Oswald Achenbach
Oswald Achenbach (born February 2, 1827 in Düsseldorf ; † February 1, 1905 in Düsseldorf) was a German painter who is assigned to the Düsseldorf School of Painting . During his lifetime he was one of the most important landscape painters in Europe and shaped the Düsseldorf Art Academy while teaching . His brother was the twelve years older Andreas Achenbach , who is also to be counted among the most important German landscape painters of the 19th century. The two brothers were also jokingly called the "alpha and omega of the landscape".
Life
family
Oswald Achenbach was born in Düsseldorf as the fifth of ten children. His parents were the businessman Hermann Achenbach (1783–1849) and his wife Christine, née Zilch (1797–1868). There was little to suggest that the family would produce two important painters for the 19th century. Hermann Achenbach worked in a number of different professions. At first he was a beer and vinegar brewer , in the meantime owned an inn in Düsseldorf and later worked as an accountant . During Achenbach's early childhood, the family moved to Munich , where Oswald Achenbach attended elementary school, at least for a short time. It is not known when the family returned to Düsseldorf, but they moved to Altestadt 1 around 1844 .
The relationship with his brother Andreas , who was a well-known painter, was obviously disturbed. Emil Hünten and Anton von Werner once tried to get him to say a toast to their brother, but Oswald Achenbach refused.
The early years
Student at the Düsseldorf Art Academy
Achenbach was accepted into the elementary class of the Düsseldorf Art Academy in 1835, at the age of eight . This actually did not correspond to the statutes of this institution, which stipulated a minimum age of twelve years. Achenbach stayed at the academy until 1841. With the exception of a year in the architecture class, he was a student in the elementary class, in which the basics of drawing were taught. Again, this did not correspond to the normal curriculum. The reasons why Oswald Achenbach was treated differently than the statutes provided for can no longer be understood today. Possibly the statutes were only valid as a framework guideline and an exception was made for highly gifted people like Achenbach.
The reason why Oswald Achenbach left the Düsseldorf Academy in 1841 is not clear. From his sketchbooks we know that he was doing more intensive nature studies in the area around Düsseldorf at this time. In her dissertation on Achenbach, Mechthild Potthoff put forward the thesis that he left because he was becoming increasingly dissatisfied with the rigid academic teaching.
The first major trips
In 1843 Achenbach , who was only 16 years old, went on a journey of several months to Upper Bavaria and North Tyrol , during which he continued his studies of nature. The earliest known works in oil date from this period. The trip to Northern Italy that Achenbach undertook with his friend and later pupil Albert Flamm in the summer of 1845 also served to continue these studies. From this point on, the paintings that Achenbach created show predominantly Italian landscape motifs.
Only a few of the works that Achenbach painted up to 1850 have survived. These show that both in the choice of his motifs and in his painting technique he was still strongly influenced by the understanding of art that was taught at the art academies at the time. The painterly influence of Johann Wilhelm Schirmer and Carl Rottmann can still be seen in these pictures. In the oil studies that Achenbach created during these trips, he mainly captured landscape views and dealt in detail with the vegetation typical of Italy. Architectural motifs or figure studies play a much smaller role.
Achenbach and the cultural life in Düsseldorf
Until well into the 19th century, artistic training was shaped by the art academies . However, especially in the 19th century, these art academies had become a formulaic and rigid training establishment that did not react to newer artistic directions. The art academies also arranged the major art exhibitions through which artists primarily sold their works. Artists whose art style was at odds with the academic conception of art were not exhibited there and generally had far fewer opportunities to sell their works. From the beginning of the 19th century, individual artists and representatives of entire art movements stood in opposition to the academic conception of art. Achenbach was also one of the artists who were critical of the Düsseldorf Art Academy, and very early on became a member of two Düsseldorf associations that many like-minded artists had joined. This was the “ Association of Düsseldorf Artists for Mutual Support and Help ” and the “ Malkasten ” artists' association , which was founded on August 11, 1848. Achenbach was one of the signatories of the founding document of the Malkastens. The purpose of the “Malkastens” association was to bring together and promote a wide variety of artists. They staged plays, organized music evenings and exhibitions together . Achenbach was actively involved in many events, directed , performed or staged plays . Achenbach remained connected in particular to the “Malkasten” association until the end of his life.
