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666
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dbpedia
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0
| 59 |
http://arthistoryreference.com/t145/25492.htm
|
en
|
Adolph Menzel
|
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Adolph Menzel (1815 - 1909). Adolph Friedrich Erdmann von Menzel was a German Realist artist noted for drawings, etchings, and paintings. Along with Caspar David Friedrich, he is considered one of the two most prominent German painters of the 19th century, and was the most successful artist of his era in Germany. First known as Adolph Menzel, he was knighted in 1898 and changed his name to Adolph von Menzel. His popularity in his native country, owing especially to his history paintings, was such that few of his major paintings left Germany, as many were quickly acquired by museums in Berlin. Menzel's graphic work were more widely disseminated; these, along with informal paintings not initially intended for display, have largely accounted for his posthumous reputation. Although he traveled in order to find subjects for his art, to visit exhibitions, and to meet with other artists, Menzel spent most of his life in Berlin, and was, despite numerous friendships, by his own admission detached from others. It is likely that he felt socially estranged for physical reasons alone, Menzel had a large head, and stood about four foot six inches. Menzel was born to German parents in Breslau, Prussian Silesia, on December 8, 1815. His father was a lithographer and intended to educate his son as a professor; however, he would not thwart his taste for art. After resigning his teaching post, Menzel senior set up a lithographic workshop in 1818. In 1830 the family moved to Berlin, and in 1832 Adolph was forced to take over the lithographic business on the death of his father. In 1833, he studied briefly at the Berlin Academy of Art, where he drew from plaster casts and ancient sculptures; thereafter Menzel was self-taught. Louis Friedrich Sachse of Berlin published his first work in 1833, an album of pen-and-ink drawings reproduced on stone, to illustrate Goethe's little poem, Kunstlers Erdenwallen. He executed lithographs in the same manner to illustrate Denkwurdigkeiten aus der brandenburgisch-preussischen Geschichte; The Five Senses and The Prayer, as well as diplomas for various corporations and societies. From 1839 to 1842, he produced 400 drawings, largely introducing to Germany the technique of wood-engraving, to illustrate the Geschichte Friedrichs des Grossen by Franz Kugler. He subsequently brought out Friedrichs der Grossen Armee in ihrer Uniformirung, Soldaten Friedrichs der Grossen; and finally, by order of King Frederick William IV, he illustrated the works of Frederick the Great, Illustrationen zu den Werken Friedrichs des Grossen. The artist had a deep sympathy for the Prussian king. In one of his letters to Johann Jakob Weber, he said that it was his intention to represent the monarch as a man who was both hated and admired, simply as he was, in other words, as a man of the people. Through these works, Menzel established his claim to be considered one of the first, if not actually the first, of the illustrators of his day in his own line. Menzel's fame came from his illustrations of the 18th-century Prussian monarch, Frederick the Great. As well as dedication to adding historical accuracy and attention to detail. Menzel also made sure to do research on the items he was painting. From 1840 and onward Menzel became admirable for his small paintings and drawings. In which he depicted his unconventional ideas. In the meantime, Menzel had also begun to study, unaided, the art of painting, and he soon produced a great number and variety of pictures. His paintings consistently demonstrated keen observation and honest workmanship in subjects dealing with the life and achievements of Frederick the Great, and scenes of everyday life, such as In the Tuileries, The Ball Supper, and At Confession. Among those considered most important of these works are Iron Rolling Mill and The Market-place at Verona. When invited to paint The Coronation of William I at Koenigsberg, he produced an exact representation of the ceremony without regard to the traditions of official painting. During Menzel's life, his paintings were appreciated by Otto von Bismarck and William I, and after his death they were appropriated for use as electoral posters by Adolf Hitler. If these historical illustrations anticipated the qualities of early Impressionism, it is paintings such as The French Window and The Palace Garden of Prince Albert, both painted in the mid-1840s, that now appeal as among the most freely observed of mid-nineteenth century images. Such genre paintings evidence associations with French and English art. Though he was primarily an excellent draughtsman, art historian Julius Meier-Graefe considered him to be a proto-impressionist painter, whose graphic work hindered his painterly potentials.
