Our painting is an oil study by the German painter Friedrich Preller (1804-1878), who is commonly referred to as Friedrich Preller the Elder, in order to distinguish him from one of his sons, Friedrich Preller the Younger (1838-1901), who also became a painter.
Friedrich Preller the Elder was born in Eisenach, in Thuringia, in 1804 and studied at the Weimar school of drawing between 1818-1821. He spent some time in Dresden between 1820-24, where he came to know the work of J.C. Dahl and, most probably, became acquainted with the art of Caspar David Friedrich. Whilst in Weimar, Preller had impressed Goethe, who encouraged Preller in his artistic development by financing the student's foreign sojourns in Italy between 1828-1831. Whilst in Italy, Preller met the landscape artist Joseph Anton Koch, whose artistic influence was to stay with Preller throughout his life.
Upon his return to Weimar in 1832, Preller became director of the school of drawing. He embarked upon a lucrative career, and became known for his murals of scenes from Homer's Odyssee for the house of the Leipzig publisher Hermann Härtel. It was the fame that he achieved through this assignment that led to him being commissioned to produce similar murals for the new museum in Weimar in the 1860s. Similar paintings by Preller showing scenes from Homer can today be seen in the Schack Gallery in Munich [1].
However, Preller also made a number of landscape paintings, following various travels throughout Germany, for example to the island of Rügen in 1837. What becomes apparent from these landscapes, is Preller's ability to evoke a sense of Romanticist mood, which draws in good part on his appreciation of his native country's scenery. Our study, although undated, shows us how Preller was able to create a very convincing depiction of a slice of nature, whilst at the same time clearly drawing on the theme of the "lone tree" that was a common motif in German Romantic art, and more particularly the work of the Dresden school of Friedrich and Dahl. The large oak at the front of our composition dominates, but the other trees, as well as the small clusters of flowers at the foreground, are given almost equal prominence [2]. It is perhaps this link between painterly realism and romanticism that led one German art historian to associate Preller with Dahl and Adolph von Menzel [3], who between them embodied various strands of Romanticism and Realism in German art.
Although the precise location of the group of trees in our painting is unclear, it would seem (based on the inscription) that it was painted in Tiefurt, which is today part of the greater Weimar conurbation. It is the location of a small stately home and a park, which formed part of the summer residence of duchess Anna Amalia of Brunswick. Following her death in 1807, the home and park fell into disuse, although the park was remodelled between 1846-1850, when many of the trees that still determine its appearance today were planted. It may well be that Preller therefore produced our oil sketch during this period, although it has been suggested that he might have painted it during the 1830s. [4]
Although Friedrich Preller was regarded as one of the most important German artists during his lifetime, his reputation waned during the 20th century. Although some of the art with which he made his name during the 19th century, like his rather elaborate murals, is today undoubtedly an acquired taste, his influence on German 19th-century art was not inconsiderable. He was mentor and teacher to a great number of German artists who attained achievement in their own right, like Edmund Kanoldt and Carl Hummel.
Our oil study was kept by Preller until his death, after which it passed to one of his sons, Emil. The understated qualities of the study were endearing enough for Emil Preller to select it as a gift for a treasured colleague and fellow medic, Friedrich Hassenstein, who ran a Sanatorium in Ilmenau, Thuringia.
_________________________________
1. Herbert W. Rott (ed), Sammlung Schack. Katalog der ausgestellten Gemälde (Munich, 2009), pp. 142-145.
2. Preller painted the motif of the "lone tree" several times in his career. See, for example, his "Old oak", oil on paper, 32,5 x 41 cm, Kunsthalle Bremen, inv. nr. 446-1937/18.
3. Hans Joachim Neidhardt, Deutsche Malerei des 19. Jahrhunderts (Leipzig, 1997), pp. 36/7.
[4]. The home (Schloss Tiefurt) and the park are today listed UNESCO world heritage sites. A possible dating of the painting in the 1830s has been suggested by Professor Reinhard Wegner of the University of Jena, Germany.
