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The 18th and 19th
Centuries
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Neoclassicism and Romanticism
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(Neoclassicism,
Romanticism and
Art Styles in 19th century -
Art Map)
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Nazarenes
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Franz Pforr
Philipp Veit
Leo von Klenze
see collections:
Johann Friedrich Overbeck
Peter von Cornelius
Johann Heinrich Ferdinand von Olivier
Julius Schnorr von Carolsfeld
see also:
The
Bible Illustrations
by
Julius von Carolsfeld
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The Nazarenes
In 1809, the young German painters Franz Pforr (1788-1812) and
Johann Friedrich Overbeck (1789-1869) founded the Brotherhood of St
Luke in Vienna. They settled in Rome a year later, where they lived
and worked with new recruits in the convent of Sant'Isidoro del
Pincio. Because of their flowing hair and monk-like appearance, they
were called the Nazarenes. Within the confines of the Brotherhood,
their daily life was based on fraternity and ascetic poverty. As
artists, the members set out to revive the art of painting by
following an ideal of simplicity and sincerity, in conflict with the
academic principles of their time. Their reworking of ancient sacred
an was based on a sobriety of
colour and line that had many sources of inspiration, including
Fra Angelico, the early works of
Raphael, and older northern masters
from
van Eyck to
Durer. For the Nazarenes, art was a divine mission,
elevated to the level of true faith. The celestial origin of sacred
art was celebrated by Philipp Veit (1793-1877) in his frescos in the
Villa Massimo of Rome (1819), where he represented the three great
Italian poets - Dante, Ariosto, and Tasso -alongside the saints and
fathers of the church. Between 1826 and 1839,
Peter von Cornelius
(1783-1867) gave artists sacred status in the loggias of the Munich Pinakothek (1826-30) and the Stadel Institute of Frankfurt with his
Triumph of Religion in the Arts(1829). In portraits, there was a
mood of contemplation. In the intimate portrayal of friends,
pictures reveal subtle nuances of character, in a style far removed
from the canons of official portraiture. The original spirit,
derived from the masters of the 15th century that had brought the
Nazarenes together, lasted only for a short time. The fresco cycles
that decorated the home of the German consul Bartholdy (1816-17) and
the Villa Massimo already showed affinities with the style of the
Renaissance of the early 16th century. Pforr died before the age of
25 and Cornelius was summoned, together with
Heinrich von Olivier
(1785-1841) and
Julius Schnorr von
Carolsfeld (1794-1872), to Munich
by Ludwig. The king encouraged a popular, educational style of
painting and commissioned them to adorn the city's public buildings
with patriotic, humanistic frescos. The art of the Nazarenes assumed
an official role with
Cornelius' paintings - which formed part of
the Glyptothek (1819-30), the museum of ancient art designed in a
Greek style by Leo von Klenze. Thanks, too, to
Carolsfeld's cycle of
the Nibelungen (1827) for the Konigsbau (the royal residence in
Munich open to visitors), an artistic interpretation of national
mythology assumed an educational function.
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Franz Pforr
(b Frankfurt am Main, 5 April 1788; d Albano, nr Rome,
16 June 1812). German painter and draughtsman.
He received his earliest training from his father, the painter
Johann Georg Pforr (1745–98), and his uncle, the art professor and
first inspector of the painting gallery in Kassel, Johann Heinrich
Tischbein the younger (1742–1808). In 1805 he became a student at
the Akademie der Bildenden Künste in Vienna, which was dominated by
the severe Neo-classicism of its director, Heinrich Füger; he was
taught by Hubert Maurer (1738–1818), Franz Cauzig (1762–1828) and
Johann Martin Fischer. During the war with France in 1805, Pforr
volunteered as a guard in the Vienna militia. He suffered a nervous
breakdown, brought on by the conflict between his passionate longing
for a contemplative life and a desire to see military action. He
probably turned to religion to help sustain his mental equilibrium.
In 1806 he resumed his academic studies and, believing himself
destined to become a battle painter, made numerous drawings of
historical battles, for example his still schoolish and baroquely
composed Wallenstein in the Battle of Lützen (1806; Frankfurt
am Main, Städel. Kstinst. & Städt. Gal.). However, it was not until
1807, with Drawing with Twelve Travel Sketches (Frankfurt am
Main, Stadt- & Ubib.), that he first began to overcome his
beginner’s style and to develop his own. This resulted in reduced
detail, simplified continuous contours, a structuring by means of
planar rather than illusionistic criteria, a new clarity of vision
and a chastened balance between nature and artistic conception.
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Franz Pforr
Self-Portrait
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Franz Pforr
St George and the Dragon
1811
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Franz Pforr
Shulamit and Maria
1810
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Franz Pforr
Rudolf von Habsburg und der Priester
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Jean-Auguste-Dominique Ingres
Entry into Peris of the Dauphin, the
Future Charles V
1821
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INGRES AND THE NAZARENES
Certain similarities tan be found between the puritanical spirit of
Pforr and the style of
Ingres, which was defined by David and his
school during a particular period of the artist's activity as
"Gothic" and "dry and clipped". In Pforr's
The Entrance of Rudolf of
Hapshurg into Basle in 1273, the minute detail of faces and costumes
of the animated crowd filling the narrow streets seems to be an
informed interpretation of a scene from medieval life; in fact, the
painting displays anachronisms that spring from the wish to revive a
lost age. In his Entry into Peris of the Dauphin, the
Future Charles, Ingres discarded the excessively-primitive nature of
Gothic painting, as revived by Pforr, with its absence of
atmosphere, depth, and pathos, preferring soft brushwork to the dry
technique of the Nazarenes.