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https://figurativedrawing.com/figurative_artists_menzel.htm
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Figurative Artists
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Figurative Artists, Adolph Menzel's works and biography
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en
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Figurative Drawings
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https://figurativedrawing.com/figurative_artists_menzel.htm
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MENZEL'S BIOGRAPHY
(1815-1905)
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http://gurneyjourney.blogspot.com/2016/09/menzel-man.html
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Gurney Journey: Menzel the Man
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Should an artist's physical appearance matter, or should we consider only the work? I suppose one's appearance only matters if i...
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http://gurneyjourney.blogspot.com/2016/09/menzel-man.html
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https://www.askart.com/artist_related/Adolph_Friedrich_Erdman_von_Menzel/11083965/Adolph_Friedrich_Erdman_von_Menzel.aspx
|
en
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Adolph Friedrich Erdman von Menzel
|
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"Adolph Friedrich Erdman von Menzel similar related art artwork"
] | null |
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askART similar artists to Adolph Friedrich Erdman von Menzel. 49 similar or related artists.Adolph Friedrich Erdman von Menzel (1815 - 1905) was active/lived in Germany.
|
https://www.askart.com/artist_related/Adolph_Friedrich_Erdman_von_Menzel/11083965/Adolph_Friedrich_Erdman_von_Menzel.aspx
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| 83 |
https://www.pinterest.com/yellowborder/menzel/
|
en
|
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""
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2021-05-19T15:52:49+00:00
|
May 19, 2021 - Explore loral's board "Menzel", followed by 531 people on Pinterest. See more ideas about drawings, portrait drawing, sketches.
|
en
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Pinterest
|
https://www.pinterest.com/yellowborder/menzel/
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666
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dbpedia
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| 22 |
https://www.amazon.com/Adolph-Menzel-1815-1905-Romanticism-Impressionism/dp/0300069545
|
en
|
Amazon.com
|
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Enter the characters you see below
Sorry, we just need to make sure you're not a robot. For best results, please make sure your browser is accepting cookies.
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https://www.pinterest.com/pin/527836018809767229/
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2016-07-22T05:07:45+00:00
|
Adolf von Menzel, in full Adolf Friedrich Erdmann von Menzel (1815-1905), German painter and printmaker, best known in his own day as a brilliant historical painter, whose patriotic works satisfied the public’s taste, engendered by Prussia’s continual expansion throughout the 19th century, for propagandistic art.
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en
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Pinterest
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https://www.pinterest.com/pin/123497214772166703/
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| 2 |
https://www.npr.org/sections/13.7/2013/02/15/172090225/investigations-of-experience
|
en
|
Investigations Of Experience
|
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[
"Alva Noë"
] |
2013-02-15T00:00:00
|
You have to go to Berlin to see Adolph Menzel's best work. In the estimation of Alva Noë, it would be well worth the trip. Menzel is an exciting artist whose work explores the nature of human experience.
|
en
|
NPR
|
https://www.npr.org/sections/13.7/2013/02/15/172090225/investigations-of-experience
|
The painter Adolph Menzel (1815-1905) is not well-known, even in his native Germany. He was tiny and ugly and never married; he wrote in his will that "there is a lack of any kind of self-made bond between me and the outside world." Perhaps this lack of bond is what made it possible for him to devote himself so totally to the task of making pictures.
Menzel drew constantly. He drew everything. He drew with his left hand and with his right. He drew on napkins and on the backs of menus. No social event was so formal, or so intimate, it seems, as to quiet his active hands.
I heard a great writer say recently that her inspiration comes from an impulse to record, document, fix the moment, to hold on to time, to put things in words.
Menzel must have shared this impulse. But there was more to Menzel's mania.
Plato thought of the painter as merely recording an image that was delivered to the senses; it's easy to make a picture of anything, he wrote; you simply hold a mirror up to it.
Anyone who has tried to draw knows that Plato got this wrong. It isn't easy to make pictures. It is painstaking. It requires physical effort and thought.
Plato's mistake went deeper. The human action of seeing is, for Plato, also akin to holding up a mirror to the world. What we see are nothing but images.
Enter Menzel, whose work embodies a commitment to the refutation of this Platonic idea.
Sure, we look about and we name what we see. But really seeing, really noticing, discerning, finding, discriminating? This is not easy and maybe not even possible.