From 1850 his paintings were shown in the exhibitions of the newly founded Eduard Schulte gallery in Düsseldorf . In the beginning, works by artists who saw themselves as independent of the Düsseldorf Art Academy were preferred. This gallery played a key role in Achenbach's economic success as a painter, as it developed into one of the leading German galleries and later had branches in Berlin and Cologne. At that time he was practically around the corner on Ratinger Strasse .
The first big trip to Italy
In the summer of 1850, Achenbach made another trip to Italy, which took him to Nice , Genoa and Rome . Together with Albert Flamm, he traveled from Rome to the area around the Italian capital and mainly visited the places that landscape painters had encouraged to paint before him. During this trip he got to know Arnold Böcklin , Ludwig Thiersch and Heinrich Dreber , among others , and spent a long time with them in Olevano. Thiersch has passed on how differently these artists processed the impressions of the landscape. While Dreber was making meticulous pencil drawings, Böcklin let the surroundings only affect him for days and recorded only a few details in his sketchbook. Achenbach and Flamm, on the other hand, painted their oil sketches directly in the great outdoors. The preserved sketches by Achenbach show that he was less interested in details, but concentrated on the characteristic colors and shapes as well as the light and shadow distribution. He artistically implemented the color impression of the Italian landscape by placing layers of paint with different pigment densities and pastosity on top of each other in order to find the desired tone.
Marriage to Julie Arnz and first international awards
On May 3, 1851, Achenbach married Julie Arnz (1827-1896), to whom he had been engaged since 1848. Julie was the daughter of the Düsseldorf publisher and printer's owner Heinrich Arnz (1785–1854, Arnz & Comp. ). Realigned among others, the Duesseldorf monthly magazines , for Achenbach satirical magazines created, and the Düsseldorf month album to the Achenbach illustrations for poems and songs also contributed as lithographs of his paintings. At the same time he began to teach landscape painting to his first students privately. For this he used his studio in the Palais Spinrath on Ratinger Straße . The couple's four daughters were born between 1852 and 1857: Clara Catharina Louise (1852–1938), Henriette Maria (* 1853), Hedwig Anna (* 1855) and Caecilie Maria Ottilie (1857–1925). The Benno couple's only son was born in 1861.
Until 1864, the Achenbachs lived in an apartment on the corner of Schadowstrasse and Viktoriastrasse, with a garden shed, called the “bird house”, in which the studio was located, which was also used for teaching his private students. Achenbach had a house built for himself and his family at Goltsteinstrasse 9, in which his studio was on the first floor, with a balcony and a view of the courtyard garden .
At that time Achenbach was already known as a painter far beyond the borders of Germany. In 1852 the Art Academy in Amsterdam accepted the 25-year-old as an honorary member. At the world exhibition in Paris in 1855 , at which he was represented with several paintings, he was awarded. In 1859 he was honored with a gold medal in the Paris Salon , and in 1861 the St. Petersburg Academy awarded him honorary membership. In 1862 he received the same award from the Art Academy in Rotterdam .
Professor of landscape painting
In March 1863 Achenbach received the professorship for landscape painting at the art academy, which was housed in the Düsseldorf palace and gallery until 1872 . For Achenbach the acceptance meant a social advancement and at the same time financial security. However, it also appears to contradict his previous opposition to this institution. Since Wilhelm von Schadow resigned from the position of director in 1859, however, the disputes both within the art academy and between the academy and the artists that it regards as independent had decreased. Achenbach's appointment to a professorship for landscape painting was also a conscious policy by the new management of the Düsseldorf Art Academy in order to bring about a reconciliation with the artists who were independent of the academy.
In the same year Oswald Achenbach was also from Napoleon III. appointed “Chevalier de la Légion d'honneur ”. From 1863 to 1868 he was represented with paintings at the Paris Salon. In addition to being awarded the Guadalupe Order by Emperor Maximilian of Mexico in 1866 and the Knight's Cross 1st Class of the Order of Merit of St. Michael by the jury for the International Art Exhibition in Munich in 1869, this was the most honorable award that Achenbach received. Such awards for artists were common at this time and should therefore not be overrated. However, they made a significant contribution to the profile of Achenbach, confirmed his recognition as an artist by official institutions and were important for his sales success as a painter.
