RKD STUDIES

Bibliography – H/J

... ismus, Bremen (Kunsthalle Bremen) 1998-1999...

... n: Zeichnungen aus dem Nachlass des Historischen Vereins von Oberbayern, Cologne 200...

... andse kunstenaarsvrienden, Hannover (Niedersächsisches Landesmuseum) Assen (Drents Museum) 2006-...

... is 1759-1841: Landschaft und Menschenbild, Munich 1991...

... isches Archiv, XCV), Munich 1972...

... ischbein d. Ä. 1722-1789, Kassel (Neue Galerie Kassel) 1980-1990...

... sche Malerei des 18. Jahrhunderts (diss.), Vienna 1983...

... ismus: Bestandskatalog der Gemälde in den Staatlichen Museen Kassel, Kassel 2003...

... ünchen befindlichen Gemälde alter und zeitgenössischer Meister [Wilhelm Löwenfeld]. Munich 1897...

... dem Muster von John Smith's catalogue raisonné, Esslingen a N./Paris 1907-1928...

... is, Würzburg (Museum im Kulturspeicher) 2013...

... r Zeit: Landschaft im 19. Jahrhundert zwischen Wirklichkeit und Ideal, Aachen (S...

... Anhang von allem was in öffentlichen und Privat-Gebäuden, merckwürdiges von Kunst-Sachen zu sehen ist, Frankfurt am Main 1780...

... ytens der Jüngere, Vienna (Österreichische Galerie Belvedere) 2014-2015...

... ists before 1800, London 2006 (online, updated 26 February 2018)...

... iscovery of Frans Hals’, in: S. Slive, P. Biesboer et al., Frans Hals, Haarlem (Frans Halsmuseum), London (Roy...

... Bildern von Johann Georg Platzer und Franz Christoph Janneck, Salzburg (Residenzgalerie Salzb...

6.8 Admiration for Frans Hals

... olph Menzel (1815-1905) we know, that he loved the Dutch masters and admired the ‘truly spirited and solid materialism’ of the French [3-4].3 The breezy, unconventional paintings of his early and middle period have a freshness that reminds us of the Haarlem School....

... but there are portraits of Dutch girls in his oeuvre that strive to emulate Frans Hals and Judith Leyster, both technically and stylistically [10].5...

... ate his technique. It is said of him that ‘Frans Hals had become the patron, whose protection he recommended for himself and his friends’.8...

... Uhde (1848-1911)11 [18-20] were artists, who venerated the same ‘patro...

... ted journeys fortified the ties of friendship to the old and the living masters of Holland. 14 Thus, in conclusion, we are happy to see, that Dutch painting of the 17th century occasionally awakened artistic powers in a younger generation, without degenerating into a tasteless and impersonal imitation....

6.6 Landscape in the 19th Century

... unich and Berlin, like Albrecht Adam, Peter Hess and Carl Schulz, who in the beginning still copied Philips Wouwerman, now painted realistic war pictures. Rudolf Kuntz (1797-1848), the horse painter from Karlsruhe, copied Potter’s bull from the Czernin Collection [1],1 ...

... n, but also the warm colors and the artistic merging in the painting [7]. In this way he arranged the Upper Bavarian landscape and folk life in his works [8]....

... of Aelbert Cuyp and Nicolaes Berchem. Despite the change in taste, Berchem’s legacy was not completely forgotten, and complemented with a ‘Cuyp Renaissance’ as a new element [15-16]....

... e unthinkable without the example of Aelbert Cuyp.5 Even a contemporary artist like Erik Richter (1889-1981) painted landscapes in Cuyp’s yellow light...

... enes, like Johann Christian Dahl and Christian Ezdorf (1801-1851), found the mountain romanticism they were looking for in Jacob van Ruisdael and Allaert van Everdingen [24-26]....

... is solid technique was most certainly a positive result from this unworthy business. His redemption came from the study after nature, as he stated himself. This is certainly correct, as he only became a creative artist from that time on....

