Peter Schmid (pedagogue)

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Portrait of the painter Peter Schmid. Pencil drawing by his daughter Wilhelmine Schmidt, 1838. Published as a frontispiece. In: Theodor Wunderlich: Peter Schmid's life and works. Dresden 1888. Trier City Library.
Egid Verhelst: Half-length portrait of Count Philipp Franz Wilderich Nepomuk von Walderdorff, 1788, copper engraving, City Museum Simeonstift Trier.
Peter Schmid (attributed to): Portrait of Philipp Franz Wilderich von Walderdorff, Prince-Bishop of Speyer, 1801, Bischöfliches Ordinariat Speyer.
Peter Schmid: Form theory, panel III, copper engraving. Trier City Library.
Peter Schmid: Form theory, panel VIII, copper engraving. Trier City Library.
Peter Schmid: Form theory, panel IX, copper engraving. Trier City Library.
Peter Schmid, title page. Trier City Library

Peter Schmid (born April 15, 1769 in Trier , † November 22, 1853 in Koblenz-Ehrenbreitstein ) was a German painter and methodologist of drawing lessons.

Life

origin

(Johann) Peter Schmid was the eldest son of cooperage Bartholomäus Schmid, who died in 1779, and his wife Anna Maria Werner. He grew up in poor and poorly educated circumstances. With child labor in the Trier poor and spinning house he had to contribute to the livelihood of his mother and siblings, but there he also received food and a minimum of schooling. His surroundings became aware of his artistic talent when, after autodidactic drawing and painting exercises, he switched to making portraits with which he earned extra income for the family. The art-loving Trier cathedral provost Philipp Franz Wilderich Nepomuk von Walderdorff , builder of the “Monaise” castle in Trier, then got involved as a patron and had Peter Schmid trained as a painter.

education

From 1782 the Trier painter Stephan Hawich gave the young Peter Schmid elementary art lessons, especially in the ability to quickly copy templates. After four years, Count von Walderdorff handed his pupil over to the well-known court painter Januarius Zick in Ehrenbreitstein, whose care was only sporadic due to the high workload. After all, Schmid made such significant progress in Zick's studio that he was accepted into the Mannheim drawing academy in 1789 . Here he studied under the court sculptor, architect, painter and academy director Peter Anton von Verschaffelt and the theater and history painter Franz Anton Leitenstorffer . There were also close contacts with the court copper engraver Egid Verhelst , who taught at the academy and who had created a copper engraving portrait of Count von Walderdorff in 1788. In his first year in Mannheim, Schmid won second prize, a gold medal, in a competition. Towards the end of 1791 he moved to the Düsseldorf Academy, but was ordered back to Trier by his sponsor, who had temporarily moved to Vienna, in the course of the conquest of the Rhineland by French revolutionary troops.

Job search

For Peter Schmid, a long and restless search began for a secure livelihood for himself, his wife Barbara Maria Saarburg, whom he married in Trier in 1798, and the five children who arose from this connection.

The stations at which he wanted to succeed in founding drawing institutes and with portrait painting were designed to be very spacious for the conditions at the time: Trier, St. Petersburg, Stettin, Frankfurt, Aachen, Cologne and Berlin. In the summer of 1801 he stayed for a long time in Bruchsal, the residence of Wilderich von Walderdorff, who was appointed last Prince-Bishop of Speyer in 1797, and made a "life-size" portrait of his benefactor. At least from 1803 to 1805 Schmid was back in his hometown Trier, as the birth records of two children show.

Newspaper advertisements also show that he gave painting and drawing lessons in Trier, but repeatedly went to Paris to study longer art . Schmid exhibited the copy he made there based on the famous painting “The Bull” (1647) by Paulus Potter in Trier in 1805 and in Berlin in 1810. Berlin became the center of his life and work anyway, including a permanent state position.

