Simon Göser

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Draft for the ceiling painting Jesus in the house of Simons von Bethanien in the monastery of St. Peter

Simon Göser (born October 26, 1735 in Gospoldshofen, today part of Bad Wurzach in the Ravensburg district , † March 31, 1816 in Freiburg im Breisgau ) was a south-west German painter of the late Baroque and early Classicism .

Life

Göser's life and work were made accessible by the clergyman, art historian and curator Hermann Ginter and later by the school teacher and art historian Hermann Brommer .

Nothing is known about Göser's training. In 1765 Abbot Philipp Jakob Steyrer called him a guest of the St. Peter monastery in the Black Forest . In 1767 he painted and signed the ceiling picture - a heaven of gods - in the dining room of Munzingen Castle , which the painter Georg Saum , from Eschbach, Stegen , was involved in decorating . They then worked together in Strasbourg , where Göser married Anna Ancklin from Liesberg near Basel in 1771 . But he saw his future in Breisgau . There he had influential patrons in Steyrer and the lords of Munzingen, Count Kageneck . As early as 1769 he had painted ten pictures for the refectory in the St. Märgen Monastery and in 1770 the ceiling pictures of the chapter room , also known as the Holy Cross Chapel, in St. Peter . From 1772 to 1773 the so-called Prince's Hall in St. Peter was painted. During this work his only child was born in 1772, Johannes, who like his father became a painter. In 1774, after a long effort, Simon became a citizen of the city of Freiburg and in 1776 a member of the painters' guild “zum Giesen”. He bought a house in the "Wolfshöhle", now Konviktstrasse 41. In 1780 he assisted Johann Christian Wentzinger with the painting of the dome of the cathedral of St. Blasien . His son died in 1805. When he himself died in 1816, "with him the last great Baroque painter in Freiburg passed away."

Ulrichs altar in Ortisei
Two Jesuit saints; Painting from Bad Krozingen

plant

The ceiling painting in Munzingen Castle is the earliest known work. Of the ten pictures from the St. Märgen refectory, four are now hanging in the St. Wolfgang chapel in Thurner near St. Märgen. In the chapter house in St. Peter Göser designed reflections on the cross of Jesus conceived by the abbot, which even then only an iconographically well-educated observer could decipher and some of which seem almost blasphemous to today's observer; For example, an emblem with the text from Galatians “The world has been crucified to me and I the world” shows a richly clad “Rococo dairy” on the cross.

The Fürstensaal was a representation room for entertaining guests. This is what the ceiling painting relates to. It consists of two main pieces and ten smaller pieces. The main pictures show Jesus at the meal in the house of Simon of Bethany , how the sinner anoints his feet, and the washing of the feet at the last supper . “The two large frescoes are very excellent. They are among the very best that 18th century church painting left us in Baden. … Both interiors no longer show any detail of the lively cheerfulness of the Rococo. The architectural forms are large and solemn, the detail in no way detracting from the large lines. ... The small frescoes are also of very skillful composition, full of lofty, grand gestures and harmoniously coordinated coloring. ... With this work, our painter has created his masterpiece. "" Simon Göser shows himself to be a master of early classicism. "

A "Martyrdom of St. Catherine " in the parish church of St. Katharina in Gütenbach and a "Saint Ulrich as a helper in need" in St. Ulrich in the Black Forest date from around the same time . In the following years Göser painted altar sheets for Grißheim in the Markgräflerland and Löffingen in the Black Forest, as well as stations of the cross for the parish church of St. Remigius in Merdingen am Tuniberg - "exquisite early classical pictures". A " Descent from the Cross " with the upper picture "Death of St. Joseph " from Gütenbach is today in the parish church of St. Blasius in Schallstadt- Wolfenweiler and an "Adoration of the Heart of Jesus by two Jesuit saints" from Bad Krozingen in the Augustinian Museum in Freiburg. The high altar sheet and the two side altar sheets of the parish and pilgrimage church of the Assumption of the Virgin in the Ehrenkirchen district of Kirchhofen as well as the stations of the cross of the former Wilhelmite monastery church in Oberried are ascribed to Göser, but two altar sheets in the parish church of Heilig Kreuz in the district of Offnadingen are also documented .

