Roeder, who like his closest Roman friend, the archaeologist Walter Amelung , remained unmarried throughout his life, is considered to be a representative of classical, coloristic and impressionistic as well as poetic landscape painting. He knew how to give his landscapes a heroic , romantic and symbolist mood. He preferred to create vedute of villas in Rome and the Albanian Mountains . He composed some landscapes freely from Italian models, others - such as a view of Mount Etna from Augusta - he painted faithfully from nature. For the auditorium of the Mönchengladbach grammar school he created murals until 1908, which depicted the Athens Acropolis and the Roman Forum . In the 1920s Roeder designed the choir stalls and the pulpit of the German national church in Rome, Santa Maria dell'Anima . They were installed there between 1925 and 1927.

Roeder went on study trips within Italy and to North Africa. His grave can be found on the Campo Santo Teutonico . The Abteiberg Museum in Mönchengladbach has a bronze bust by Roeder attributed to Braco Dimitrijević .

literature

• Max Roeder. In: Renato Mammucari: Roma. Città dell'Anima. Viaggiatori, Accademie, Letterati, Artisti . Edimond, 2008, ISBN 978-88-500-0367-9 , p. 447.
• Monika Thaller: Max Roeder - the last German-Roman? Studies on landscape images . In: Rheydter Yearbook for History, Art and Local History and Culture of the City of Mönchengladbach , Issue 25, Mönchengladbach 2000, Chapter VI.
• Christiane Zangs (Ed.): Longing for the South. Life pictures of a landscape painter: Max Roeder (1866–1947) . Museum Schloss Rheydt, Mönchengladbach 1997, ISBN 978-3-925256-52-3 .
• Roeder, Max . In: Hans Vollmer (Hrsg.): General lexicon of fine artists from antiquity to the present . Founded by Ulrich Thieme and Felix Becker . tape 28 : Ramsden-Rosa . EA Seemann, Leipzig 1934.
• Federico Hermanin : Max Roeder. In: Zeitschrift für bildende Kunst . Year 1912, Volume 47 (= New Series 23), p. 309.
• Roeder, Max. In: Friedrich von Boetticher: painter works of the 19th century. Contribution to art history. Volume 2/1, sheets 1–32: Mayer, Ludwig – Rybkowski. Ms. v. Boetticher's Verlag, Dresden 1898, p. 458 ( archive.org ).

Web links

Commons : Max Roeder  - Collection of images, videos and audio files

• Max Roeder , data sheet in the portal rkd.nl ( Rijksbureau voor Kunsthistorische Documentatie )
• Max Roeder , auction results on the portal artnet .de
• Roeder, Max , short biography and picture of the grave slab

Individual evidence

1. ^ Brother of Franz Brandts
2. ↑ Annuario d'Italia, Calendario generale del Regno. Bontempelli, Rome 1896, p. 1755.
3. ^ Friedrich Noack : The Germanness in Rome since the end of the Middle Ages . Deutsche Verlagsanstalt, Stuttgart 1927, Volume 1, p. 610 f., P. 767, Volume 2, p. 492
4. ↑ Ludwig Pollak : Roman Memoirs. Artist, art lover, and scholar, 1893–1943 . Edited by Margarete Merkel Guldan, Bretschneider, Rome 1994, ISBN 88-7062-863-9 , p. 85 f. ( Google Books )
5. ^ Max Siebourg : Acropolis and Roman Forum. Wall painting in the auditorium of M. Gladbach's grammar school by M. Roeder in Rome . F. Kerlé, Mönchengladbach 1908
6. ↑ Walther Buchowiecki : Handbook of the Churches of Rome. The Roman sacred building in history and art from early Christian times to the present . Volume 2: The churches within the walls of Rome. Hollinek, Vienna 1970, p. 412.
7. ↑ Erwin Gatz, Albrecht Weiland, Ursula Verena Fischer Pace, Andreas Tönnesmann: The Campo Santo Teutonico in Rome . Roman quarterly for Christian antiquity and church history, supplement, volume 43, Herder, 1988, ISBN 978-3-451-20882-9 , p. 172 f.
8. ^ Hannelore Kersting: Contemporary Art, 1960 to 2007. Städtisches Museum Abteiberg Mönchengladbach. Inventory catalog . Municipal Museum Abteiberg, Mönchengladbach 2007, ISBN 978-3-924039-55-4 , p. 90.