The world is not a given. We need to work for it, as we need to work to build a painting or reason out a drawing. First you look here. Then you look there. The visible world outstrips what can be taken in at a glance. Seeing is active, and thoughtful. It requires a philosophical eye.
And the sketches of this compulsive and unstoppable artist, no less than his oil paintings and his gouaches, are not so much documentations of what there is, as they are investigations of the way we manufacture our own experience.
Go to the Old National Gallery in Berlin and visit with one of Menzel's smaller paintings of the 1840s such as The Balcony Room. Ask yourself this question, what do I see? Give yourself the time to realize how very difficult it is to say.
In my case, Menzel taught me that art can be a way of doing philosophy.
The quote from Menzel's will is taken from Michael Fried's beautiful book Menzel's Realism: Art and Embodiment in Nineteenth-Century Berlin (Yale University Press, 2002). My whole approach to Menzel is indebted to Fried.
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https://garystockbridge617.getarchive.net/media/adolph-menzel-artists-model-seen-in-back-view-putting-on-an-eighteenth-century-a0b848
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en
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Adolph Menzel - Artist’s Model, Seen in Back View, Putting on an Eighteenth-Century Uniform - Google Art Project
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1600-01-01T00:00:00
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Download Image of Adolph Menzel - Artist’s Model, Seen in Back View, Putting on an Eighteenth-Century Uniform - Google Art Project. Free for commercial use, no attribution required. Public domain photograph of 17th century French drawing, free to use, no copyright restrictions image - Picryl description. Dated: 1600 - 1900. Topics: drawings by adolph von menzel, european drawings at the iris b gerald cantor center for visual arts, google art project works by adolph von menzel, google art project works in iris b gerald cantor center for visual arts at stanford university, models in art, high resolution, ultra high resolution
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PICRYL - Public Domain Media Search Engine
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https://picryl.com/media/adolph-menzel-artists-model-seen-in-back-view-putting-on-an-eighteenth-century-a0b848
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Adolph Menzel (1815–1905)
Adolph Menzel (1815–1905) was a German Realist artist noted for drawings, etchings, and paintings. Along with Caspar David Friedrich, he is considered one of the two most prominent German artists of the 19th century and was the most successful artist of his era in Germany. First known as Adolph Menzel, he was knighted in 1898 and changed his name to Adolph von Menzel.
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https://garystockbridge617.getarchive.net/media/adolph-menzel-afternoon-in-the-tuileries-gardens-1867-3c4423
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en
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Adolph Menzel, Afternoon in the Tuileries Gardens, 1867
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1867-01-01T00:00:00
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Download Image of Adolph Menzel, Afternoon in the Tuileries Gardens, 1867. Free for commercial use, no attribution required. Adolph Menzel was the leading German artist of the second half of the 19th century. This painting of the Tuileries Gardens in Paris was executed by him in 1867 following a visit to the city to see that year's Universal Exposition. It was almost certainly inspired by another of the National Gallery's paintings, Manet's 'Music in the Tuileries Gardens', painted just five years earlier.
Both paintings share a fascination with the bustling social scene of the day in the Tuileries Gardens, adjacent to the Louvre in the heart of Paris, but are executed in strikingly different styles. Menzel's approach is both more realistic and filled with detail. He invites the viewer to move from incident to closely observed incident across the canvas.
Menzel made several sketches in the Tuileries Gardens which he took back to Berlin with him although none of these actually anticipate the composition of the finished painting.
Although painted in a more traditional, academic style, Menzel does pay a kind of homage to Manet by quoting from his painting. The standing man in top hat in the foreground just right of centre closely resembles a similar figure in Manet's painting. When he first exhibited the work, Menzel made the point of indicating that it was executed from memory.. Dated: 1867. Topics: art, afternoon in the tuileries gardens by adolph von menzel, german paintings in the national gallery london, images from art uk, paintings formerly in the galerie neue meister dresden, ultra high resolution, high resolution
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PICRYL - Public Domain Media Search Engine
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https://picryl.com/media/adolph-menzel-afternoon-in-the-tuileries-gardens-1867-3c4423
|
Adolph Menzel was the leading German artist of the second half of the 19th century. This painting of the Tuileries Gardens in Paris was executed by him in 1867 following a visit to the city to see that year's Universal Exposition. It was almost certainly inspired by another of the National Gallery's paintings, Manet's 'Music in the Tuileries Gardens', painted just five years earlier.