Act

Peter Schmid's drawing method

Based on his bad experiences with painters who were not pedagogically trained and who were often overworked as art teachers, Peter Schmid developed his own "drawing method". Starting in 1809, he published a series of didactic writings under the catchphrase “drawing of nature”, with which he justified the need for elementary art lessons and proposed reforms. Instead of the much-practiced mechanical copying, according to his method, the pupils (children and adults) should be able to “step by step by replicating simple and composite, straight and curved bodies with appropriate instruction about perspective, mathematical relationships as well as light and shadow theory” to be able to draw freehand become. His suggestions fit in with general reform pedagogy and the upgrading of art teaching at the beginning of the 19th century. The supporters of the popular educationalist Johann Heinrich Pestalozzi and other authors also called for elementary education to encourage independence.

A long-term dispute over methods developed in the course of which Peter Schmid expanded and refined his "drawing method". However, his recipe for success, with which he advanced to become an influential methodologist in drawing lessons, was the transfer of his reform ideas to drawing teachers as multipliers with a broad impact. For the training of prospective drawing teachers in public schools, he created curricula based on his drawing method, which were initially adopted by the district governments in Cologne and Aachen and then, to a large extent, by the Ministry of Culture in Berlin. From 1819 he also led a seminar himself for the training of drawing teachers at the art school of the Art Academy in Berlin and in 1830 received a permanent position at the Kgl. Realschule and at the deaf and mute school in Berlin. In 1833 he was awarded the title of professor “because of excellent services”. It matched the social rise of Peter Schmid, who, parallel to his school service, successfully instructed members of the court and the Berlin educated bourgeoisie in his drawing method and also portrayed them. He only gave up this activity when he went blind in 1843 and moved to his son Wilhelm Schmid (1812–1857), who was also a painter, in Koblenz-Ehrenbreitstein, where he died at the age of 84.

Fonts

  • Instructions for drawing, especially for those who learn it without a teacher, for parents who want to teach their children to do it themselves; also in schools for children under the age of ten as an introduction to nature drawing. In addition to remarks about the method in general and about the lessons in drawing in particular. 2 booklets with coppers. Leipzig 1809. Second edition Berlin 1825.
  • Refuting the wrong views and opinions from my new drawing method. A book for drawing and youth teachers. 2 parts. Berlin 1817.
  • The ways of nature and development of the human spirit. A book for teachers and Educator. Berlin 1827.
  • The nature drawing for school and self-teaching. Continuation of the instructions for drawing art. Parts I to IV. Berlin 1828, 1829, 1830, 1832.
  • Point of view from which Peter Schmid's drawing teaching method is to be viewed, along with an outline of the same, designed by himself, along with attached remarks. Berlin 1831.
  • Form theory with application to natural objects for school lessons. With 10 coppers. Berlin 1833.
  • The linear perspective for budding artists, also edited for schools. Berlin 1834.
  • Plan how Peter Schmid's drawing method can be introduced into all schools with success and almost without any fuss, designed by himself, or natural drawing for general educational institutions. Berlin 1835.

literature

  • CGW Richter: About Mr. Peter Schmid's drawing method, for everyone who wants to briefly familiarize themselves with the principles of the same. Along with a biography of its inventor. Berlin 1813.
  • Wilhelm Perschke: Peter Schmid. A life story. Essen 1837.
  • Theodor Wunderlich: Peter Schmid's life and works. With special consideration of its importance for the development of body drawing and presented on the basis of previously unpublished sources. With the portrait and the handwriting of Peter Schmid. Dresden 1888;
  • Theodor Wunderlich: drawing art, drawing lessons and general art education in the XIV.-XVIII. Century. With an introduction to the medieval art treatises and a time table on the history of art, education and drawing lessons up to the present day. Berlin and Cologne 1911.
  • Binder .:  Schmid, Peter . In: Allgemeine Deutsche Biographie (ADB). Volume 31, Duncker & Humblot, Leipzig 1890, pp. 689-692.
  • Georg Kasper Nagler: New general artist lexicon , 2nd edition, 17th volume, unchanged reprint of the first edition 1835–1852. Linz 1910, pp. 339-344.
  • Gottfried Kentenich : A forgotten Trier (Peter Schmid). In: Trierische Chronik , 14 (1917/18) pp. 1–7; 33-37; 78-81; 123-127; 136-137; Trierische Chronik , 15 (1919/20) pp. 15-19.
  • Ulrich Thieme / Felix Becker: General encyclopedia of the fine arts from antiquity to the present. Leipzig 1999 (reprint of the 1935 and 1936 edition). Volume 30, p. 165.
  • Emil Zenz: Peter Schmid, a pioneer in the didactics of painting and drawing and a promoter of the training of drawing teachers in schools. In: New Trierisches Jahrbuch , 1986, pp. 65–72.
  • Service and rule. Exhibition catalog of the Episcopal Cathedral and Diocesan Museum Trier. Trier 1998, pp. 217-219.
  • Kurt Andermann : Spiritual prince in a time of upheaval. Wilderich von Walderdorff, last Prince-Bishop of Speyer. 1797-1802 (1810). In: Friedhelm Jürgensmeier (Ed.): The von Walderdorff. Eight centuries of interrelationships between region - empire - church and a Rhenish noble family. Cologne 1998, pp. 407-422.
  • Guido Groß: Schmid, Peter, painter, reformer of drawing lessons. In: Heinz Monz (Ed.): Trier Biographical Lexicon. Trier 2000, pp. 405-406.
  • Bénézit Dictionary of Artists. Editions Gründ, Paris 2006, Volume 12, p. 668.

