#german neoclassicism

[the-evil-clergyman]

Ruhende Nymphe by Anselm Feuerbach (1870)

[beatricecenci]

Anselm Feuerbach (German, 1829-1880)

Bianca Cappello

[lionofchaeronea]

Orpheus and Eurydice, Anselm Feuerbach, 1869

[die-rosastrasse]

Carl Schlüter, Fraulein Bierling (1883)

Displayed at Albertinum, Dresden

Picture credits belong to this blog

[life-imitates-art-far-more]

Johann Heinrich von Dannecker (1758-1841) "Lesbia and her Sparrow" Marble Neoclassical

[moss-777]

Undine Rising from the Waters, Chauncy Ives, marble on a rouge pedestal, 1884

[zoeandsubaloveart]

Anselm Feuerbach (German, 1829-1880)

Self Portrait as a Young Man

[eirene]

Self-portrait as David with the head of Goliath Johan Joseph Zoffany

[galleryofart]

Queen Theresa of Bavaria

(Born Princess of Saxe-Hildburghausen)

Artist: Joseph Karl Stieler  (German, 1781–1858)

Title: German: Königin Therese von Bayern im Krönungsornat

Genre: Portrait

Style: Historical Period Neoclassicism - 1780-1820 & Romanticism - 1810-1870

Date: 1826

Collection: Neue Pinakothek, Munich, Germany

Queen Theresa (1792-1854) was a daughter of Frederick, Duke of Saxe-Altenburg, and Duchess Charlotte Georgine of Mecklenburg-Strelitz, eldest daughter of Charles II, Grand Duke of Mecklenburg-Strelitz. As a child she had grown up in the rather modest capital of her father’s small duchy of Saxe-Hildburghausen, and not in his later capital of Altenburg, which he acquired after the Saxon dukes reorganised their states in 1826. In 1809, Theresa had been on the list of possible brides for Napoleon, but following the latter’s marriage to the Archduchess Marie-Louise, she married the Bavarian Crown Prince Ludwig, on 12 October 1810. Their wedding was the occasion of the first ever Oktoberfest, which has been repeated almost every year since.

Her husband succeeded as king in 1825 but his numerous love affairs caused her some pain, which she tolerated while refusing to allow his mistresses to attend her at court. On one occasion, in 1831, she left the capital to make her disapproval clear – nonetheless, despite the difficulties in their marriage she was the mother of nine children, the oldest, Maximilian, succeeding as king when Ludwig was deposed following the 1848 revolution. Therese proved to be a capable royal consort, heading the government during her husband’s frequent foreign trips, and having some considerable political influence. She was particularly popular with the Bavarian public and was considered the embodiment of an idealised image of queen, wife and mother and was involved in a great number of charitable organisations for widows, orphans and the poor. She was the object of great sympathy during her husband’s very public infidelity with the notorious courtesan, Lola Montez, which contributed to the demands for his abdication in 1848.

This painting must be particularly noted for the extraordinary attention to the queen’s silk embroidered robes, her bracelets, necklace and earrings and the splendid tiara placed alongside the royal crown. Her robe is embroidered with gold leaves and flowers and along the bottom edge the blue and silver diamond lozenges of the Wittelsbach arms are sewn into gold edged ovals. An ermine robe hangs from over her shoulder to the ground and in her left hand she holds a gold bejewelled fan. Despite its small scale this superbly executed portrait holds the viewer’s attention in every detail, and is a testament to the artist’s mastery of grand, royal portraiture.

[permament-witzelsucht]

Karl Friedrich Schinkel (1781 - 1841), design for Monument in Luisenplatz in Gransee

[lemandro-vive-qui]

Gothic Cathedral by a River (in tedesco - Gotischer Dom am Wasser) - Karl Friedrich Schinkel (1813)

(Due diverse illuminazioni)

[beatricecenci]

Anselm Feuerbach (German, 1829-1880)

Medea an der Urne

[ankhbot]

The Alte Nationalgalerie is a listed building on the Museum Island in the historic centre of Berlin, Germany.

