.
Carl Spitzweg
5th February 1808 – 23th September 1885
Carl Spitzweg was born on 5th of February in 1808 in Unterpfaffenhofen, Bavaria. Although trained as a chemist, he discovered quite early his talent for drawing and his affinity with art. Spitzweg travelled extensively during his lifetime and the impressions formed by his travels greatly influenced his work. Shortly after completing his studies in pharmaceutics in 1832, he visited Italy. It was particularly in the cities of Florence, Rome, and Naples that he discovered the many significant works of Western culture which were to leave a permanent imprint on him.
A severe case of dysentery in 1833 strengthened his resolve to abandon his career as a chemist and he proceeded to commit himself solely to his painting. In June 1835, he became a member of the Munich Art Association and travelled that same year to southern Tirol with the landscape painter Eduard Schleich, the Elder.
In 1839 he completed his first painting entitled ''The Poor Poet'. Although this recurring motif would later be considered his most well-known body of work, the painting was not accepted at this time by the jury of the Munich Art Association.
As regards his graphic production, the first publication in 1844 of his own illustrations in the Munich weekly paper 'Fliegende Blätter' is considered quite significant. His visits to the Industrial Exposition in Paris and the World's Fair exhibition in London in 1851 were his first contact with the Oriental scenes which would begin to inform his work.
To the deserving painter were bestowed numerous honours during the second half of Spitzweg's lifetime: in 1865 the Bavarian Royal Merit Order of St. Michael was conferred upon him, and in 1875 he was named an honorary member of the Academy of Fine Arts.
Carl Spitzweg died on 23th of September in 1885 and was entombed in the historic South Cemetery in Munich.
He leaves behind a body of work dedicated to the townspeople who inhibit his genre scenes, and with acute and pointed, but never ill-natured humour he portrays the everday bourgeois life of his time.
Lit: Siegfried Wichmann, Carl Spitzweg. Verzeichnis der Werke, Gemälde und Aquarelle, Stuttgart: Belser, 2002.
Carl Spitzweg
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Hamilton, Karl Wilhelm de Nachfolge
1668 Brüssel - 1754 Augsburg.
Follower of Karl Wilhelm de Hamilton. Sottobosco. Oil on canvas. Unsigned. Small holes in the canvas. Restored.
This type of forest floor still life, called Sottobosco, represents a particular sort of still life painting in the 17th Century. Pioneer and main representative of this genre is Otto Marseus van Schrieck. Presented are insights into biotopes with wild growing flowers, various plants, roots and undergrowth, populated by small animals like lizards, frogs and insects, mostly in seemingly mysterious lighting or held in the dark. After his return from Italy van Schrieck caused a real run on those forest floor still life paintings which lasted for almost two decades. His pupils Matthias Withoos and Elias van den Broeck continued to produce paintings from this genre, whereby the landscape aspect became increasingly important over time. The strong influence of Otto Marseus van Schrieck is also clearly visible in works by Jan Davidsz. de Heem, Abraham Mignon, Rachel Ruysch and Karl Wilhelm de Hamilton, who is a direct follower of van Schrieck and an important representative of the Sottobosco genre.
Assessment: We would like to thank Mr Fred Meijer, Conservator, Afd. Oude Nederlandse Schilderkunst/Curator, Dpt. of Old Netherlandish Painting, Rijksbureau voor Kunsthistorische Documentatie (RKD), Den Haag, for the scientific advice via 
1668 Brüssel - 1754 Augsburg.
Sottobosco. Öl auf Leinwand. Unsign. Kl. Löcher in der Leinwand. Altrest.
Der Bildtypus des Waldbodenstilllebens, Sottobosco genannt, stellt eine besondere Form der Stilllebenmalerei dar. Als Hauptvertreter dieses Genre gilt Otto Marseus van Schrieck. Dargestellt sind Einblicke in Biotope mit wild wachsenden Blumen, diversen Pflanzen, Wurzelwerk und Gestrüpp, bevölkert von kleinen Tieren wie Eidechsen, Fröschen und Insekten, meist in mysteriös anmutender Beleuchtung oder im Dunkel gehalten. Nach seiner Rückkehr aus Italien löste van Schrieck eine regelrechte Mode für diese Waldstillleben aus, die nahezu zwei Jahrzehnte anhielt. Seine Schüler Matthias Withoos und Elias van den Broeck führten den Typus des Sottobosco weiter, wobei im Laufe der Zeit der landschaftliche Aspekt immer mehr an Bedeutung gewann. Der starke Einfluss Otto Marseus van Schriecks ist auch in Werken von Jan Davidsz. de Heem, Abraham Mignon, Rachel Ruysch und Karl Wilhelm de Hamilton spürbar, der als direkter Nachfolger Schriecks und wichtiger Vertreter des Sottobosco-Genres gesehen werden kann.
Beurteilung: Wir danken Herrn Fred Meijer, Conservator, Afd. Oude Nederlandse Schilderkunst/Curator, Dpt. of Old Netherlandish Painting, Rijksbureau voor Kunsthistorische Documentatie (RKD), Den Haag, für die wissenschaftliche Beratung via