Individual evidence

  1. ↑ Diocese archive Trier Dept. 72, 846 No. 6 - Church book Liebfrauen und St. Laurentius, p. 6: Birth and baptism entry.
  2. ^ Ingrid Münch: Verschaffelt, Peter Anton (from), sculptor, architect. In: Biographisch-Bibliographisches Kirchenlexikon. Volume XII (1997), columns 1282-1288. Verschaffelt's Antikensaal, set up in 1767, had become an admired study site and city attraction in Mannheim.
  3. ↑ Franz Anton von Leitenstorffer (1721-1795), theater painter under Elector Karl Theodor von der Pfalz, from 1769 active at the Mannheim Academy as “First History and Fresco Cabinet Painter”. Ulrich Thieme / Felix Becker: General encyclopedia of the fine arts from antiquity to the present. Leipzig 1999 (reprint of the 1929 and 1930 editions). Volume 23, p. 1.
  4. ^ "Egid Verhelst in Mannheim": Half-length portrait of Count Philipp Franz Wilderich Nepomuk von Walderdorff, 1788, copper engraving, 22.7 × 15 cm, Stadtmuseum Simeonstift Trier, inv. No. V 354.Dating from: Kurt Andermann (like Lit. Verz.), P. 412, footnote 49.
  5. ^ The dating 1798 after Wilhelm Perschke: Peter Schmid. A life story. Essen 1837, p. 31. Diocese archive Trier: There is no entry in the church registers of the inner city parishes.
  6. ^ Peter Schmid (attributed): Portrait of Wilderich von Walderdorff, Prince-Bishop of Speyer. 1801, oil painting, 231 × 152 cm (with frame), Bischöfliches Ordinariat Speyer.
  7. ↑ H. Wurringen: Family Book I of the parish of Our Lady and St. Lawrence. Diocese archive Trier, Dept. 77 No. 33, p. 173: On March 31, 1803 birth of the daughter Catharina Wilhelmina; on May 12, 1805 birth of their son Ludwig; Parents: Schmitz (sic) Peter, pictor and Sarburg Barbara, Trier.
  8. ↑ Journal des Saardépartements of January 5 and March 31, 1805, each with an indication of the teaching hours and the prices.
  9. ↑ Today in the Mauritshuis Den Haag, then as spoils of war in Paris.
  10. ↑ Berliner Abendblätter from October 26, 1810, 23rd sheet, "Miscellen".
  11. ↑ Binder: ADB, like Lit.
  12. ↑ For example, Johann Ramsauer with his “Draughting Theory” published in 1821 or Johann Joseph Schmid with the text and exercise books for mathematics and drawing that were published in 1809 and 1810 and based on Pestalozzi's method.
  13. ^ New Year Books for Philology and Education , 1833, p. 114.
personal data
SURNAME Schmid, Peter
BRIEF DESCRIPTION German painter and methodologist of drawing lessons
DATE OF BIRTH April 15, 1769
PLACE OF BIRTH trier
DATE OF DEATH November 22, 1853
Place of death Koblenz-Ehrenbreitstein