As a professor, Achenbach succeeded Hans Fredrik Gude . From 1866/1867 he led one of the academy's master classes . The student lists of the Düsseldorf Academy show that a total of 50 students known by name belonged to the so-called Achenbach School. The most famous students today include Albert Arnz , Gregor von Bochmann , Arthur Calame , Themistokles von Eckenbrecher , Arnold Forstmann , Theodor Hagen , Louis Kolitz , Ascan Lutteroth , Adelsteen Normann and Carl Seibels . Above all, he emphasized to his students how crucial the distribution of light and dark is for the composition of a picture. For him, this was more important than the choice of motif. Logically, he advised his students to study the paintings of William Turner . He also recommended the works of his brother Andreas Achenbach to his students for study.
Achenbach also made a number of trips during his teaching activities. This includes longer stays in the Teutoburg Forest and in Switzerland . In 1871 he and his family stayed in Italy for almost nine months. The stops on this trip include Castellammare di Stabia , Amalfi , Capri and Ischia . He stayed in Sorrento for several weeks . During this time he was represented at the Düsseldorf Art Academy by Theodor Hagen and Albert Flamm.
A change began in his painting technique from 1860 onwards. The paintings became increasingly "haptic", that is, the applied colors had a stronger relief and the guidance of the brush was less dependent on the object depicted. In individual parts of the picture, Achenbach increasingly dispensed with detailed design. Art historians suspect that this change in painting technique can be traced back to an examination of the paintings by Gustave Courbet . The preferred motif of his paintings were still the landscapes and folk scenes of Italy, which he theatrically enhanced and idealized through his lighting.
He was one of the preferred selection of contemporary artists that the “Committee for the Procurement and Evaluation of Stollwerck Pictures” suggested to the Cologne chocolate producer Ludwig Stollwerck to commission them with drafts.
The late years
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He resigned the professorship for landscape painting, which Achenbach had held since March 1863, in 1872. As early as 1869, Achenbach had applied for dismissal from the teaching post, but then withdrew it again. Contributing to the resignation in 1872 was the fact that Achenbach felt restricted in his own artistic work by teaching. At the time of the academy's fire in March 1872 , his studio was already empty.
Achenbach also made numerous trips in the following years. The last big trip to Italy he started in the early summer of 1882 and visited Florence and Rome again, Naples and Sorrento. In 1885 and 1895 he traveled to Northern Italy. For the year 1897 he planned another trip to Florence, but had to break it off in Switzerland due to illness.
In 1897, on the occasion of his seventieth birthday, Achenbach was made an honorary citizen of the city of Düsseldorf . It was the award for more than fifty years of engagement in various Düsseldorf institutions and associations. Achenbach has long been one of the city's leading personalities. This high social position also meant that Achenbach ran a very large, magnificent and hospitable house in which artists, writers , scholars as well as officers and members of the nobility frequented. Prince Karl Anton von Hohenzollern-Sigmaringen was one of his most prominent guests and customers . Such housekeeping was costly and made it necessary for Achenbach to “produce” many pictures. As a socially recognized artist, it was easy for him to find buyers. However, the large number of paintings he created led to the repetition of motifs. As early as the 1860s, art reviewers repeatedly accused him of “painting to death” motifs. This judgment may have contributed to the fact that he increasingly painted mountain motifs.
The picturesque late work
As in the oil studies of the 1850s, Achenbach also built up the color tones additively in his later works. He worked with a brush, spatula and fingers and also used the canvas structure as a design tool. In his late painterly work, surfaces that are evenly and carefully painted with a fine brush are sometimes right next to those where the background shines through or where the colors are piled up like a paste. His later paintings therefore have a clearly palpable relief. The grain of the canvas and the traces of the various painting implements contribute to the appearance of the paintings.
Another characteristic of his later pictures is that the level of detail does not continuously decrease with the distance from the perspective, but rather depends on the overall effect of the painting that Achenbach aimed for. And while in his early pictures the colors were subdued and subordinated to an overall tone, in the later paintings accentuating contrasts play a stronger role. In the paintings that were created from the mid-1880s, pastel tones predominate, while brownish tones dominated in his early paintings.
Oswald Achenbach died in Düsseldorf on February 1, 1905, one day before his 78th birthday. Achenbach was buried in the north cemetery in Düsseldorf , where his grave is preserved on field 27.
