Rudolf Wiegmann
Rudolf Wiegmann (born April 17, 1804 in Adensen , now part of the municipality of Nordstemmen ; † April 17, 1865 in Düsseldorf ; alternative first name spelling: Rudolph Wiegmann ; full name: Heinrich Ernst Gottfried Rudolf Wiegmann ) was a German archaeologist , art historian , painter , Draftsman and architect at the transition from classicism to romantic historicism . He became known as an architectural painter of vedute in oil paintings , watercolors and drawings . He worked as a graphic artist , etcher , lithographer , illustrator and art writer .
Wiegmann worked as a professor and secretary at the Düsseldorf Art Academy and was a member of the Düsseldorf School of Painting and the Düsseldorf Art Association Malkasten . He worked as secretary of the Düsseldorf Art Association for the Rhineland and Westphalia .
He was the husband of the painter Marie Wiegmann geb. Hancke.
Life
Rudolf Wiegmann was the son of Lieutenant Heinrich Wiegmann of the 10th Infantry Regiment and his wife Johanne Dorothee Wiegmann born. Becker (n), who had previously married in Adensen on August 7, 1803. Rudolf Wiegmann was baptized on May 4, 1804 in Adensen. The godparents were his grandfather Hauptmann Wiegmann , the Hauptmann Hamelberg , the Senator Toppius from Eldagsen and the eldest brother of his mother Friederich Becker . The grandfather Johann Christoph Becker was the owner of the rose mill in Adensen from 1773-1815 ; Grandparents Wiegmann also lived there .
As a child, Rudolf Wiegmann attended Sunday services with his parents and grandparents in Adensen in the St. Dionysius Church . The Gothic style of this church made a deep impression on him in his childhood. Years later he studied architecture, and in the years 1829 to 1842 he published various works on the Gothic architectural style and the associated pointed arch style . His childhood friend and college friend was the later Hanoverian painter and city architect August Heinrich Andreae (* December 4, 1804, † January 6, 1846), whom he met as a child. Heinrich Wiegmann built a small observatory for the two of them so that the friends could observe stars and calculate their orbit.
His father Heinrich Wiegmann joined the 2nd light battalion of the Royal German Legion in England after the dissolution of the army of the Electorate of Hanover on July 5, 1803 , where he achieved the rank of captain (brigade major, captain). In the battle of Waterloo he fell on June 18, 1815 as adjutant to the Brigade Commander Georg Carl August du Plat . His widow received a monthly widow's pension from the King's German Legion Support Committee . Rudolf Wiegmann was eleven years old at the time.
Since Rudolf Wiegmann was not confirmed in Adensen, the Wiegmann family must have moved away from Adensen during his childhood. The reason is probably that his grandfather Johann Christoph Becker sold the Rosenmühle and its houses in 1815 and the family members had to change their place of residence as a result.
Rudolf Wiegmann was interested in architecture, mathematics and astronomy from an early age. He attended the Ratsgymnasium (then called Lyceum) in Hanover .
Rudolf Wiegmann received his first instruction in architecture from the master builder Wedekind in Hanover. He expanded his mathematical knowledge through private lessons. From 1823 he attended the Georg-August University of Göttingen together with August Heinrich Andreae and studied history, natural science, art history and archeology. He writes that he was particularly drawn to the inspiring lectures by Karl Otfried Müller and that he was very interested in the history of ancient art. After completing his studies in Darmstadt , he received his actual artistic training from the chief building officer Georg Moller .
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. Friedrich Noack reports in his book Das Deutschtum in Rom since the end of the Middle Ages that around 1200 German artists alone embarked on such a study trip to Rome during the Romantic era, which lasted 35 years. 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.
Georg Moller had undertaken such a study trip to Rome in the years 1807–1809 and encouraged Rudolf Wiegmann to supplement his knowledge of antiquity with practical studies in Rome, especially since the German Archaeological Institute Instituto di Corrispondenza Archeologica on January 2, 1829 should begin to work in Rome and was able to assist him with his archaeological research and excavations. One of the main tasks for Rudolf Wiegmann was to research the ancient wall paintings recently discovered during the excavations in Pompeii, which had become the focus of scientific interest in 1826 through the book Newly discovered wall paintings in Pompeii in 40 stone impressions by Wilhelm Zahn .
That is why Rudolf Wiegmann undertook the study trip to the German artists' colony in Rome from 1828–1832 , where he was busy studying the architecture of antiquity and later in these four years. From there, Rudolf Wiegmann researched the architecture of antiquity and later times, examined the wall paintings in Pompeii and devoted himself to archaeological excavations. Andreas Andresen wrote in 1872: The manifold contacts he came into there with the most important men in his field could not fail to nourish the lively interest that he had always taken in the fine arts. At first he was particularly fascinated by an object that was closely related to the architecture, the investigation of the actual nature of ancient wall painting, as it was found in Pompeii, which was then initiated from Munich. After painstaking research and experimentation, he brought to a complete conclusion the question which had preoccupied archaeologists from Caylus to Raoul-Rochette for almost a century. He described the result of his studies in Pompeii in 1836 in the book The painting of the ancients in their application and technique: especially as decoration painting.
After his return to Hanover in 1832 he painted oil vedutas with motifs from Italy and detailed watercolors of buildings. The only architectural work of his that he left behind in Hanover is the superstructure of a grave vault for the rich citizen Söhlmann in the St. Nicolai churchyard. He also created views of Hanover and Herrenhausen in drawings, watercolors, lithographs, etchings and oil paintings. In 1835 he published an album of Hanover with romantic views on six lithographs and a cover picture, which he had drawn and lithographed from 1834 to 1835.
He took part in the Kunstverein Hannover founded by his friend Bernhard Hausmann on May 3, 1832, and in the years 1834–1838 and sometimes later in its exhibitions. Together with his friend August Heinrich Andreä , he was a member of the arbitration tribunal for the admission of works to the Kunstverein's exhibition.
At that time the exhibitions of the German art associations were sales exhibitions in which the artists presented their new works. The art associations bought various works at the exhibition and raffled them at their general assembly among those who had previously acquired shares in the art association. They also presented the works they bought for the raffle in exhibitions at other art associations. In 1873, for example, the Hannoversche Kunstverein showed the painting Noble English Woman from the 15th century by Rudolf Wiegmann's widow Marie Wiegmann, which it had bought for a raffle, in the 183rd art exhibition of the Oldenburger Kunstverein. Since visitors to the exhibitions also wanted to see paintings by well-known painters, the art associations also had to exhibit items on loan from galleries.