... ich Rosenkranz (1801-1851) from Frankfurt am Main ‘studied Nature, Jacob van Ruisdael and Allaert van Everdingen’ [34-36].11...

... more and more [41].13 Achenbach´s torrents would often be completely outdated and old-masterly, if modern staffage didn’t disturb the harmony [42-45].14...

... tist who created panoramic landscapes, first in Munich and then in Paris, after the example of Georges Michel in the Dutch way, which do not...

5.2 Genre Painting

... hings he painted. He was active in Vienna and Hungary in the 1760s and created very curious genre paintings, that show a mixture of Adriaen van Ostade and Frans van Mieris [4-6].2 Dutch engravings by Cornelis Visscher II supplied him with a depiction of the Seller of Rat Poison and from David Teniers II and Jan Josef Horemans I he got suggestions for pictures with kitchen scenes and larders....

... 8] with a stone window sill after the recipe of Frans van Mieris and Gerard Dou [9]. Just as with these Leiden painters, you...

... logical paintings, which are nothing but a revitalization of the art of the Mannerists like Joachim Wtewael, brought him the name of an ‘Austrian Goltzius’ [13-15]. Furthermore he must have known and used Flemish genre paintings, from Hans Rottenhammer and Jan Brueghel [16] until Theodor Rombouts and Jan Thomas [17-19], while other paintings show clearly more connections with the art of Sebastiano Ricci. But all th...

... scenes [20-22] and landscapes even more Flemish and less witty than Platzer.5 He sometime...

5.1 Rembrandt's Example For Portraitists and History Painters

... ky (1665/1666-1740) [1-3],1 was not altogether insensitive to Dutch conceptions of portraiture, but during his long stay in Italy - he was 17 years abroad - he became acquainted with other artistic ideas.2 Kupezky was mainly in Venice, before prince Johann Adam Andreas von Liechtenstein (1657-1712) summoned him to Vienna, where he worked until 1720....

... elegance or a pose that could have been taken from Van Dyck. His works are not created with grandiose brushstrokes but rather tend towards a kind of fine painting as practiced by the younger Balthasar Denner in Northern Germany. In the taste of these fine painters, he sometimes surrounded his portrait with a stone windowsill [7].5...

... t’s be glad at least, that he didn’t forget to mention Rembrandt among the good portraitists!In the work of Christian Seybold (1695-1768) [8-9] from Mainz,7 who lived in Vienna since 1740, one sometimes notices reminiscences of Dutch fine painters, especially when he renounced official portraiture for once and dedicated himself to genre painting, for which he sought inspiration in the masters of Haarlem [10].8...

... he art of the ‘baroque’ Rembrandt. Heinrich Friedrich Füger (1751-1818) etched a Judas after Rembrandt’s example in 1767, when he was 16 [13].11This would not be worth mentioning, if we didn’t observe the Dutch example clearly in his earliest portraits, such as his Self-Portrait in Kiel [14-15].12 The large hat shadowing his eyes and the turn of the body are not just random external appearances, but rather elements in the construction of a portrait type which Rembrandt had introduced and which was deliberately used by posterity.13...

... of portraits of Grassi and Füger did not deviate from the contemporary classicist conception. During the whole of the 18th century head studies in baroque st...

4.3 Landscape Artists in Munich

... it is awkwardly expressed in the chancellery phrasing of the time, one sees and hears clearly why those little Dutch paintings were considered useful. In 1768 he went to Johann Georg Wille in Paris, whose teaching was based on the same principles. As a landscapist in the service of Mannheim he painted many Dutch conceived, decorative paintings over the next years. Jan Both, Nicolaes Berchem and Jan Wijnants are essentially his examples [2-5].3 He also received commissions to make paintings ‘as a substitute for the Dutch masters’.4...