The oil studies and sketches
During Achenbach's lifetime, mostly his paintings were shown in public - he was therefore primarily perceived as a painter of “salon pictures” or “gallery-ready” paintings, in whose work the newer art movements were not reflected. However, Achenbach had already exhibited an oil study on the occasion of the annual exhibition in the Vienna Künstlerhaus in 1876 and also showed his work at the "Sketch and Study Exhibition" in 1889 in the Kunsthalle Düsseldorf . The reactions to these oil studies have been varied. In Vienna this was seen as proof that Achenbach could compete with his younger colleagues:
"... the lively sketch of a Neapolitan street scene and the excellently tuned vedute to Bieco on Sorrenter Straße by Oswald Achenbach, taken with a happy eye in relation to the composition, are unpleasant rivals for younger landscapers."
In Düsseldorf, on the other hand, an art reviewer wondered how such incomplete sketches could turn into “wonderful paintings”.
It was not until 1916 that the exhibition “Underpaintings, Sketches, Studies, Watercolors and Drawings by Oswald Achenbach” at the Municipal Art Collection in Düsseldorf gave a more complete overview of the painter's work. In the foreword to the exhibition catalog it was pointed out that these unknown works in particular show that Achenbach may have wrongly had the reputation of being an "old-fashioned" artist:
"Because it is precisely this, artistic self-talk, so to speak, that shows that, long before Impressionism was proclaimed as the direction, Achenbach realized its goals, entirely on his own initiative, with no connection to any school or doctrine ..."
Like other painters, Achenbach primarily used sketches, drawings and oil studies as a memory aid for later work in the studio. In the course of his artistic development, however, the sketchy style has increasingly gained space in his paintings. For example, in his painting In the Bay of Naples with a view of Capri from 1877, the entire lower right corner of the picture is only vaguely indicated. Letters to his gallery owners have been handed down in which he complains that he has to paint pictures “ready” for exhibitions. He preferred to work on the so-called underpainting , with which the framework for the later painting is created on a primed canvas, than on the detailed designs. However, the art taste of the public able to buy and the art reviewers influencing the purchase decision demanded “perfect” pictures, as did his gallery owners. Paintings by John Constable and Charles-François Daubigny were publicly criticized for their sketchiness.
Painters who influenced Oswald Achenbach
Schirmer and Andreas Achenbach
Achenbach had never been a student of Johann Wilhelm Schirmer during his training at the Düsseldorf Art Academy. As an artist who spent most of his life and work in Düsseldorf, however, he had ample opportunity to study his paintings. For example, Achenbach's paintings from the 1840s and early 1850s are based on Schirmer's compositional principles. In contrast, this can no longer be ascertained in the paintings of later years.
Schirmer's influence on Achenbach's early pictures can also be traced back to his brother Andreas Achenbach, who was twelve years older than him and who also studied at the Düsseldorf Art Academy. Andreas Achenbach had been a student of Schirmer, and from some letters it can be concluded that Oswald Achenbach received advice from Andreas Achenbach in at least the 1840s on painting technique and the representation of motifs and was thus indirectly influenced by Schirmer's conception of art. While Oswald Achenbach concentrated on depicting Italian landscapes, Andreas Achenbach turned to naval pictures: Typical pictures for him are the Dutch port picture (1871) or the fish market in Ostend . In the treatment of the accessories and the lighting, however, the works of the two brothers are similar.
William Turner and Gustave Courbet
Oswald Achenbach repeatedly recommended the English painter William Turner as a role model to his students . It is possible, however, that he never saw the originals of Turner's works, as a trip to England cannot be proven for Oswald Achenbach. He probably only knew Turner's painting from the steel engravings with which they were depicted in contemporary art books. For Turner, like for Achenbach, lighting played a major role. Two paintings by Turner, Mercury and Argus and Dogana, and Madonna della Salute, Venice had already been published in steel engravings in 1843; they show an atmospheric dissolution of the landscape, in which the individual forms and objects are only hinted at in outline. Achenbach was never as radical in his pictorial representations as Turner, but especially in his paintings after 1860 there is a similar painterly dissolution of objects.