Hermann Ginter dates the dance of death in the vestibule of the Michaelskapelle in Freiburg's old cemetery to around 1780, although it is not certain for Göser . “Completely different from Holbein in his famous dance of death, Göser groups his theme in only 12 individual images, for which he does not choose the individual stands, but mainly the age as a basis. The child slumbers in a cradle, next to it sits Death playing the violin, using the arrow, the instrument of death that recurs in the pictures, as a violin bow. The Freiburg cathedral pyramid greets you peacefully through the open window. The text says: 'Here the child sleeps, there wakes up forever Because the dead makes music for him.' … In all the pictures it is a gentle game full of grace and solemn grace, in which the gaunt skeleton of the dead, despite all the horror of its profession, never forgets to take it with the tact and nobility of the dignified gentleman. In the spirit of early classicism. ”Heavily damaged in World War II, the dance of death was repainted in 1963 based on the original while retaining the old inscriptions.

St. Jakobus in Eschbach, left side altar: Maria and her parents Joachim and Anna
St. Jakobus in Eschbach, right side altar: Holy Family

Göser received his last major order in the parish church of St. Jakobus in Eschbach . It was built from the stones of the Marien pilgrimage chapel on the Lindenberg near St. Peter, which was built in 1761 and which had to be demolished in 1786 by order of the government of the Upper Austrian government. Steyrer called Göser. “The Abbot Phil. Jak. Steyrer had the parish church painted on the walls and ceilings with pictures on the walls and ceilings, as if in atonement for the disgrace done to the Mother of God, all of which aim at the veneration and glorification of the Mother of the Divine Word. ”If you include the two side altars, there are 24 pictures become. Göser has partly used people from his time as models: In the "Birth of Mary", Maria has the features of Marie Antoinette and Anna the features of Empress Maria Theresa . People from the nearby Maierhof served as models for the “Birth of Jesus”. Three eggs lie in a hat as a gift from the shepherds in the foreground. “The escape into Egypt is a very graceful picture. The good donkey trots leisurely, led by St. Joseph, while the Madonna is sitting on him and has her head covered with a large, shady straw hat. ” Grisailles represent invocations from the Lauretanian litany . One sees the“ Ark of the Covenant ” the interior of the cathedral of St. Blasien and a baroque pharmacy at the "Heil der Kranken" (Heil der Kranken). The ceiling painting “Assumption of Mary” is signed “S. Göser pinx. 1790 ".

In the 1790s, altarpieces were created for the parish church of St. Leodegar in Bad Bellingen and for the Michaelskapelle in Freiburg's old cemetery.

In 1805, Simon Göser and his son created a mural based on Leonardo da Vinci's Last Supper in what was then the Pfründhaus Chapel in Gauchstrasse, which was part of the Freiburg Heiliggeist Hospital Foundation . The idea came from the city councilor and head of the urban poor, Ferdinand Weiss (1776–1822). The two artists used a copperplate engraving. They waived payment. You undoubtedly wanted to create a work of its own. “It can be assumed that this new creation ... the possibly unconscious wish to approach the fame of its famous predecessor may have been connected. And that Simon and Johann Göser were interested in artistic fame, or, as Weiß put it in his letter of thanks, the 'honor of art', was ultimately expressed in the fact that they made no material demands for their work. Whether they actually lived up to the claim of their approach of a congenial new creation is another question. ”After the Pfründhauskapelle was destroyed in World War II, the remains of the painting, around a third of the original substance, were housed in the chapel of the Heiliggeiststift in Deutschordenstrasse. Since the chapel was demolished in early 2016, they have been in a central art depot.