Rudolf Wiegmann had established a very pleasant social position in Hanover, and he was close friends with Bernhard Hausmann , August Heinrich Andreae and Georg Osterwald . Since Rudolf Wiegmann could not find a job in Hanover, he moved to Düsseldorf in 1835 . Here he studied architecture and painting at the Düsseldorf Art Academy . After his book publication The Painting of the Elderly in its Application and Technique: especially as decoration painting , a lively dispute arose with the architect Leo von Klenze , who partially denied Wiegmann's results in his reply to aphoristic remarks on a trip to Greece . Rudolf Wiegmann responded to this in 1839 with his work The Knight Leo von Klenze and Our Art .
Rudolf Wiegmann gave interim architectural lessons at the Düsseldorf Art Academy from 1836, where he was professor of architecture and perspective from 1839 until his death in 1865. This made him a Prussian civil servant. In this teaching post he was the successor to Karl Friedrich Schäffer , who had held it from 1805 and died in 1837. Wiegmann taught at the academy according to the curriculum
- in the elementary class the theory of projection, combined with exercises in linear drawing as preparation for the teaching of perspective , both together depending on the ability of the students 4 hours a week.
- In the preparatory class , the basics of architecture , teaching of the column orders and exercises in architectural drawing , 12 hours a week as required ; teaching of constructions in wood, stone and metal 2 hours a week; Instructions for architectural composition and preparation of building plans 2 hours a week; general history of architecture 1 hour a week; the doctrine of the most common machines in building and instructions for decorating inner rooms.
- in the third class the invention of construction plans and the estimation of costs and the like. a.
In addition, he gave the craftsmen a two-hour free course in linear drawing on Sundays.
The art academy in Düsseldorf, where Rudolf Wiegmann taught, was located in the former gallery building of the electoral palace from 1821 until the fire in 1872. The library, apartments and work rooms were housed on the ground floor. The professors' studios were on the first floor. Further work rooms and the landscape class room were on the second floor.
From 1846 to 1865, Rudolf Wiegmann also headed the academic secretariat of the Düsseldorf Art Academy. This made him a close associate of the director of the Düsseldorf Art Academy Wilhelm Schadow . Rudolf Wiegmann had to be present in the secretarial room at a certain hour every day and perform the following tasks:
- Conduct and archive the correspondence
- Prepare protocols
- Create student lists, certificates and matriculations
- Publish programs and notices.
In 1829, in a publication in Art Journal No. 10 , Rudolf Wiegmann took the view that architects should build their buildings in the Romanesque arched style . He wrote in the Allgemeine Bauzeitung in 1841 . that the Romanesque architectural style is particularly suitable for creating painterly light-shadow effects due to the possibility of free building composition.
Rudolf Wiegmann and Heinrich Hübsch were among the pioneers of the neo-Romanesque . In May 1838 he had the opportunity to concretize his ideas in drafts for the new building of the Apollinaris Church on the Apollinarisberg above the city of Remagen.
In August 1836, Baron Franz Egon von Fürstenberg-Stammheim auctioned the Apollinarisberg along with the manor house, tenant apartment, outbuildings, lands and the secularized Romanesque church. In a building meeting on April 2, 1838 with his friend Wilhelm Schadow and Rudolf Wiegmann, Franz Egon von Fürstenberg-Stammheim decided to demolish the dilapidated Romanesque church and build a stately new building for which Rudolf Wiegmann and Ernst Friedrich Zwirner were to submit designs.
Rudolf Wiegmann then planned the construction of a neo-Romanesque church in 1838, while Ernst Friedrich Zwirner, who led the construction work on the Gothic Cologne Cathedral , presented the design for a neo-Gothic church. At that time, the Neo- Romanesque was considered a Protestant architectural style in the Catholic Rhineland, while the Neo-Gothic was seen here as a Catholic architectural style. The Catholic Franz Egon von Fürstenberg-Stammheim therefore decided on the neo-Gothic design by Ernst Friedrich Zwirner and awarded him the building contract. The Apollinariskirche was supposed to show the Protestant Prussians, who were occupying the Catholic Rhineland, unmistakably that the nobility in the Rhineland were very well able to maintain an independent architectural style.
Nevertheless, Rudolf Wiegmann's career as a Düsseldorf architect began in 1838: in the same year he built Wilhelm von Schadow's house on Flinger Steinweg, now Schadowstrasse , which later belonged to Andreas Achenbach . As a successor building, so to speak, is the splendid Schadow-Arkade in Schadowstrasse.
In 1841 Rudolf Wiegmann married the painter Marie Hancke . The marriage resulted in three children: the daughter Klara (* 1842), the son Arnold (* 1846) and the son Walter (* 1861), who was only four years old.
In 1839 Rudolf Wiegmann developed a new type of construction for roof connections and published it in the book About the construction of chain bridges based on the triangular system and their application to roof connections . The same system, however, was invented almost simultaneously by the French railway engineer Camille Polonceau (1813-1859) and was immediately used in the construction of platform halls on the Paris-Versailles railway. As a result, Wiegmann's roof structure became known internationally as the Polonceau roof or French roof . Unlike Polonceau Wiegmann had, however, included a rudimentary calculation theory for its roof structures in his work, a theory is based on suggestions by the node system declined Moller and later truss theory require pointing Karl Culmanns and Johann Wilhelm Schwedler (1851). The Wiegmann-Polonceau roof was to become one of the most successful roof construction systems of the second half of the 19th century and is still used occasionally today. The system is based on the use of steel cables by under-stressed bar as rafters.
In 1842, in the appendix to his book On the Origin of the Pointed Arch Style, Rudolf Wiegmann proposed the formation of an association covering the whole of Germany for the history of medieval architecture . Numerous personalities (including Sulpiz Boisserée , Ludwig Hoffstadt, Heinrich Hübsch , Georg Moller , Johann Claudius von Lassaulx , Ludwig Puttrich , Ferdinand von Quast , Chr.Schmidt, Karl Schnaase and Friedrich August Stüler ) were ready to participate in the association, but the founding of the association failed due to the refusal of the requested postage exemption. Already in 1837 a similar project by Johann Claudius von Lassaulx had failed.
