© 2004-2024 Auktionshaus Kaupp GmbH   Impressum   Datenschutzerklärung E-Mail            Telefon +49 (0) 76 34 / 50 38 0

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

Results of your search

Matches: 5/95 back Navigation left | overview Navigation top | continue Navigation right | send e-mail email | Survey of the artists  

lotimage

popup

view
 

3267
Winterauktionen 20.–21.11.2020
Hartmann, Joseph Adam
1812 Lütter/Rhön - 1885 Darmstadt.
Two counterparts. Gentleman with upturned collar. Lady with sapphire brooch.
Oil on canvas, mounted on masonite. Signed middle right and dated 1859. White shrinking cracks, retouchings.
H 64, W 53,5 cm (oval). Elaborate frames.
Joseph Adam Hartmann was both court painter to the Count of Erbach-Fürstenau and the Grand Duke of Hesse-Darmstadt, as well as a renowned portraitist of the upper middle class. Clients appreciated his detailed reproduction of clothing and jewellery and his realistic perception, which gives an impression of the self-confidence and need for representation of his contemporaries. Married couples were happy to commission portraits, as the present works and the double portraits of Langenbach (inventory numbers GK1320 and GK1321) and Weyland (inventory numbers GK1455 and GK1456) in the Hessisches Landesmuseum in Darmstadt testify.
Literature: Barbara Bott, Gemälde hessischer Maler des 19. Jahrhunderts im Hessischen Landesmuseum Darmstadt, Darmstadt 2003, pp. 123 - 133 (cf.).

deutsch Hartmann, Joseph Adam
1812 Lütter/Rhön - 1885 Darmstadt.
Paar Gegenstücke. Herr mit Vatermörderkragen. Dame mit Saphirbrosche.
Öl auf Leinwand, auf Hartfaser kaschiert. Mitte r. sign. und 1859 dat. Frühschwundrisse, Retuschen.
H. 64, B. 53,5 cm (oval). Prunkrahmen.
Joseph Adam Hartmann war sowohl Hofmaler des Grafen zu Erbach-Fürstenau und des Großherzogs von Hessen-Darmstadt, als auch ein renommierter Porträtist des gehobenen Bürgertums. Auftraggeber schätzten seine detailreiche Wiedergabe von Kleidung und Schmuck und seine realistische Auffassungsgabe, die einen Eindruck vom Selbstbewusstsein und Repräsentationsbedürfnis seiner Zeitgenossen vermittelt. Gerne gaben vermählte Paare Bildnisse in Auftrag, wie die vorliegenden Werke und die Doppelporträts der Eheleute Langenbach (Inventarnr. GK1320 und GK1321) und Weyland (Inventarnr. GK1455 und GK1456) im Hessischen Landesmuseum in Darmstadt bezeugen.
Literatur: Barbara Bott, Gemälde hessischer Maler des 19. Jahrhunderts im Hessischen Landesmuseum Darmstadt, Darmstadt 2003, S. 123 - 133 (vgl.).
 

starting price: 400,- EUR