Friedrich Preller the Elder was born in Eisenach, in Thuringia, in 1804 and studied at the Weimar school of drawing between 1818-1821. He spent some time in Dresden between 1820-24, where he came to know the work of J.C. Dahl and, most probably, became acquainted with the art of Caspar David Friedrich. Whilst in Weimar, Preller had impressed Goethe, who encouraged Preller in his artistic development by financing the student's foreign sojourns in Italy between 1828-1831. Whilst in Italy, Preller met the landscape artist Joseph Anton Koch, whose artistic influence was to stay with Preller throughout his life.
Upon his return to Weimar in 1832, Preller became director of the school of drawing. He embarked upon a lucrative career, and became known for his murals of scenes from Homer's Odyssee for the house of the Leipzig publisher Hermann Härtel. It was the fame that he achieved through this assignment that led to him being commissioned to produce similar murals for the new museum in Weimar in the 1860s. Similar paintings by Preller showing scenes from Homer can today be seen in the Schack Gallery in Munich [1].
However, Preller also made a number of landscape paintings, following various travels throughout Germany, for example to the island of Rügen in 1837. What becomes apparent from these landscapes, is Preller's ability to evoke a sense of Romanticist mood, which draws in good part on his appreciation of his native country's scenery. Our study, although undated, shows us how Preller was able to create a very convincing depiction of a slice of nature, whilst at the same time clearly drawing on the theme of the "lone tree" that was a common motif in German Romantic art, and more particularly the work of the Dresden school of Friedrich and Dahl. The large oak at the front of our composition dominates, but the other trees, as well as the small clusters of flowers at the foreground, are given almost equal prominence [2]. It is perhaps this link between painterly realism and romanticism that led one German art historian to associate Preller with Dahl and Adolph von Menzel [3], who between them embodied various strands of Romanticism and Realism in German art.
Although the precise location of the group of trees in our painting is unclear, it would seem (based on the inscription) that it was painted in Tiefurt, which is today part of the greater Weimar conurbation. It is the location of a small stately home and a park, which formed part of the summer residence of duchess Anna Amalia of Brunswick. Following her death in 1807, the home and park fell into disuse, although the park was remodelled between 1846-1850, when many of the trees that still determine its appearance today were planted. It may well be that Preller therefore produced our oil sketch during this period, although it has been suggested that he might have painted it during the 1830s. [4]
Although Friedrich Preller was regarded as one of the most important German artists during his lifetime, his reputation waned during the 20th century. Although some of the art with which he made his name during the 19th century, like his rather elaborate murals, is today undoubtedly an acquired taste, his influence on German 19th-century art was not inconsiderable. He was mentor and teacher to a great number of German artists who attained achievement in their own right, like Edmund Kanoldt and Carl Hummel.
Our oil study was kept by Preller until his death, after which it passed to one of his sons, Emil. The understated qualities of the study were endearing enough for Emil Preller to select it as a gift for a treasured colleague and fellow medic, Friedrich Hassenstein, who ran a Sanatorium in Ilmenau, Thuringia.
_________________________________
1. Herbert W. Rott (ed), Sammlung Schack. Katalog der ausgestellten Gemälde (Munich, 2009), pp. 142-145.
2. Preller painted the motif of the "lone tree" several times in his career. See, for example, his "Old oak", oil on paper, 32,5 x 41 cm, Kunsthalle Bremen, inv. nr. 446-1937/18.
3. Hans Joachim Neidhardt, Deutsche Malerei des 19. Jahrhunderts (Leipzig, 1997), pp. 36/7.
[4]. The home (Schloss Tiefurt) and the park are today listed UNESCO world heritage sites. A possible dating of the painting in the 1830s has been suggested by Professor Reinhard Wegner of the University of Jena, Germany.
Park near Weimar, ca. 1836-1846
Inscribed on the stretcher at the top (in German): "Friedrich Preller ...pinx Tiefurth bei Weimar" and at the bottom: "Seinem lieben Collegen Dr. Hassenstein als Zeichen inniger Dankbarkeit gewidmet von Dr. Preller Ilmenau..."