From 1838/39 to 1865 he was a member of the committee and board of directors of the Düsseldorfer Kunstverein (= art association for Rhineland and Westphalia ) and from 1842 to 1864 also its secretary. In his function as secretary he was responsible for the correspondence of the association, for the minutes of the negotiations and for the public announcements. As a member of the committee and the ten-person board of directors, he had a great influence on the awarding, design and implementation of the art and architecture projects co-financed by the Kunstverein in the Rhineland and Westphalia, on the purchase of works of art for the public sector and on the purchase of works of art, which should be auctioned at the general assembly among the shareholders of the association.
From 1844/45 to 1865 he was editor and co-author of the association magazine Correspondenzblatt , founded on his instigation, for the art association for the Rhineland and Westphalia . This magazine was more like an art magazine than a newsletter for the shareholders of the Kunstverein and also contained articles on contemporary art and information about the history and work of the Kunstverein.
In 1845 the foundation stone was laid for the renaissance-like reconstruction of the Düsseldorf Palace , which he designed and destroyed in 1795 . The castle later burned down in 1872 and was demolished afterwards. The standing castle tower, the landmark of Düsseldorf, still shows Wiegmann's handwriting, especially on its top floor, which is of course characterized by respect for Alessandro Pasqualini , the Renaissance master builder of the castle.
In 1846 he moved with his family and their two children Klara and Arnold into the house he had built in 1840 at Pfannenschoppenstrasse 32 (now Klosterstrasse ).
In 1848 Johann Peter Hasenclever , Carl Wilhelm Huebner , Emanuel Leutze , Adolph Schroedter and Rudolf Wiegmann unsuccessfully suggested the establishment of a new Rhenish-Westphalian Academy. Wiegmann was on the citizenship committee of the “ Provincial Trade Exhibition for Rhineland and Westphalia ”, which took place from July 15 to October 1, 1852 in the Ständehaus .
Wolfgang Müller von Königswinter described Rudolf Wiegmann in 1854 as an esteemed art writer and a connoisseur of architecture who, according to his reputation, was well versed in science.
Because of his employment at the Düsseldorf Art Academy and the Art Association for Rhineland and Westphalia , Rudolf Wiegmann was dependent on the well-being of these two institutions, which both experienced a heyday, the Düsseldorf School of Painting and the Düsseldorf Art Colony , which later became a competitive one came to newly formed private training centers, artists' associations and art exhibitions in Düsseldorf, were drawn into the maelstrom of the Munich school and the other German artist colonies and lost their power and monopoly in the process.
The main reasons for the decline were the ministerial and academic interests directed against free artists, the admission restrictions for the admission of students to the third grade of the Art Academy Düsseldorf and the admission restrictions directed against the free artists in the purchase and delivery of pictures for the exhibitions of the Düsseldorf Art Association and the Berlin Academic Art Exhibition . This situation led to a strong polarization between the academic artists represented in the Kunstakademie Düsseldorf and the Kunstverein für Rheinland und Westfalen on the one hand and the free artists in the other artists' associations on the other. The art association for Rhineland and Westphalia , which is largely dominated by academic artists, and the Düsseldorf Art Academy , promoted art that was acceptable to the state, especially idealistic and religious history painting.
The Association of Düsseldorf Artists for Mutual Support and Assistance, founded in 1844, and the Malkasten artists' association founded in 1848 , to which Rudolf Wiegmann belonged in the years 1851–1853 and 1859–1865, became organizations of independent artists independent of the Düsseldorf Art Academy , the art dealer Eduard Schulte (1817–1890) in 1850 enabled a permanent art exhibition and its own access to the art market. The free artists, organized in both artists' associations, accused the Kunstverein für Rheinland und Westfalen in its general assembly in 1856 in a violent way of discriminating against buying pictures and sending them to the Berlin academic art exhibition and demanded that more works of art than before be auctioned among the shareholders of the association should be purchased and that therefore the financing of projects for the public sector must be restricted.
In the next few years the opposition of the board of directors also criticized the supposedly high cost of the correspondence sheet published by Rudolf Wiegmann. At the general assembly of the Art Association for Rhineland and Westphalia on August 5, 1864, tumultuous conditions occurred. After Rudolf Wiegmann had announced the minutes of this general meeting, nine shareholders submitted counter-minutes, which Rudolf Wiegmann had to publish in No. 1 of the correspondence sheet of 1864/65.
In his work as secretary, Rudolf Wiegmann was later attacked in such a violent manner that, as Eduard Daelen writes in the ADB , he became consumptive because of the anger about it , resigned his office and died soon afterwards.
After his death on his 61st birthday, April 17, 1865, his widow took in a foster daughter, Auguste Bettauer, called Else Wiegmann , that same year . His son Arnold died on August 6, 1870 in the Battle of Spichern . In 1893 his wife died after a short illness in Pfannenschoppenstrasse. 32 .
Honors
- 1857: The Royal Institute of British Architects appoints him an honorary member and correspondent.
Major works
architecture
- Approx. 1835 Hanover: Superstructure of a grave vault for the leather manufacturer Johann Ludwig Söhlmann on the St. Nikolai cemetery (see illustration).
- 1836–1838 Düsseldorf: House of Wilhelm von Schadow (later Andreas Achenbach ) at Schadowstrasse 54 (former name: Flinger Steinweg). The house no longer exists. Washed pen drawings with designs from around 1836 ( Stadtmuseum Düsseldorf ). Watercolor 1836 Hallway in the Schadowhaus (Stadtmuseum Düsseldorf). Photo of this corner house from around 1900 by Klaus Pfeffer: late classicism in Düsseldorf. Lintz Verlag, Düsseldorf 1962 (also contained in: Düsseldorfer Jahrbuch. Vol. 51, 1963, Fig. 83). Draft for the later construction of the neighboring house number 56 (Stadtmuseum Düsseldorf). A drawing of both house fronts and floor plans can be found by Klaus Pfeffer: Late Classicism in Düsseldorf. Lintz Verlag, Düsseldorf 1962 (also contained in: Düsseldorfer Jahrbuch. Vol. 51, 1963, Fig. 39, p. 135).
- 1838 Remagen: Drafts for the construction of the Apollinaris Church on the Apollinarisberg above the city of Remagen . Only the architectural drawings have survived (archive of the Fürstenberg-Stammheim family: AFSt plans 30.65 - 30.67).