Both paintings share a fascination with the bustling social scene of the day in the Tuileries Gardens, adjacent to the Louvre in the heart of Paris, but are executed in strikingly different styles. Menzel's approach is both more realistic and filled with detail. He invites the viewer to move from incident to closely observed incident across the canvas.
Menzel made several sketches in the Tuileries Gardens which he took back to Berlin with him although none of these actually anticipate the composition of the finished painting.
Although painted in a more traditional, academic style, Menzel does pay a kind of homage to Manet by quoting from his painting. The standing man in top hat in the foreground just right of centre closely resembles a similar figure in Manet's painting. When he first exhibited the work, Menzel made the point of indicating that it was executed from memory.
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https://dbpedia.org/page/Adolph_Menzel
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About: Adolph Menzel
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Adolph Friedrich Erdmann von Menzel (8 December 1815 – 9 February 1905) was a German Realist artist noted for drawings, etchings, and paintings. Along with Caspar David Friedrich, he is considered one of the two most prominent German painters of the 19th century, and was the most successful artist of his era in Germany. First known as Adolph Menzel, he was knighted in 1898 and changed his name to Adolph von Menzel.
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DBpedia
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http://dbpedia.org/resource/Adolph_Menzel
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dbo:abstract
أدولف فون مينزل (بالألمانية: Adolph von Menzel ) (و. 1815 – 1905 م) هو رسام، ورسام توضيحي ألماني، ولد في فروتسواف، وكان عضوًا في الأكاديمية الملكية للفنون، توفي في برلين، عن عمر يناهز 90 عاماً. حظي مينزل بشعبية واسعة في بلده خاصة بسبب لوحاته التاريخية لدرجة أن القليل من لوحاته الرئيسية قد غادرت ألمانيا، إذ وضع الكثير منها في متاحف مدينة برلين. نُشرت أعماله (وخاصة رسوماته) على نطاق واسع، إلى جانب بعض اللوحات غير الرسمية التي لم تكن مخصصة للعرض في البداية والتي ساهمت إلى حد كبير في ازدياد شهرته بعد وفاته. وعلى الرغم من أنه سافر بحثًا عن مواضيع للوحاته ولزيارة المعارض ولقاء فنانين آخرين، فقد أمضى مينزل معظم حياته في برلين، وكان منعزلًا عن الآخرين على الرغم من صداقاته العديدة. من المحتمل أنه شعر بالغربة اجتماعيًا لأسباب جسدية، إذ امتلك مينزل رأسًا كبيرًا، وقدر طوله بنحو 4 أقدام وست بوصات (1.37 متر). (ar)
Adolf von Menzel původně Adolph Friedrich Erdmann Menzel (8. prosince 1815 Vratislav – 9. února 1905 Berlín) byl německý malíř poloviny 19. století. Tvořil především olejomalby, ale věnoval se také kresbám a portrétům v ingresovském stylu. Byl též autorem četných litografií, které zachycují německou aristokratickou společnost a rysy gründerské doby. Narodil se ve Vratislavi v roce 1815. Roku 1830 odešel do Berlína, kde studoval litografické techniky. Ty poté hodně využíval při zobrazování historických momentů i tajemných koncertních sálů. Na obou Světových výstavách v roce 1855 a 1867 v Paříži měl možnost poznat realismus Gustava Courbeta a Jeana-Françoise Milleta. Tyto vlivy jeho dílu dodaly větší uvolněnost a malířskou svěžest, takže se osvobodil od závislosti na kreslířské akademické rutině a popisného realismu. V prusko-francouzské válce roku 1870 působil jako válečný malíř a vytvořil z této bitvy četné grafické výjevy technikou dřevorytu. Monumentální scény z pruských dějin i současnosti zachytil na svých olejomalbách, objednaných císařem Vilémem I. Za tuto práci byl oceněn pruským řádem „Pour le mérite“ a v roce 1898 povýšen do šlechtického stavu s titulem "von".V 70. letech se zúčastnil výzdoby Lannovy vily v Praze Bubenči. Zemřel v Berlíně roku 1905. (cs)