Oil on canvas
23,6 x 32,7 cm
Provenance
Estate of Friedrich Preller;Collection Dr Emil Preller (1836-1893), son of the artist;
Given as a present to Dr. Friedrich Hassenstein (1852-1909);
German private collection
Literature
Our painting will be included in the catalogue raisonné of the work of Friedrich Preller the Elder, which is currently being prepared by Uwe Steinbrück of the University of Jena, Germany.
Our painting is an oil study by the German painter Friedrich Preller (1804-1878), who is commonly referred to as Friedrich Preller the Elder, in order to distinguish him from one of his sons, Friedrich Preller the Younger (1838-1901), who also became a painter.
Friedrich Preller the Elder was born in Eisenach, in Thuringia, in 1804 and studied at the Weimar school of drawing between 1818-1821. He spent some time in Dresden between 1820-24, where he came to know the work of J.C. Dahl and, most probably, became acquainted with the art of Caspar David Friedrich. Whilst in Weimar, Preller had impressed Goethe, who encouraged Preller in his artistic development by financing the student's foreign sojourns in Italy between 1828-1831. Whilst in Italy, Preller met the landscape artist Joseph Anton Koch, whose artistic influence was to stay with Preller throughout his life.
Upon his return to Weimar in 1832, Preller became director of the school of drawing. He embarked upon a lucrative career, and became known for his murals of scenes from Homer's Odyssee for the house of the Leipzig publisher Hermann Härtel. It was the fame that he achieved through this assignment that led to him being commissioned to produce similar murals for the new museum in Weimar in the 1860s. Similar paintings by Preller showing scenes from Homer can today be seen in the Schack Gallery in Munich [1].
However, Preller also made a number of landscape paintings, following various travels throughout Germany, for example to the island of Rügen in 1837. What becomes apparent from these landscapes, is Preller's ability to evoke a sense of Romanticist mood, which draws in good part on his appreciation of his native country's scenery. Our study, although undated, shows us how Preller was able to create a very convincing depiction of a slice of nature, whilst at the same time clearly drawing on the theme of the "lone tree" that was a common motif in German Romantic art, and more particularly the work of the Dresden school of Friedrich and Dahl. The large oak at the front of our composition dominates, but the other trees, as well as the small clusters of flowers at the foreground, are given almost equal prominence [2]. It is perhaps this link between painterly realism and romanticism that led one German art historian to associate Preller with Dahl and Adolph von Menzel [3], who between them embodied various strands of Romanticism and Realism in German art.
Although the precise location of the group of trees in our painting is unclear, it would seem (based on the inscription) that it was painted in Tiefurt, which is today part of the greater Weimar conurbation. It is the location of a small stately home and a park, which formed part of the summer residence of duchess Anna Amalia of Brunswick. Following her death in 1807, the home and park fell into disuse, although the park was remodelled between 1846-1850, when many of the trees that still determine its appearance today were planted. It may well be that Preller therefore produced our oil sketch during this period, although it has been suggested that he might have painted it during the 1830s. [4]
Although Friedrich Preller was regarded as one of the most important German artists during his lifetime, his reputation waned during the 20th century. Although some of the art with which he made his name during the 19th century, like his rather elaborate murals, is today undoubtedly an acquired taste, his influence on German 19th-century art was not inconsiderable. He was mentor and teacher to a great number of German artists who attained achievement in their own right, like Edmund Kanoldt and Carl Hummel.
Our oil study was kept by Preller until his death, after which it passed to one of his sons, Emil. The understated qualities of the study were endearing enough for Emil Preller to select it as a gift for a treasured colleague and fellow medic, Friedrich Hassenstein, who ran a Sanatorium in Ilmenau, Thuringia.
_________________________________
1. Herbert W. Rott (ed), Sammlung Schack. Katalog der ausgestellten Gemälde (Munich, 2009), pp. 142-145.
2. Preller painted the motif of the "lone tree" several times in his career. See, for example, his "Old oak", oil on paper, 32,5 x 41 cm, Kunsthalle Bremen, inv. nr. 446-1937/18.