- 1840 Düsseldorf: Detached semi-detached house for Karl Ferdinand Sohn and Johann Wilhelm Schirmer (later by Jul. Röting) in Klosterstrasse 23–25 (before 1870: Pfannenschoppenstrasse). The duplex no longer exists. The inauguration of Karl Ferdinand Sohn's house took place on December 31, 1844, during which Rudolf Wiegmann read a poem. This house had a facade painted using a fresco technique. Colored drawing of the Son's house, dated 1843 (Stadtmuseum Düsseldorf).
- around 1840 Düsseldorf: Own house at Klosterstrasse. 32 (before 1870: Pfannenschoppenstrasse). A drawing of the house front and the floor plan can be found by Klaus Pfeffer: Late Classicism in Düsseldorf. Lintz Verlag, Düsseldorf 1962 (also contained in: Düsseldorfer Jahrbuch. Vol. 51, 1963, Fig. 40, p. 137).
- before 1841 Godesberg : a building mentioned in 1841 in Wiegmann's correspondence with the Duisburg presbytery.
- around 1839–1842 Düsseldorf-Lohausen : Neo-Romanesque memorial chapel of Count Franz von Spee in Lohausen on Niederrheinstrasse and further construction work for Count Spee (Klaus Pfeffer suspects that the re-equipment of the chapel at Heltorf Castle in 1854 in Romanising forms belongs to it).
- 1842–1852 Duisburg : Renovation of the Salvator Church in late Gothic style. (See picture).
- 1845 Düsseldorf: Reconstruction of the north wing of the Düsseldorf Castle and conversion of the originally Gothic castle tower into an Italian Renaissance building . The castle burned down in 1872 and was demolished with the exception of the tower. Today the castle tower is the symbol of the city of Düsseldorf. Wiegmann's floor plans for the palace renovation are in the Düsseldorf City Museum, his sectional and elevation plans are no longer preserved.
- Düsseldorf: Conversion of the estate building on Burgplatz into an Italian Renaissance building. The Ständehaus later burned down, was demolished and replaced by a new building on Ständehausstrasse.
- 1846–1848 Essen-Kettwig : Villa Julius and Julie Scheidt in the neo-renaissance style , Ruhrstrasse 91 (previously: 82). The building was part of an ensemble of three villas belonging to the Scheidt family, which, according to oral tradition, were connected by an underground passage. The villa was built at the Scheid factory over terraces and hanging gardens above the Ruhr . Villa Scheidt has belonged to the Catholic parish of St. Peter since 1958. After a fire in 2000, the villa was rebuilt to create new escape routes from the building. In the building there is a kindergarten and a residential group for the Catholic parish of St. Peter.
- 1851 Düsseldorf: Design for a house on Flinger Steinweg (later Schadowstrasse) that was not built (Stadtmuseum Düsseldorf).
- 1854 Düsseldorf: Design for a freestanding corner house that was not built (Stadtmuseum Düsseldorf).
- before 1856 Düsseldorf: Reconstruction of the Palais des Prinzen von Croy (later division command building) at Jägerhofstrasse 5.
- 1857 Düsseldorf: House of the Rentier (Edmund?) Henoumont in Wasserstraße 6. A drawing of the front of the house and the floor plan can be found by Klaus Pfeffer: Late Classicism in Düsseldorf. Lintz Verlag, Düsseldorf 1962 (also contained in: Düsseldorfer Jahrbuch. Vol. 51, 1963, Fig. 41, p. 139).
- Düsseldorf: Count's Herzberg'sches house in the facilities at the pond Schwanenspiegel .
- 1860 Düsseldorf: Drafts for various residential buildings in Düsseldorf (Düsseldorfer Stadtmuseum).
- 1863/1864 Düsseldorf: Two drafts for an urban picture gallery not built at the north-western end of Elberfelder Strasse in place of the old Vagedes customs houses (Düsseldorf City Museum).
- Dülmen : Buildings for the Duke of Croy.
- Braunfels : Buildings for the Prince Solms .
Furniture design
- 1856 pencil sketch of the pedestal for a calvary for Veerdt (Düsseldorf City Museum)
Rudolf Wiegmann made many designs for furniture in the Renaissance style.
Stage design for productions by Carl Leberecht Immermann
- 1834–1837 Set design in watercolor for the Immermannbühne for Calderon's play La hija del aire, 1653 (German: The Daughter of the Air, 1821), 5th act (Stadtmuseum Düsseldorf). It shows a fantastic city silhouette with step pyramids and terraced gardens.
- 1840 Stage design for the production of Hamlet by Carl Leberecht Immermann on February 29, 1840 in the Stadttheater Düsseldorf.
- KK Eberlein: The Düsseldorf painting school and Immermann's model stage. In: Wallraf-Richartz-Jahrbuch. Ed. On behalf of the Friends of the Wallraf-Richartz Museum and the Museum Ludwig e. V., Cologne. IX, 1936, pp. 228-236.
Oil painting
- 1832 Paestum. In 1932 in the collection of the Blumenbach family, Hanover. Due to missing information, the assignment to the oil painting is uncertain.
- 1833 The Colosseum in Rome (sold to Government Councilor Blumenbach, in 1932 in the Blumenbach family collection, Hanover).
- 1833 The Castel Sant'Angelo with the Ponte Sant'Angelo in Rome (sold to the Duke of Cambridge)
- 1834 The via sacra in Rome (painted for the Kunstverein Hannover, it was probably raffled among the shareholders there).
- 1834 Rome, view of the Tiber to the south with the Castle of S. Angelo and the Basilica of St. Peter (683 × 990 mm, fetched 100,000 pounds on July 10, 2003 at Sotheby's in London).
- 1835 Rome, Colosseum and Roman Forum (690 × 1000 mm, last sold on December 13, 2001)
- 1836 The view from the loggias of the Vatican over the city of Rome (sold to Count von Wangenheim in Hanover).
- 1840 The old water tower in Hanover, oil on paper, mounted on cardboard, 193 × 153 mm ( Lower Saxony State Museum Hanover, there since 1875).
- 1841 (paid) The market square in Hanover, with staffage by Jacob Becker (sold to Phil. Graeven in Bremen).
- 1842 The cloister of the cathedral in Bonn (painted for the Kunstverein Hannover, raffled there?).
- 1843 View from Monte Palatino to the Colosseum in Rome (sold to the Duke of Ratibor).
- 1843/44 View from the Farnese Gardens to the Colosseum (offered for sale in the Berlin Academy Exhibition in 1844).