In contrast, Achenbach probably had several opportunities to study the works of Gustave Courbet in the original. Achenbach was in close contact with the art scene in Paris until the Franco-Prussian War in 1870/71 . At the World Exhibition of 1855 in Paris, where Achenbach was represented with paintings, eleven paintings by Courbet were also on display. At the same time, Courbet exhibited 40 paintings in the “Pavillon du réalisme”. Courbet attracted a great deal of attention with his radical realism , and it is very likely that Achenbach saw both the exhibition of the Frankfurter Kunstverein, which exhibited works by Courbet from spring 1858 to February 1859, and the first major Courbet retrospective that ran parallel to Paris World's Fair of 1867 was held. Similar to Courbet, one increasingly finds in Achenbach's work a technical alignment of individual pictorial elements with different perspectives. While Courbet developed an egalitarian surface structure, Achenbach's painting became more relief-like.
Classification of Achenbach's work
Gustave Courbet's radical realism has inspired a number of other German painters in addition to Oswald Achenbach. The so-called " Leibl Circle " around the painter Wilhelm Leibl , to which Wilhelm Trübner , Carl Schuch , Johann Sperl and temporarily also Hans Thoma belonged, had dealt intensively with Courbet's works and was inspired by a "purely painting" technique. Leibl in particular developed a technique in which the brushwork completely neglected the specific materiality of the object to be represented and thus already pointed in the direction of abstraction, since it divided surfaces and forms into uniform units.
Achenbach, on the other hand, was radical in his brushwork and paint application, but he always retained the formal criteria of the traditional image conception. This leads to a very different classification of Achenbach in terms of art history. Some see in him an artist who persevered in a style that had once been developed and therefore stagnated artistically. Other art historians assign Achenbach a mediating role, since he depicts traditional imagery in its own formal language and thus points towards the modern. It is undisputed that his early landscapes were trend-setting. As early as the beginning of the 20th century, however, he was seen as a painter who had adapted to the tastes of the public in his later paintings and had become a typical representative of the early days . Also Kindler painting lexicon comes to a similar conclusion:
"[Achenbach created] an extensive oeuvre, whereby his virtuoso talent, which was less a taste of the taste than the taste of uncritical buyers, made him an outspoken fashion painter, but not infrequently also impaired the quality of his pictures."
Oswald Achenbach's oeuvre comprises around 2,000 paintings. About two thirds of the complete works are in private hands.
Selection of works
- Rhine steamer (lost)
- Evening landscape. around 1880, oil on canvas, Bautzen , City Museum
- Evening landscape with a view of Mount Vesuvius. 1888, oil on canvas, Düsseldorf, Gemäldegalerie Museum Kunstpalast
- Queen Johanna's villa. 1884, oil on canvas, Kiel , Kunsthalle Kiel
- Saltarello dance with a view of Castel Gandolfo. Oil on canvas, Cologne , Wallraf-Richartz-Museum
- Roman procession in front of St. Mary in Aracoeli. 1863, oil on canvas, Mannheim , Kunsthalle Mannheim
- Scene in an Italian park. Oil on canvas, Munich, Neue Pinakothek
- Storm in the Campagna. 1887, oil on canvas, Stuttgart , Staatsgalerie Stuttgart
Illustrations (selection)
Digitized editions of the University and State Library Düsseldorf :
- In: Friedrich Bodenstedt (ed.): Album of German art and poetry. With woodcuts based on the artist's original drawings , made by R. Brend'amour . Grote, Berlin 1867, digitized edition
- In: Old and new love songs: With pictures and ways of singing / Illustrirt by Düsseldorf artists [Oswald Achenbach u. a.]. Hallberger, Stuttgart 1849, digitized edition
- In: Aquarelle Dusseldorf artists: dedicated to the art-loving women. Arnz, Düsseldorf 1861, digitized edition
- Pier of Naples. 1857 ( digitized version )
- Italian autumn evening. Arnz, Düsseldorf after 1857, digitized
- In: Mary Botham Howitt: The Dusseldorf artist's album. Arnz, Dusseldorf 1854, digitized edition
- In: Düsseldorfer Lieder-Album: 6 songs with piano accompaniment. Arnz, Düsseldorf 1851, digitized edition
- In: Ludwig Bund (Hrsg.): Lieder der Heimath: A collection of the most excellent poems in the picture decorations of German art. Breidenbach, Düsseldorf 1868, digitized edition
- In: K. Stieler, H. Wachenhusen, FW Hackländer: Rhine trip: From the sources of the Rhine to the sea. Kröner, Stuttgart 1875, digitized edition
- In: Christmas album. Arnz, Düsseldorf 1853, digitized edition
See also
- Photo of the young Oswald Achenbach (undated) in the Italian language Wikipedia
literature
- Oskar Berggruen: The annual exhibition in the Vienna Künstlerhaus. In: Zeitschrift für bildende Kunst. 11th volume. Art-Chronicle supplement. Seemann, Leipzig 1876, column 556.