Ο Άντολφ φον Μέντσελ (Adolph Friedrich Erdmann von Menzel, 8 Δεκεμβρίου 1815 - 9 Φεβρουαρίου 1905) ήταν Γερμανός ζωγράφος από τους πιο γνωστούς του 19ου αιώνα, ενώ ήταν ο πιο επιτυχημένος την εποχή του. Ζωγράφισε τόσο θέματα καθημερινότητας όσο και ιστορικά. * Επιλογή έργων * Δωμάτιο με μπαλκόνι, 1845, Βερολίνο, Άλτε Νατσιονάλγκαλερί * Το καθιστικό δωμάτιο με την αδελφή του καλλιτέχνη, 1847, Μόναχο, Νέα Πινακοθήκη * Ο σιδηρόδρομος Βερολίνου-Πότσνταμ, 1847, Βερολίνο, Άλτε Νατσιονάλγκαλερί * Το υπνοδωμάτιο του καλλιτέχνη στην Ρίττερστράσσε , 1847, Βερολίνο, Άλτε Νατσιονάλγκαλερί * Η κηδεία των νεκρών του Μαρτίου, 1848, Αμβούργο, Kunsthalle * Το κοντσέρτο για φλάουτο του Μεγάλου Φρειδερίκου στο Σαν-Σουσσί , 1850-52, Βερολίνο, Άλτε Νατσιονάλγκαλερί * Ο τοίχος του ατελιέ , 1852, Βερολίνο, Άλτε Νατσιονάλγκαλερί * Ο Γουλιέλμος Α΄φεύγει στο μέτωπο στις 31 Ιουλίου 1870, 1870 ,Βερολίνο, Άλτε Νατσιονάλγκαλερί * Το σιδηρουργείο (Μοντέρνοι κύκλωπες), 1872-75, Βερολίνο, Άλτε Νατσιονάλγκαλερί * Καταστρώνοντας σχέδια ταξιδίου, 1875, Έσσεν, Museum Folkwang * Μπουφές στον χορό, 1878, Βερολίνο, Άλτε Νατσιονάλγκαλερί * Βερόνα, Piazza d’Erbe, 1884, Δρέσδη, Πινακοθήκη των Νέων Δασκάλων (el)
Adolph Friedrich Erdmann von Menzel (8 December 1815 – 9 February 1905) was a German Realist artist noted for drawings, etchings, and paintings. Along with Caspar David Friedrich, he is considered one of the two most prominent German painters of the 19th century, and was the most successful artist of his era in Germany. First known as Adolph Menzel, he was knighted in 1898 and changed his name to Adolph von Menzel. His popularity in his native country, owing especially to his history paintings, was such that few of his major paintings left Germany, as many were quickly acquired by museums in Berlin. Menzel's graphic work (and especially his drawings) were more widely disseminated; these, along with informal paintings not initially intended for display, have largely accounted for his posthumous reputation. Although he traveled in order to find subjects for his art, to visit exhibitions, and to meet with other artists, Menzel spent most of his life in Berlin, and was, despite numerous friendships, by his own admission detached from others. It is likely that he felt socially estranged for physical reasons alone—he had a large head, and stood about four foot six inches. (en)
Adolph Friedrich Erdmann von MENZEL (8a de Decembro, 1815 – 9a de Februaro, 1905) estis germana artisto de la Realismo fama pro siaj desegnoj, akvafortoj, kaj pentraĵoj. Kun Caspar David Friedrich, li estas konsiderata unu el la du plej elstaraj germanaj pentristoj de la 19-a jarcento, kaj estis la plej sukcesa artisto siaepoke en Germanio. Dekomence konata kiel Adolph Menzel, li estis nobeligita en 1898 kaj ŝanĝis sian nomon al Adolph von Menzel. (eo)
Adolph Friedrich Erdmann Menzel, ab 1898 von Menzel (* 8. Dezember 1815 in Breslau; † 9. Februar 1905 in Berlin), war ein deutscher Maler, Zeichner und Illustrator. Er gilt als der bedeutendste deutsche Realist des 19. Jahrhunderts. Sein Werk ist außerordentlich vielfältig; bekannt und zu Lebzeiten hoch geehrt wurde er vor allem wegen seiner historisierenden Darstellungen aus dem Leben Friedrichs des Großen. (de)