- 1845 The interior of the St. Marcus Church in Venice (sold to Dr. Crusius in Leipzig).
- 1845 The cloister of St. Maria in the Capitol in Cologne, oil on wood, 195 × 155 mm (Lower Saxony State Museum Hanover, acquired in 1917, inv. PNM 396).
- 1847 View from Monte Palatino to the Colosseum in Rome (second version painted for the Kunstverein Stettin, raffled there?).
- The aqueduct in the Roman Campagna .
lithograph
- 1826 (or later) St. Nicolai-Capelle in front of Hanover (in 1825) (other title: The Nikolaifriedhof ). 187 × 269 mm, signed MW on top of each other, print: Giere'sche Hof-Steruckerei Hannover. Publishing house of C. Schraderschen Hof-Kunsthandlung, Hanover. With blind stamp (preliminary drawing dated 1826).
- 1834 The new gate in Hanover. In 1932 in the collection of the Blumenbach family, Hanover. Due to a lack of information, the assignment to lithography is uncertain.
- 1834 The market place in Hanover. 187 × 271 mm, signature on the plate: RW (18) 34, print: Giere'sche Hof-Steruckerei Hannover. (Colored lithograph: Historisches Museum Hannover ) Other name: View from Kramerstraße onto the market square, colored lithograph by Rudolf Wiegmann. 18.7 x 27.1 cm.
- 1834 Herrenhausen Palace. 194 × 273 mm, Sign. RW 34. Other name: The Herrenhausen Castle. Colored lithograph by Rudolf Wiegmann. 19 x 27.1 cm.
- 1835/36 cover and six views of Hanover in the Hanover album, signed u. lith. by R. Wiegmann, Roy. Fol., Printed in the Giere'schen Hof-Stedruckerei Hannover, Verlag der Schraderschen Hof-Kunsthandlung, Hannover 1835/36 (Leipzig, Rud. Weigel). ( University and State Library of Saxony-Anhalt in Halle, call number AB 170055.) The cover for the individual sheets shows a lithograph (15 × 9.5 cm) of the Gothic portal of the Aegidienkirche on the right with the inscription "Vor der Delomition MW 35". The album contains 6 lithographs (sheet 37 × 26.5 cm, picture 18.2 × 14.5 cm to 16 × 13 cm, signed MW on top of each other, also blind stamp.):
- The armory (formerly Beguinage) from the west (with Begin tower )
- The Aegidii Church and the old Canzlei (choir and Osterstraße)
- Market Church (Sct Georgii und Jacobi): interior view with people
- Church of the Holy (igen): Cross (choir)
- The water tower (with two children)
- The poor house (built in 1682 opposite the Marstallbrücke , previously a London tavern in the Neustadt an der Neuenstrasse, built in 1682 opposite the Marstallbrücke, from 1824 poorhouse) 15.8 × 12.9 cm (Historisches Museum am Hohen Ufer, Hanover)
Copper engraving
- The old Tobias and Hanna, or the parents of Tobias in affliction (two different versions after Johann Friedrich Overbeck ). Düsseldorf (published by Julius Buddeus) and Paris (Rittner & Goupil). Printed in the copper printer of the Königl. Art Academy in Düsseldorf by C. Schulgen-Bettendorff. ( Museum Kunstpalast Düsseldorf, Kupferstichkabinett of the Hamburger Kunsthalle inv.no.17367).
etching
-
Old building with a chapel on the water (also called Wasserburg ) for the album of German artists. FA Buddeus, Düsseldorf 1839 ff .; Size: sheet 37.9 × 27.2 cm, printing plate 28.2 × 21.1 cm, image 22.1 × 18.4 cm. There are two different prints of this. (Oldenburger Kunstverein, Inv.-No. OKV 652. Kupferstichkabinett of the Hamburger Kunsthalle, Inv.-No. 17366. Kupferstichkabinett of the Staatliche Kunstsammlungen Dresden, Inv.-No. Andresen II pag. 137)
- also a new version with a different name: Eine Ruine 1841, original etching in: Joseph von Führich: Album of German artists in original etching. Buddeus, Düsseldorf 1841, urn : nbn: de: hbz: 061: 2-1080 , digitized edition of the University and State Library Düsseldorf , p. 41.
Incorrect assignment:
- Love group, around 1860, aquatint etching, 22 × 17 cm, is wrongly assigned to Rudolf Wiegmann. The signature there shows R. Wegmann and differs considerably from the signature of Rudolf Wiegmann (for example in his watercolor file: Vue du forum de Rome by Rudolf Wiegmann 1834.jpg ).
drawing
- 1828–1832 Via Cupa near Rome (213 × 280 mm).
- 1830 August Wilhelm Ferdinand Schirmer (207 × 133 mm) in the Kupferstichkabinett of the Staatliche Museen zu Berlin.
- 1831 Pompeii, the temple of Jupiter on the Via Stabiana. Original name: Il tempio di Giove a Pompei li 15 Settembre 31 (290 × 355 mm).
- In 1831, abandoned by his gods, lies Pompeii (290 × 335 mm).
- 1831 Ostia (190 × 313 mm, last sold May 29, 2001 and June 4, 2002).
- 1832 St. Mark's Square in Venice (240 × 340 mm, last sold on December 4, 1997).
- 1832 La Piazetta a Venezia, pencil / vellum, drawing-watercolor, (245 × 360 mm, formerly in the Dresden Kupferstichkabinett until restitution to the rightful owner on January 13, 1991, with the stamp Lugt 693 b on the reverse. Sold on December 4 1997 and June 11, 2010).
- Around 1834 view from the boxes of the Vatican in Rome (SLUB / Deutsche Fotothek).
- 1833 (October 4th) The horse tower near Hanover (Lower Saxony State Museum Hanover).
- 1835 The New Gate Pencil drawing.
- The Porta del Popolo and St. Peter in Rome from the Villa Borghese (280 × 400 mm, last sold on May 29, 2001).
- around 1850 Groß St. Martin ( Cologne City Museum ).