... in Mannheim, that would help him to find a style [6]. In those days he made many aquatint sheets after Nicolaes Berchem, Jan Both, Dirk van Bergen, Johannes Lingelbach, Willem Romeyn, Johann Heinrich Roos, Adriaen van de Velde, Philips Wouwerman [7] and others. His own pictures lie midway between Adriaen van de Velde [8],7 Johann Heinrich Roos and Willem Romeyn....

... of late animal etchings, which were based on meticulous drawings. Nowadays it seems odd to us, that the artist of those days had to take a detour over the Dutch masters to arrive at a simple, almost arid realistic landscape. The careers of the Kobells also demonstrate very well, that the road from Nicolaes Berchem and Jan Both, the most popular artists in the 18th century, led to Jacob van Ruisdael and Paulus Potter, before ‘Nature itself’ was reached....

... e picture from it, which has its own appeal [17].12 Apart from animal pieces [18-20] he created some panorama landscapes, that resembled good and strong Dutch models, such as Guillam Du Bois and Philips Koninck [21]....

... ion, born in the 1780s and 1790s, hardly needed the old Dutch masters. Peter von Hess (1792-1871) and Albrecht Adam (1786-1862) belong to this generation.15 In the absence of another teacher, Von Hess seems to have formed himself after the Dutch genre painters and Albrecht Adam trained himself in copying paintings by Philips Wouwerman [24-26]. However, both artists succeeded in the transition to the real genre painting à la mode and healthy naturalism; no trace of Wouwermans can be seen in their pictures anymore [27]....

3.4 Still-Life, Genre and Architectural Painting

... Thomas Wyck [1-4].3The still-life element in them gradually took on greater importance, until he at last devoted himself exclusively to still-life and flower painting. They are neat works in the manner of Jan Davidsz de Heem and of Jan van Huijsum [5-8]. From the few words, with which Goethe characterized his art, we feel how Dutch his creations were perceived: ‘Juncker, who very cleanly executed flower- and fruit pieces, still-lifes and quietly occupied people after the manner of the Dutch masters’....

... pecially the rendering of the painting cabinet of the Frankfurt collector Gogel II, are constructed according to Flemish prescriptions [12].4...

... 820) copied his own picture collection in pastel [14-17];6 especially highlighted are his copies of dead rooster and hares by Abraham Mignon and Jan Weenix ‘with […] the many...

... d Johann Andreas Benjamin Nothnagel, excelled in this. He also visited the academy of Salzdahlum and worked in Hamburg and Darms...

... style [25-27]. It is said, that that he learned architectural painting in Italy with Antonio Galli di Bibiena, but his church paintings from Frankfurt are no less Netherlandish than those of Morgenstern, who occasionally provided his works with staffage figures. A younger Friedrich Stöcklin (1770-1828) cultivated this genre somewhat less schematically even in a later era [28-29]....

3.3 Landscape Painters

... ll known in their time [1-4]. Valley landscapes from the vicinity of Frankfurt are modelled on the pattern of Christian. Georg Schütz, which in no way means that they were modern pictures.1...

... admixture of German romanticism. Schütz also painted landscapes with ruins in the manner of Frederik de Moucheron and his followers [8-9]; the night effects of Aert van der Neer are also echoed [10]. The Goethe Museum in Frankfurt retains a view of this city by him. The landscape itself with a forest lake in the foreground could have been lifted without alteration from a Ruisdael painting [11]....

... d another direction; he occupied himself with the works by Rubens in Düsseldorf and during a stay in Rome he studied classical art [14]. Finally we have to mention Christian Georg Schütz II (‘the cousin’, 1758-1823), who imitated the Italianate Dutch masters and furthermore painted topographically correct Rhine views [15], which do ...

... 1796) is said to have studied and copied especially the landscapes of Jacob van Ruisdael [18-20]....

... n we might also include somewhat Flemish oriented masters like Johann Andr...