- Ralf Kern: Oswald Achenbach: A man from Düsseldorf paints Italy. LIT Verlag, Münster 2009, ISBN 978-3-643-10081-8 .
- Karl Koetschau : Foreword to the exhibition catalog. In: Underpaintings, sketches, studies, watercolors and drawings by Oswald Achenbach. Bagel, Düsseldorf 1916.
- Martina Sitt: Achenbach in New York. Searching for clues in Manhattan . In: Weltkunst , 68, 1998, No. 1, p. 94
- Andreas and Oswald Achenbach: The alpha and omega of the landscape. Exhibition catalog Kunstmuseum Düsseldorf, Hamburg, Linz 1997/98. Edited by Martina Sitt. Wienand, Cologne 1997, ISBN 3-87909-549-3 .
- Mechthild Potthoff: Oswald Achenbach - His artistic work at the wedding of the bourgeoisie - Studies on life and work. Hanstein, Cologne / Berlin 1995, ISBN 3-9802183-6-8 .
- Kindler's Painting Lexicon. Volume 1. DTV, Munich 1976, ISBN 3-423-05956-7 .
- Hans Paffrath (Ed.): Lexicon of the Düsseldorf School of Painting 1819–1918. Volume 1: Abbema – Gurlitt. Published by the Kunstmuseum Düsseldorf in the Ehrenhof and by the Paffrath Gallery. Bruckmann, Munich 1997, ISBN 3-7654-3009-9 , pp. 48-53.
- Eberhard Hanfstaengl : Achenbach, Oswald. In: New German Biography (NDB). Volume 1, Duncker & Humblot, Berlin 1953, ISBN 3-428-00182-6 , p. 31 ( digitized version ).
- Caecilie Achenbach: Oswald Achenbach in art and life . DuMont-Schauberg, Cologne, 1912
Web links
- Literature by and about Oswald Achenbach in the catalog of the German National Library
- Information about the Achenbachs
- Oswald Achenbach in Google Arts & Culture
- Literature on Oswald Achenbach [1]
Individual evidence
- ↑ Christine Zilch (born June 27, 1797 in Kassel; † January 15, 1868 in Düsseldorf), according to the Düsseldorf death note archive No. 18827.
- ↑ Achenbach, Hermann, Privater, Altstadt, (in the new buildings.) . In: Complete address calendar and apartment display of the city of Düsseldorf , 1844, p. 3.
- ↑ kunstkommenvonkoennen.blogspot.de
- ↑ Address book of the Lord Mayor's Office Düsseldorf pro 1850 , on wiki-de.genealogy.net, accessed on July 29, 2015.
- ^ Achenbach, Oswald, Prof., painter, Goltsteinstr. 9 . In: Address book of the Lord Mayor's Office Düsseldorf , 1863, p. 2.
- ↑ Detlef Lorenz: Advertising art around 1900 . Artist lexicon for collecting pictures. Reimer-Verlag, 2000.
- ↑ In the corner, which this wing (note: along the Rhine) forms with the wing of the Ständehaus, were the studios of Massen (this is: Theodor Maassen) and Prof. Oswald Achenbach (fortunately empty) ... , in On the History of the Düsseldorf Art Academy: Outline of its Last Decade and Memorandum for the Inauguration Ceremony of the New Building , Karl Woermann , Voss, Düsseldorf, 1880, p. 10.
- ↑ Berggruen, Col. 556
- ↑ Koetschau, p. 2
- ^ Oswald Achenbach in Art and Life (online) , on kunsthandel-stradmann.de.
| personal data | |
|---|---|
| SURNAME | Achenbach, Oswald |
| ALTERNATIVE NAMES | Achenbach, Wilhelm Oswald Gustav (full name) |
| BRIEF DESCRIPTION | German painter |
| DATE OF BIRTH | February 2, 1827 |
| PLACE OF BIRTH | Dusseldorf |
| DATE OF DEATH | February 1, 1905 |
| Place of death | Dusseldorf |