- 1860 designs for the Düsseldorfer Künstlerverein Malkasten (Düsseldorfer Stadtmuseum).
watercolor
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- 1830 design for a public fountain (Stadtmuseum Düsseldorf)
- 1831 painter in an ancient landscape of ruins (250 × 350 mm, last sold on May 29, 2001)
- 1832 Roman ruins (125 × 175 mm, last sold on May 21, 2000)
- 1832 View of the Forum in Rome (125 × 175 mm, last sold on December 4, 1999)
- 1835 The grave of the leather manufacturer Johann Ludwig Soehlmann in the St.-Nicolai-Kirchhof in Hanover (collection "Memories of my contemporaries" of Bernhard Hausmann in the Herzog Anton Ulrich-Museum Braunschweig ZL-Nr. 96/7213)
- 1835 Stechbahn with a view of Celle Castle (Bomann Museum Celle)
- 1836 Naples (Collection "Memories of My Contemporaries" of Bernhard Hausmann in the Herzog Anton Ulrich Museum Braunschweig ZL-Nr. 96/7214)
- 1847 Draft for a memorial for the blessed garden director Weyhe to be erected in the courtyard garden (Stadtmuseum Düsseldorf No. C 5148)
- Veduta Della Valle Del Colosseo (watercolor on cardboard, 380 × 540 mm, last sold on January 30, 2012)
- Villa near Rome (165 × 200 mm, last sold on December 13, 2001)
- The Tiber Island in Rome (235 × 320 mm, last sold on April 18, 2002)
- The Waterlooplatz in Hanover with a view from the New Gate with many trees in the foreground.
- St. Nicolai Cemetery, Johann Ludwig Soelmann's hereditary burial at night
- Castle landscape, in the foreground monastery complex. Sepia watercolor over pencil, 22.5 × 30.5 cm, attributed to Rudolf Wiegmann. Last sold: Auction 111, December 2011. Image 2516. (No longer available online.) In: zeller.de. Michael Zeller auction house, Lindau im Bodensee, December 2011, archived from the original on March 4, 2016 (illustration).
gouache
- Between Köberlingerstraße and Friedrichswall 1843. Original in the archive of the Historisches Museum am Hohen Ufer am Hohen Ufer, Hanover. Publication: Franz Rudolf Zankl (Ed.): Hannover Archive. Volume 2: The cityscape of Hanover. Archive publishing house Braunschweig. High quality reproduction with picture explanation on sheet S65.
Participation in exhibitions
- 1834–1838 and later: Kunstverein Hannover
- 1844: 18th art exhibition in the Kunstverein Oldenburg
- 1844: Berlin Academy Exhibition (was offered for sale: view of the Farnese Gardens on the Colosseum )
- 1845: Fourth painting exhibition in Bremen
- 1863: Exhibition of new oil paintings from Bremen
(The list is incomplete)
Master student of Rudolf Wiegmann
- Oswald Achenbach
- Ernst Anders
- Hugo Becker
- Georg Bleibtreu
- Bernhard Budde
- Lorenz Clasen
- August Eduard Schliecker
- Wilhelm son
- John Robinson Tait
Source material
Archives
- Düsseldorf: City Archives (6 letters from the years 1848–1863)
- Düsseldorf: Malkasten (artists 'association) (portrait of Rudolf Wiegmann 1858: FW 75-2521, handwritten curriculum vitae: 575, resignation from the artists' association Malkasten in 1853: 75, re-entry in 1859: 76, handwritten poem for the inauguration of the house he built by CF Sohn on December 31, 1844: 572, personal files from the years 1856–1858: 549, official correspondence in different files, for example: 120.)
- Duisburg: City Archives
- Hall: ULB Saxony-Anhalt. Estate of August Friedrich Pott No. Yi 5 IW 1427. 1 letter to Pott; Rome March 24th 1829.
- Cologne: City Archives
The archive documents of the Art Association for the Rhineland and Westphalia were lost in the fire of the academy building in Düsseldorf in 1872. This means that all documents by and about Rudolf Wiegmann that are only kept there are no longer accessible.
Portraits
- An anonymous oil painting from 1841 is part of the panel with 57 portraits of Düsseldorf artists by Friedrich Boser in the Düsseldorf City Museum.
- A portrait from 1858 is in the archive of the Malkasten Düsseldorf artists' association under archive number FW 75-2521.
literature
Autobiography
- Handwritten curriculum vitae in the archive of the artists' association Malkasten in Düsseldorf under archive number 575.
- Rudolf Wiegmann: The Royal Art Academy in Düsseldorf. Their history, furnishings and effectiveness and the Düsseldorf artists. Buddeus, Düsseldorf 1856, OCLC 825209030 , pp. 90-95 ( preview in Google book search).
biography
- Eduard Daelen: Wiegmann, Rudolf . In: Allgemeine Deutsche Biographie (ADB). Volume 42, Duncker & Humblot, Leipzig 1897, p. 390 f.
- Wiegmann, 1) Rudolf . In: Meyers Konversations-Lexikon . 4th edition. Volume 16, Verlag des Bibliographisches Institut, Leipzig / Vienna 1885–1892, p. 596.
- Andreas Andresen: Rudolph Wiegmann. In: The German painter-Radirer (Peintres-Engraveurs) of the nineteenth century according to their lives and works. Volume 2, pp. 157-165. Original edition: Alexander Danz Verlag, Leipzig 1872. Reprint: Georg Olms Verlag, Hildesheim / New York 1971, ISBN 3-487-04006-9 (reprint of the Danz edition, Leipzig 1872).
- Friedrich von Boetticher: Wiegmann, Rudolf. In: Painters Works of the Nineteenth Century. Contribution to art history. 2nd volume, 2nd half, pp. 1013-1014. Original edition: Fr. von Boetticher's Verlag, Dresden 1891–1901. Reprint: H. Schmidt & C. Günther Verlag, Hofheim am Taunus.
- Doris Hansmann: Wiegmann, Rudolph (Rudolf) (with references), in: Hans Paffrath (Hrsg.): Lexikon der Düsseldorfer Malerschule 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 , pp. 416-417.
bibliography
- Rudolf Wiegmann: The painting of the elderly in its application and technique, especially as decoration painting. In addition to a preface by Hofrat Karl Otfried Müller in Göttingen. Verlag der Hahnschen Hofbuchhandlung, Hanover 1836 ( preview in Google book search).
- Rudolf Wiegmann: Comments on the font “In which style should we build?” By Heinrich Hübsch. In: Kunstblatt. 10, 1829, pp. 173-174, 177-179 and 181-183.
- Rudolf Wiegmann: About the construction of chain bridges according to the triangular system and their application to roof connections. Carpenter, Düsseldorf 1839.
- Rudolf Wiegmann: The knight Leo von Klenze and our art. JHC Schreiner, Düsseldorf 1839 ( preview in Google book search).