... Wouwerman’ [32-34].8 He spent his first years in Kassel, where he became friends with Johann Heinrich Wilhelm Tischbein. Von Gwinner contested the idea that we count Pforr among the imitators of Wouwerman, as ‘his only example was nature’.9 In a way we have to agree with him. Though one clearly notices the reminiscences of Aelbert Cuyp and Phlips Wouwerman in his paintings of horses, he succeeded in achieving a picture with a personal view.10 Johann Friedrich Morgenstern (1777-1844), a pupil of Klengel, painted panorama landscapes, which do not transcend the topographical representation [35]....

2.3 Portrait and Landscape Painters in Braunschweig

... self-portrait in Braunschweig may serve as an example of this: it unites Rembrandt and the Haarlem tradition [1].1Johann Georg Ziesenis (Copenhagen 1716-Hannover 1776) was in Holland for a long time as a portraitist, but Dutch 17th-century art had no impact on his work [2-3].2...

... rom a Dutch family, in particular of his Self-Portrait with Shadowed Face (B...

... paintings are very rare nowadays, but some etchings after Rembrandt support this oral tradition [9-12].4...

... e was the son of the Braunschweig court-painter Tobias Querfurth, who married the daughter of painter Joachim Luhn, who is well known to us. We will encounter August Querfurt again when we come to speak about Vienna, where he settled in 174...

... he manner of Jacob van Ruisdael, to such an extent had he familiarized himself with the technique and the conception of Dutch art. From 1788 he was also the head of the gallery of Salzdahlum. Again, one gets the impression that the Dutch landscapists served as a justification for 18th-century artists who wanted to paint a realistic-romantic landscape during a time in which elegant, French portraiture or conversation pieces were the only presentable thing....

... in contact with Johann Georg Wille in Paris, who sent his pupil J.L.L.C . Zentner (active c. 1783-1794) to Braunschweig to make prints after Weitsch’s paintings. Weitsch jr. provided paintings by his father and old Dutch masters to the collector Bernhard Hausmann (1784-1873) in Hannover.11 His knowledge of old painting may explain why he was sent to Paris in 1815, to reclaim the robbed art works....

... imitation of Dutch masters. It is true-blue bourgeois German art. Why then, out of the blue, he painte...

1.5 Christian Wilhelm Ernst Dietrich

... 743-1744 to Italy and worked in between for a year in Braunschweig. He seldom painted direct copies after the old masters (although such copies do exist) [1-3],3 but he knew how to make pleasing paintings in the taste of the 17th-century Dutch masters [4-5]....

... .4 The painters from the peasant genre onto the fine painters, Adriaen van Ostade till Willem van Mieris II, are not forgotten....

... erbrand van den Eeckhout) [12-13]. Furthermore there are two pieces in Braunschweig of 1737 [14], that hold reminiscences of Gerbrand van den Eeckhout and Jan Victors (he studied the Old Masters in Salzdahlum!) and another Pre...

... s to admit that although his technique is Dutch trained, it is personal and doesn’t lack a certain appeal, an assertion which cannot be made about the slick Dou imitations of other artists. Dietrich can only be understood in the context of the artistic life in Dresden. As a collector his prince August III moved in all styles and this historic-esthetic approach found an echo in the painter/museum director, which made him into a peculiarly ambiguous figure. That he was more attracted by the Dutch masters than by other art, may have its origin in the realistic-bourgeois basic attitude....

... talogues of the late 18th century Dietrich, often classified as ‘École des Pays Bas’ [‘Dutch School’], is a regular customer.In Germany Carl Friedrich Holtzmann (1740-1811) worked after models by Dietrich, at least as an engraver [23]. The little that we have seen from his alleged 2000 images, doesn't allow us to suppose a Dutch training in the manner of Dietrich.11 As theorists Anton Raphaël Mengs (1728-1779) and the classicist Adam Friedrich Oeser (1717-1799) were still under the spell of the Rembrandt veneration [24-26],12 although there are no traces to be found in their paintings of a liveliness and a chiaroscuro in the manner of Rembrandt.13...

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