In 1805 Göser also painted stations of the cross for the Munzingen parish church ; they are now in the church of St. Landelin in Ettenheimmünster . In 1808 he painted "Christ in the Grave" for the parish church of St. Cyriak in Lehen near Freiburg. His last works are probably a picture of St. Agatha and a "Last Supper" in the parish church of St. Agatha in Grunern near Staufen im Breisgau .

Web links

Commons : Simon Göser  - Collection of images, videos and audio files

Individual evidence

  1. ↑ a b c d e Hermann Ginter: South-West German Church Painting of the Baroque. Augsburg, Dr. Benno Filser Verlag 1929, p. #.
  2. ^ A b Hermann Brommer: Georg Saum and Simon Göser in Strasbourg. In: Schau-ins-Land 90, 1972, pp. 81-100.
  3. ^ A b Hermann Brommer: Artist and craftsman in the St. Petri church and monastery building of the 18th century. In: Hans-Otto Mühleisen (Ed.): St. Peter in the Black Forest. Cultural history and historical contributions on the occasion of the 250th anniversary of the inauguration of the monastery church. Munich and Zurich, Schnell & Steiner 1977, ISBN 3-7954-0408-8 , pp. 50-93.
  4. ↑ a b c Hermann Brommer: Göser, Simon . In: General Artist Lexicon . The visual artists of all times and peoples (AKL). Volume 57, Saur, Munich a. a. 2008, ISBN 978-3-598-22797-4 , pp. 61-63.
  5. ^ Manfred Hermann: Catholic parish and pilgrimage church of the Assumption of Mary, St. Märgen in the Black Forest. Kunstverlag Josef Fink, Lindenberg 2003, ISBN 3-89870-135-2 .
  6. ↑ Carsten-Peter Warncke: The soul on the cross. Emblematic edification literature and sacred visual art using the example of a decoration program in St. Peter's Monastery. In: Hans-Otto Mühleisen: The legacy of the abbey. 900 years of St. Peter in the Black Forest. Karlsruhe, Badenia Verlag 1993, ISBN 3-7617-0297-3 , pp. 81-105.
  7. ^ Hermann Brommer: Parish Church of St. Remigius in Merdingen. Munich and Zurich, Schnell & Steiner 1974.
  8. ^ Art epochs of the city of Freiburg. Exhibition catalog of the Augustinermuseum 1970, No. 462; Detlef Zinke : Augustinermuseum - Paintings up to 1800. Selection catalog. Rombach-Verlag, Freiburg 1990, ISBN 3-7930-0582-8 , S. #.
  9. ^ Claus Dotter Weich: Parish and pilgrimage church of the Assumption of the Virgin Mary in Kirchhofen im Breisgau. Munich and Zurich, Schnell & Steiner 1995.
  10. ↑ Walter Uehlein: The Parish and Pilgrimage Church of St. Assumption in Kirchhofen (municipality Ehrenkirchen) online
  11. ^ Karl Suso Frank: Oberried, Parish Church of the Coronation of Mary. Regensburg, Schnell & Steiner 1999, ISBN 3-7954-6190-1 .
  12. ^ Josef Läufer: St. Jakobus Eschbach. Parish of St. Jakobus 1990.
  13. ↑ Sebastian Bock: On a “Last Supper” according to Leonardo da Vinci. In: Newsletter of the Preservation of Monuments in Baden-Württemberg Volume 21, No. 3, 1992, pp. 97-103 ( digitized version ).
  14. ^ Frank Zimmermann: A piece of Freiburg city history needs a new place . In: Badische Zeitung of February 11, 2016.

literature

personal data
SURNAME Göser, Simon
ALTERNATIVE NAMES Goeser, Simon
BRIEF DESCRIPTION German painter
DATE OF BIRTH October 26, 1735
PLACE OF BIRTH Gospoldshofen near Wurzach
DATE OF DEATH March 31, 1816
Place of death Freiburg in Breisgau