- Rudolf Wiegmann: Thoughts on the development of a contemporary national architectural style. In: Allgemeine Bauzeitung. 1841, pp. 207-214.
- Rudolf Wiegmann: About the origin of the pointed arch style. With an appendix concerning the formation of an association for the history of medieval architecture. With a lithograph. Julius Buddeus, Düsseldorf 1842 (previously published in the Allgemeine Wiener Bauzeitung) ( preview in the Google book search).
- Rudolf Wiegmann: Fundamentals of the Doctrine of Perspective. For use by painters and drawing teachers. With 19 lithographic plates. Buddeus Verlag, Düsseldorf 1846 ( digitized and full text in the German text archive ).
- Rudolf Wiegmann: The renovation of the town hall in Aachen. In: Correspondence sheet for the Kunstverein für die Rheinlande und Westphalen 1846/47. Pp. 24-31.
- Rudolf Wiegmann: The Titian's painting style. According to the results of the investigations and experiments carried out by the painter A. Dräger. Buddeus, Düsseldorf 1847 (Previously appeared in the correspondence sheet for the Kunstverein für die Rheinlande und Westphalen. Vol. III, No. 2, March 1847.).
- Rudolf Wiegmann: Annual reports of the art association for Rhineland and Westphalia
- Rudolf Wiegmann: The restoration of the Speyer Cathedral according to the plan of the Grand Ducal Badischer Baudirector Hübsch. In: Deutsches Kunstblatt. 6, 1855, col. 324-326.
- Rudolf Wiegmann: Fundamentals of the doctrine of the Perspective: Atlas. Buddeus, Düsseldorf 1876.
- Rudolf Wiegmann: The Royal Art Academy in Düsseldorf. Their history, furnishings and effectiveness and the Düsseldorf artists. Buddeus Verlag, Düsseldorf 1856. With an autobiography on pp. 90–95 ( digitized version ). Copy of the chapter: Purpose, Institution and Curriculum of the Academy. In: The Düsseldorf School of Painting. Exhibition catalog. Edited by Wend von Kalnein . Editor: Dieter Graf. Kunstmuseum Düsseldorf 1979, ISBN 3-8053-0409-9 , p. 209 ff. ( Preview in Google book search).
- Rudolf Wiegmann: The fresco paintings in the great hall of the town hall in Aachen. In: Correspondence sheet for the Kunstverein für die Rheinlande und Westphalen 1860/61. Pp. 45-48.
Articles by Rudolf Wiegmann appeared in many magazines, mainly in the Allgemeine Wiener Bauzeitung until 1848 . From 1850 Rudolf Wiegmann worked for the Deutsches Kunstblatt .
Secondary literature
- Andreas Andresen: The German painter-Radirer (Peintres-Graveurs) of the nineteenth century according to their lives and works. Volume II, Georg Olms Verlag Hildesheim, New York 1971. New edition by Verlag Alexander Danz, Leipzig 1872, pp. 157–165.
- Alexander Dorner: One Hundred Years of Art in Hanover 1750–1850. Hannover Art Association V., 1932; also in F. Bruckmann, Munich, pp. 9, 76 f., 78, 79.
- Klaus Pfeffer: Late Classicism in Düsseldorf. Lintz Verlag, Düsseldorf 1962 (also contained in: Düsseldorfer Jahrbuch. Vol. 51, 1963, pp. 17–197, with illustrations.).
- Helmut Plath: Hanover in the picture of the centuries. 3rd, expanded and improved edition, Verlagsgesellschaft Madsack & Co., Hannover 1966, pp. 34 f., 62 f., 70 f., 106.
- Franz Rudolf Zankl (Ed.): Hanover Archive. Volume 1 and 2: The cityscape of Hanover. Archive publishing house Braunschweig. High quality reproductions with explanation of the pictures in volume 1 on sheet S4 and in volume 2 on sheets S65, S68, S76, S78 and S79. The images are originals from the archive of the Historical Museum on Hohen Ufer in Hanover.
- Wolfgang Brönner : The bourgeois villa in Germany 1830–1890. Wernersche Verlagsgesellschaft, Worms 1994.
- Wolfgang Hütt: The Düsseldorf School of Painting 1819–1869. EA Seemann Verlag, Leipzig 1995, ISBN 3-363-00634-9 , pp. 195-198.
- Birgit Biedermann: Civil patronage in the 19th century. The promotion of public works of art by the art association for the Rhineland and Westphalia. Diss., Univ. Göttingen 1996. Michael Imhof Verlag, Petersberg 2001, ISBN 3-932526-96-1 .
- Alheidis von Rohr : Picturesque-idealized. City views of Hanover from the 16th century to 2000. Exhibition catalog (= writings of the Historisches Museum Hannover. Vol. 17). Hannover 2000. Text: p. 74, illustrations: p. 34 and 36. The illustration on p. 36: Marktplatz 1834 is also published as a postcard.
- Ulrich S. Soénius: Economic bourgeoisie in the 19th and early 20th centuries. The Scheidt family in Kettwig 1848–1925 (= writings on Rhenish-Westphalian economic history. Vol. 40). Self-published, Cologne 2000, ISBN 3-933025-35-4 , pp. 261–285.
- Silke Gatenbröcker: Watercolors and drawings from Romanticism and Biedermeier. The “Memories of My Contemporaries” collection by Bernhard Hausmann (1784–1873). Herzog Anton Ulrich Museum, Braunschweig 2005; Hirmer Verlag, Munich 2005, ISBN 3-7774-2505-2 .
- State Office for the Preservation of Monuments Rhineland-Palatinate : The Apollinariskirche in Remagen (= Preservation of Monuments in Rhineland-Palatinate - Research Reports. Volume 7). Wernersche Verlagsgesellschaft, Worms 2005, pp. 19 f., 29 ff., 83 f., 96, 163 f., 166 f.
- Karl-Eugen Kurrer : The History of the Theory of Structures. Searching for Equilibrium. 2nd Edition. Translated by Philip Thrift. Wiley, Ernst & Sohn , Berlin 2018, ISBN 978-3-433-03229-9 , p. 33 ff. And p. 1080 f., Urn : nbn: de: 101: 1-2018080303144169403571 (biography; original title: Geschichte der Structural analysis ).