Adolph Friedrich Erdmann (posteriormente: von) Menzel (Breslavia, 8 de diciembre de 1815 - Berlín, 9 de febrero de 1905) fue un pintor alemán famoso por sus pinturas a menudo inspiradas en la historia, que es considerado el más importante exponente del realismo pictórico del siglo XIX en Alemania. Junto con Caspar David Friedrich, está considerado uno de los dos artistas alemanes más destacados del siglo XIX, y fue el artista de más éxito en su época en Alemania. Su popularidad en su país natal, debida especialmente a obras de propaganda política, fue tal que pocas de sus grandes pinturas abandonaron Alemania, donde fueron rápidamente adquiridas por museos en Berlín. La obra gráfica de Menzel y sus dibujos se difundieron más ampliamente; estos, junto con cuadros informales que no estaban realizados inicialmente para ser expuestos, son la causa en gran medida de su reputación póstuma. Aunque viajó para buscar temas para su arte, para visitar exposiciones y encontrarse con otros artistas, Menzel pasó la mayor parte de su vida en Berlín, y se mantuvo, a pesar de numerosas amistades, apartado de otros. Menzel escribió en su testamento: "No sólo me he quedado soltero, a lo largo de toda mi vida he renunciado a las relaciones con el otro sexo... En resumen, hay una falta de cualquier clase de unión entre el mundo exterior y yo." Es probable que se sintiera apartado socialmente por razones físicas únicamente, Menzel tenía la cabeza grande y era muy bajo, medía un metro treinta y siete centímetros. (es)
Adolph Friedrich Erdmann von Menzel (Breslau, 1815eko abenduaren 8a – Berlin, 1905eko otsailaren 9a) XIX. mendeko alemaniar margolaria izan zen. Caspar David Friedrichekin batera, bere garaietako Alemaniako margolaririk hobenetariko bat izan zen. politikoki propagandistikoak ziren bere lanek hainbeste ospe eman zioten ezen Berlingo museoek laster erosi baitzituzten. Egun horietako asko Alte Nationalgalerie museoan daude ikusgai. (eu)
Adolph von Menzel, né à Wrocław le 8 décembre 1815, et mort à Berlin le 9 février 1905, est un artiste peintre, graveur et illustrateur prussien. Il est considéré comme le plus important réaliste allemand du XIXe siècle et, avec Caspar David Friedrich, comme l'un des deux peintres allemands les plus éminents du siècle. Son travail est très diversifié. Il était bien connu et très honoré de son vivant, principalement pour ses représentations historiques de la vie de Frédéric II (roi de Prusse) dit Frédéric le Grand : il est l'artiste le plus titré de son époque en Allemagne. D'abord connu sous le nom d'Adolph Menzel, il est anobli en 1898 et change son nom en Adolph von Menzel. Sa popularité dans son pays natal, due notamment à ses peintures d'histoire, est telle que peu de ses toiles majeures quittent le pays : beaucoup sont rapidement acquises par les musées de Berlin. L'œuvre graphique de Menzel (et surtout ses dessins) est plus largement diffusée ; ceux-ci, ainsi que des peintures informelles non initialement destinées à être exposées, ont largement contribué à sa réputation posthume. Bien qu'il ait voyagé pour trouver des sujets pour son art, visiter des expositions et rencontrer d'autres artistes, Menzel a passé la majeure partie de sa vie à Berlin et est, malgré de nombreuses amitiés, de son propre aveu, détaché des autres. Il est probable qu'il se sente socialement éloigné pour des raisons physiques uniquement : il a une grosse tête et mesure environ 1,40 m. (fr)