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Franz Pforr
The Entry of Emperor Rudolf of Habsburg into Basle
1809-10
Oil on canvas, 90 x 119 cm
Städelsches Kunstinstitut, Frankfurt
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NORTH AND SOUTH
During this period, many great contemporary artists found an
irreconcilable problem in the duality of classicism and medievalism,
pagan mythology and Christian iconography. North and South, and
German and Mediterranean culture. They felt that this caused them to
oscillate between two mutually incompatible outlooks. The young
Goethe, for example, was seduced by the impetus of the medieval
revival, but, as an adult, under the influence of Winckelmann, he
came to embrace the very reverse properties - simplicity, measure,
and balance. The Nazarenes endeavoured to establish harmony between
the two opposites, the ideal incarnated by Raphael and the spirit of
German tradition. In
Overbeck's Italy and Germany, the women representing the two
extremes sit happily together.
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Johann Friedrich Overbeck
Italy and Germany |
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Philipp Veit
St. Anne Teaching the Virgin to Read
1869
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Philipp Veit
(b Berlin, 13 Feb 1793; d Mainz, 18 Dec 1877).
German painter. The stepson, from 1804, of Friedrich von
Schlegel, he studied (1808–11) at the Akademie in Dresden
under Friedrich Matthäi (1777–1845) and Caspar David
Friedrich. He showed talent in drawing but, on moving to
Vienna in 1811, had difficulties with painting in oil, and
turned to watercolour. Through Schlegel, Veit came to know
many of the leading Romantics in Vienna, such as the poet
and novelist Joseph von Eichendorff. In 1813–14 Veit took
part in the campaign against Napoleon and returned briefly
to Berlin. In 1815 he completed a votive picture, the
Virgin with Christ and St John, for the church of St
James in Heiligenstadt, Vienna, inspired by the work of
Pietro Perugino and Raphael. In 1815 Veit left for Italy
where he stayed until 1830. In Rome he joined the circle
around Friedrich Overbeck and Peter Cornelius, becoming a
leading Nazarene. With these artists he took part in
providing fresco decorations (1816–17) for the Casa
Bartholdy (now the Bibliotheca Hertziana): Veit painted the
scene of Joseph and Potiphar’s Wife and a decorative
lunette allegory, the Seven Years of Plenty (both now
Berlin, Staatl. Mussen, N.G.). In 1818 Veit was commissioned
to paint the fresco of the Triumph of Religion in the
Museo Chiaramonti in the Vatican, one of a series of murals
recording the services of Pope Pius VII to science and art.
Veit also took part in the decoration of the Casino Massimo
in Rome (1818–24), painting the ceiling of the Dante Room
with the Heavens of the Blessed and the Empyrean.
In these frescoes and in his Maria Immaculata in
Trinità dei Monti (1829–30) Veit proved himself the finest
colourist of the Nazarene artists. While in Rome, Veit also
painted some excellent portraits, notably a Self-portrait
(c. 1816; Mainz, Landesmus.). He also produced a fine
series of pencil drawings of his fellow German artists in
Rome (e.g. Mainz, Landesmus.).
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Philipp Veit
Italia
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Philipp Veit
Germania
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Philipp Veit
Germania
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Philipp Veit
Ecce Homo
1819
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Philipp Veit
Joseph and Potiphar’s Wife
1817
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Philipp Veit
ReligionFigure from the fresco in the Museo Chiaramonti
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Philipp Veit
The rest on the Flight
1840
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Philipp Veit
Die sieben fetten Jahre
Lunette des Freskenzyklus der Casa
Bartholdy, Berlin, Alte Nationalgalerie
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Leo von Klenze
Glypothek
1816
Munich
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b. 1784 Schladen, Germany, d. 1864 Munich,
Germany painter
An architect, painter, and writer, Leo von Klenze is most
noted for his work as court architect to Ludwig I, king of
Bavaria. He designed streets, squares, and numerous
monumental buildings that set the scale and tone of Munich,
the Bavarian capital. His other European commissions ranged
from Athens, where he was the first to take steps to
preserve the Acropolis, to Saint Petersburg, Russia. In
addition to building, Von Klenze studied public building
finance, designed and arranged museum galleries of ancient
art, and was an accomplished painter. His paintings exhibit
a richness of detail and special attention to light and
compositional space. He successfully combined his talent for
sharp observation with an equal and complementary ability to
improve upon nature. On his visits to Italy, he both drew
and painted landscapes and examined the remains of Greek
temples as sources for his archaeological Greek style.
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Leo von Klenze
Ruhmeshalle in Munich
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Leo von Klenze
Napoleon in Portoferraio
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Leo von Klenze
Idealized view of the Acropolis and the Areopagus in Ahens
1846
Oil on canvas, 103 x 148 cm
Neue Pinakothek, Munich
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Leo von Klenze
Landscape with the Castle of Massa di Carrara
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Leo von Klenze
The Camposanto in Pisa
1858
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see collections:
Johann Friedrich Overbeck
Peter von Cornelius
Johann Heinrich Ferdinand von
Olivier
Julius Schnorr von Carolsfeld
see also:
The
Bible Illustrations by
Julius von Carolsfeld
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