Web links
- Literature by and about Rudolf Wiegmann in the catalog of the German National Library
- Works by and about Rudolf Wiegmann in the German Digital Library
- Search for "Rudolf Wiegmann" in the SPK digital portal of the Prussian Cultural Heritage Foundation
- Georg Wilbertz: Style synthesis and language confusion. (PDF; 233 kB) Theory and Critique of the “New” Style in the 19th Century. (No longer available online.) In: semiotik.eu. German Society for Semiotics (DGS) e. V., November 5, 2006, pp. 8–10 , archived from the original on June 6, 2015 (from: Style as Sign. Functions - Breaks - Staging. Contributions to the 11th International Congress of the German Society for Semiotics (DGS) from June 24–26, 2005 at the European University Viadrina (= University publications - series of the European University Viadrina. Volume 24). Frankfurt (Oder) 2006, ISSN 0941-7540 (CD-ROM)).
- Rudolf Wiegmann. Website in the portal architekt.de
Individual evidence
- ↑ This was his rank in the army of the Electorate of Hanover, which was dissolved on July 5, 1803.
- ↑ These details are taken from the church book entry in Adensen's marriage register no. 7/1803 of August 7, 1803.
- ↑ The grandfather survived the battle of Waterloo, brought the message of victory from Brussels to Hanover on June 22, 1814 and was later a sponsoring member of the King's German Legion Support Committee. Bernhard Hausmann writes in his memoirs from eighty years of life (Hanover 1873) on p. 105: Captain Wichmann, adjutant to General von Alten , had just arrived from Brussels with this message of victory in Monbrillant , and the Duke of Cambridge immediately on horseback so as to announce this to the old Minister of the Ceiling, as well as to the whole city.
- ↑ He fell as a captain (captain) of the 5th Line Battalion of the Royal German Legion on July 28, 1809 in the battle of Talavera .
- ↑ Bernhard Hausmann writes about Rudolf Wiegmann that he was the son of the captain who remained in the wars of the Anglo-German legion . Source: Catalog of the special exhibition at the Kestner Museum Hanover February 12 to March 18, 1992 with the title Hand Drawings of the 19th Century from the Bernhard Hausmann Collection, Text for Fig. 97 (Hausmann directory 54).
- ↑ Adolf Pfannkuche writes in the book The Royal German Legion 1803-1816 (2nd edition, Hanover 1926, p. 250): The Brigade du Plat was ordered to protect Hougoumont. Already on the way there, the horses of all mounted officers were shot under the body. Du Plat himself fell, as did his adjutant, Captain Wiegmann, and several other officers. In the official announcements of the Hanover advertisements it was stated that Heinrich Wiegmann was wounded, missing and died there. The book of the fallen soldiers of the parish of Adensen states that Brigade Major Heinrich Wiegmann died on June 18, 1815 in the battle of Waterloo. A wooden commemorative plaque from the 19th century, which is shown in the book of the fallen soldiers of the parish of Adensen, bore the following text: Dedicated to our brothers who fell at Waterloo on June 18, 1815, Brigade Major Heinerich Wiegmann, Lieutenant Christoph von Jeinsen, soldier Friedrich Matthies, as a grateful memory from the community of Adensen and Hallerburg.
- ↑ See p. 45 and 111 in Otto Puffahrt: In the battle of Waterloo fallen, wounded and missing soldiers from the Hanoverian army. (Lüneburg 2004) and Soldiers from the Hanoverian Army who were killed, wounded and missing in the Battle of Waterloo. In: denkmalprojekt.org, accessed on August 25, 2017.
- ↑ Because at the time the g was spoken as well as a ch when the name Wiegmann was spoken, Heinrich Wiegmann and Rudolf Wiegmann used the different spelling of the name Wichmann.
- ↑ Georg Kaspar Nagler writes: "Later he also attended the academy in Düsseldorf, where not only architecture took up his time, but also painting, which he practiced with as much luck as architecture." ( Neues general artist -Lexicon. Munich 1851, p. 391). No other biographer, including Rudolf Wiegmann, speaks of this training at the Art Academy in Düsseldorf. Therefore this information is not correct.
- ↑ Andreas Andresen: The German painter-Radirer (Peintres-Graveurs) of the nineteenth century according to their lives and works. Volume II. Georg Olms Verlag Hildesheim, New York 1971. New edition by Verlag Alexander Danz, Leipzig 1872, pp. 157–165, here: p. 158.
- ^ Catalog provincial trade exhibition for Rhineland and Westphalia , p. 5 opacplus.bsb-muenchen.de
- ^ Wolfgang Müller von Königswinter: Düsseldorf artists from the last twenty-five years. Art history letters. Rudolf Weigel Verlag, Leipzig 1854, pp. 17, 367.
- ^ Franz von Spee died on May 14, 1839 of a stroke in Lohausen, on the carriage ride from Heltorf Castle to the committee meeting in Düsseldorf.
- ^ Hans F. Schweers: Paintings in German museums. Catalog of the works exhibited in the Federal Republic of Germany. Vol. 2: LZ, p. 1146.
- ↑ The entry in this document has not been checked.
- ^ Finding aid : Sabine Schroyen and Hans-Werner Langbrandtner: Sources on the history of the Malkasten Artists' Association. A center of bourgeois art and culture in Düsseldorf since 1848. Rheinland-Verlag, Cologne 1992.
- ↑ See in addition: Georg Wilbertz: Stilsynthese und Sprachbefirrung. (PDF; 233 kB) Theory and Critique of the “New” Style in the 19th Century. (No longer available online.) In: semiotik.eu. German Society for Semiotics (DGS) e. V., November 5, 2006, pp. 8–10 , archived from the original on June 6, 2015 (from: Style as Sign. Functions - Breaks - Staging. Contributions to the 11th International Congress of the German Society for Semiotics (DGS) from June 24–26, 2005 at the European University Viadrina (= University publications - series of the European University Viadrina. Volume 24). Frankfurt (Oder) 2006, ISSN 0941-7540 (CD-ROM)).
| personal data | |
|---|---|
| SURNAME | Wiegmann, Rudolf |
| ALTERNATIVE NAMES | Wiegmann, Heinrich Ernst Gottfried Rudolph (full name); Wichmann, Rudolf |
| BRIEF DESCRIPTION | German architect, professor, painter and art writer |
| DATE OF BIRTH | April 17, 1804 |
| PLACE OF BIRTH | Adensen now part of the municipality of Nordstemmen |
| DATE OF DEATH | April 17, 1865 |
| Place of death | Dusseldorf |