3. Hans Joachim Neidhardt, Deutsche Malerei des 19. Jahrhunderts (Leipzig, 1997), pp. 36/7.
[4]. The home (Schloss Tiefurt) and the park are today listed UNESCO world heritage sites. A possible dating of the painting in the 1830s has been suggested by Professor Reinhard Wegner of the University of Jena, Germany.
Friedrich Preller the Elder was born in Eisenach, in Thuringia, in 1804 and studied at the Weimar school of drawing between 1818-1821. He spent some time in Dresden between 1820-24, where he came to know the work of J.C. Dahl and, most probably, became acquainted with the art of Caspar David Friedrich. Whilst in Weimar, Preller had impressed Goethe, who encouraged Preller in his artistic development by financing the student's foreign sojourns in Italy between 1828-1831. Whilst in Italy, Preller met the landscape artist Joseph Anton Koch, whose artistic influence was to stay with Preller throughout his life.
Upon his return to Weimar in 1832, Preller became director of the school of drawing. He embarked upon a lucrative career, and became known for his murals of scenes from Homer's Odyssee for the house of the Leipzig publisher Hermann Härtel. It was the fame that he achieved through this assignment that led to him being commissioned to produce similar murals for the new museum in Weimar in the 1860s. Similar paintings by Preller showing scenes from Homer can today be seen in the Schack Gallery in Munich [1].
However, Preller also made a number of landscape paintings, following various travels throughout Germany, for example to the island of Rügen in 1837. What becomes apparent from these landscapes, is Preller's ability to evoke a sense of Romanticist mood, which draws in good part on his appreciation of his native country's scenery. Our study, although undated, shows us how Preller was able to create a very convincing depiction of a slice of nature, whilst at the same time clearly drawing on the theme of the "lone tree" that was a common motif in German Romantic art, and more particularly the work of the Dresden school of Friedrich and Dahl. The large oak at the front of our composition dominates, but the other trees, as well as the small clusters of flowers at the foreground, are given almost equal prominence [2]. It is perhaps this link between painterly realism and romanticism that led one German art historian to associate Preller with Dahl and Adolph von Menzel [3], who between them embodied various strands of Romanticism and Realism in German art.
Although the precise location of the group of trees in our painting is unclear, it would seem (based on the inscription) that it was painted in Tiefurt, which is today part of the greater Weimar conurbation. It is the location of a small stately home and a park, which formed part of the summer residence of duchess Anna Amalia of Brunswick. Following her death in 1807, the home and park fell into disuse, although the park was remodelled between 1846-1850, when many of the trees that still determine its appearance today were planted. It may well be that Preller therefore produced our oil sketch during this period, although it has been suggested that he might have painted it during the 1830s. [4]
Although Friedrich Preller was regarded as one of the most important German artists during his lifetime, his reputation waned during the 20th century. Although some of the art with which he made his name during the 19th century, like his rather elaborate murals, is today undoubtedly an acquired taste, his influence on German 19th-century art was not inconsiderable. He was mentor and teacher to a great number of German artists who attained achievement in their own right, like Edmund Kanoldt and Carl Hummel.
Our oil study was kept by Preller until his death, after which it passed to one of his sons, Emil. The understated qualities of the study were endearing enough for Emil Preller to select it as a gift for a treasured colleague and fellow medic, Friedrich Hassenstein, who ran a Sanatorium in Ilmenau, Thuringia.
_________________________________
1. Herbert W. Rott (ed), Sammlung Schack. Katalog der ausgestellten Gemälde (Munich, 2009), pp. 142-145.
2. Preller painted the motif of the "lone tree" several times in his career. See, for example, his "Old oak", oil on paper, 32,5 x 41 cm, Kunsthalle Bremen, inv. nr. 446-1937/18.
3. Hans Joachim Neidhardt, Deutsche Malerei des 19. Jahrhunderts (Leipzig, 1997), pp. 36/7.
[4]. The home (Schloss Tiefurt) and the park are today listed UNESCO world heritage sites. A possible dating of the painting in the 1830s has been suggested by Professor Reinhard Wegner of the University of Jena, Germany.
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