© timo bernhard, all rights reserved

analoglens

[art-portraits]

William Fermor

Artist: Anton Raphael Mengs (German, 1728–1779)

Style: Neoclassicism

Genre: Portrait

Date: 1757

Medium: Oil on Canvas

Collection: Ashmolean Museum, Oxford

The eldest son of Henry Fermor of Tusmore, Oxfordshire, William Fermor (1737–1806) went on the Grand Tour in 1757–1758. Like other English visitors to Rome, he had his portrait painted by both Mengs and Pompeo Batoni: the latter portrait (1758) is now in the Kress Collection, Museum of Fine Arts, Houston. His elegant costume is not masquerade dress, despite the old inscription. Mengs's portraits are sober and frank in approach, with a polished finish.

[thetudorslovers]

"The pageants that greeted Anne as she processed through the City to her coronation included three with neoclassical themes. The first of these, at “gracious churche corner” – the turn from Fenchurch Street into Gracechurch Street – showed “mounte pernasus with the founteyne of helicon.” Figures of Apollo and the Muses were accompanied by epigrams and posies written in gold at their feet, praising Anne. The pageant was provided by the merchants of the Hanse, the resident community of North German merchants, and was almost certainly designed by Hans Holbein. The second neoclassical pageant, at the Conduit in Cornhill, showed the Three Graces; while the third, at the Little Conduit in Cheapside, depicted the Judgement of Paris. Other pageants continued the medieval tradition of identifying a queen consort with the Virgin Mary and other biblical heroines and saints; part of their function, in the wake of the King’s divorce, the schism from Rome, and extensive political upheaval, was to assert continuities with the past. However at the same time the introduction of neoclassicism was a significant innovation, identifying Anne’s elevation with the creation of a new, independent England requiring a new language of symbolism." - Anne Boleyn’s legacy to Elizabeth I: Neoclassicism and the iconography of Protestant Queenship, Helen Hackett

[royalty-nobility]

Maria Luisa de Parma, Queen Consort of Spain

Artist:  Anton Raphael Mengs, (German, 1728 - 1779)

Genre: Portrait

Date: 1765

Collection: Museo de Prado, Madrid, Spain

María Luisa of Parma, Princess of Asturias

Mengs painted these portraits of the heirs to the Spanish throne -the prince and princess of Asturias, Carlos de Borbón and Maria Luisa of Parma- on the occasion of their wedding. As the daughter of Philip I, Duke of Parma, and Louise Isabelle of France, and thus granddaughter of Kings Philip V and Louis XV, Maria Luisa was Queen Consort of Spain between 1788 and 1808.

She wears a light-colored dress with green and white flowers and an open neck. The insignia of the Order of the Starred Cross of the Holy Empire rests on her bosom, and small diamond brooches are visible under her chignon. Her long earrings and sumptuous necklace are also of diamonds. A pearl bracelet adorns her right hand, which holds two carnations, while the left, which holds a closed fan, has a pearl bracelet with a miniature portrait. Mengs places the princess alongside a wooden balustrade that opens onto a vast wooded park with a hill and a waterway. The large stone vase with flowers and various branches on the left strengthens the effect of perspective and depth. Maria Luisa was fifteen when this portrait was made. She was born in Parma in 1751 and died in Rome in 1819. Here, her facial features do not yet show the changes produced when she lost all her teeth. The resulting expression when her mouth was closed was later reflected perfectly in numerous portraits that Francisco de Goya painted when she was queen.

An absorbing wife with a strong character, she shaped the king’s behavior, paving the way for the rapid political ascent of his favorite, Manuel Godoy. This, in turn, affected many events during Charles IV’s reign, and in the long run, it contributed to his dethronement. This painting is a fine example of Mengs’s court portraits. It still bears traces of Rococo elegance, but its formal and conceptual rigor foreshadow the esthetic ideals of Neoclassicism.