Adolph Friedrich Erdmann von Menzel (8 Desember 1815 – 9 Februari 1905) adalah seorang seniman Realis asal Jerman yang terkenal karena gambar, etsa, dan lukisan. Bersama dengan Caspar David Friedrich, ia dianggap sebagai salah satu dari dua pelukis Jerman paling terkemuka di abad ke-19, dan merupakan seniman paling sukses pada zamannya di Jerman. First known as Adolph Menzel, dia dianugerahi gelar bangsawan pada tahun 1898 dan mengubah namanya menjadi Adolph von Menzel. (in)
Adolph Friedrich Erdmann von Menzel (Breslavia, 8 dicembre 1815 – Berlino, 9 febbraio 1905) è stato un pittore tedesco noto non solo per i suoi dipinti ma anche per le sue incisioni e i suoi disegni. (it)
Adolph von Menzel (ur. 8 grudnia 1815 we Wrocławiu, zm. 9 lutego 1905 w Berlinie) – niemiecki malarz i grafik, profesor berlińskiej Królewskiej Akademii Sztuki. W roku 1830 przybył do Berlina, gdzie uczęszczał krótko na tamtejszą Akademię, potem kształcił się samodzielnie. W 1833 wystąpił po raz pierwszy ze swymi litografiami i obrazami. Jednak dopiero zilustrowanie dzieła „Geschichte Friedrichs des Großen” (400 ilustracji) oraz wydania dzieł Fryderyka Wielkiego (200 litografii) uczyniły go sławnym. Około roku 1840 powstały obrazy, w których Menzel jest prekursorem impresjonizmu, m.in. „Pokój artysty”. Głównym tematem prac Menzla są przeważnie czasy Fryderyka Wielkiego – wydał w litografiach „Umundurowanie armii Fryderyka Wielkiego” cykl drzeworytów z tych czasów. Do najważniejszych osiągnięć malarskich należą m.in. „Koncert na flecie w Sanssouci” (1853, Berlin), „Hołd stanów śląskich we wrocławskim Ratuszu”, „Spotkanie Fryderyka Wielkiego z Józefem II w Nysie”, oraz z czasów Wilhelma I: „Koronacja w Królewcu”, „Przyjęcie na balu”. Menzel malował (olejno, akwarelą, gwaszem), prócz obrazów historycznych, także krajobrazy, obiekty architektury, wnętrza, zwierzęta; z tej tematyki wymienić należy: „Niedziela w ogrodach tuileryjskich” czy świetny obraz „Walcownia żelaza”, przedstawiający robotników huty w Königshütte (dzisiejszy Chorzów). Stanowił on rewolucyjne wydarzenie w malarstwie, bo po raz pierwszy pokazywał świat pracy – znany w świecie i cytowany w sztuce, socjologii, ekonomii. Dzieła Menzla cechuje zdecydowany już realizm, silna charakterystyka i świetne traktowanie materii. Inne słynne obrazy: „Słoneczne wnętrze” (1845), „Ogrody przy pałacu księcia Alberta” (1846), „Wnętrze odlewni żelaza w Królewskiej Hucie”, „Wspomnienia teatru Gymnose”, „La Piazza d’Erbe”, „Kapela w Tuileries”. Doctor honoris causa Uniwersytetu Wrocławskiego oraz honorowy obywatel Berlina i Wrocławia. 7 grudnia 1895 jako obcokrajowiec został odznaczony austro-węgierską Odznaką Honorową za Dzieła Sztuki i Umiejętności. W 1997 wykonano jego marmurowe popiersie umieszczone w galerii „Wielcy Wrocławianie” w muzeum w ratuszu wrocławskim. (pl)
Adolph Friedrich Erdmann Menzel, vanaf 1898 von Menzel (Breslau, 8 december 1815 - Berlijn, 9 februari 1905) was een Duitse kunstschilder, tekenaar en illustrator. (nl)
アドルフ・フリードリヒ・エルトマン・フォン・メンツェル（Adolph Friedrich Erdmann von Menzel, 1815年12月8日 - 1905年2月9日）は、ドイツの画家、挿絵画家、版画家。 (ja)
А́дольф фон Ме́нцель (нем. Adolph Friedrich Erdmann von Menzel; 8 декабря 1815, Бреслау — 9 февраля 1905, Берлин) — немецкий художник и иллюстратор, один из лидеров романтического историзма. (ru)
Adolph Friedrich Erdmann von Menzel, född 8 december 1815 i Breslau, död 9 februari 1905, var en tysk konstnär. (sv)
Adolph Friedrich Erdmann von Menzel (Breslau, 8 de dezembro de 1815 — Berlim, 9 de fevereiro de 1905) foi um pintor, desenhista e ilustrador alemão, mestre do realismo e o maior expoente desta escola no seu país no século XIX. (pt)
阿道夫·弗里德利希·艾尔德曼·冯·门采尔（德語：Adolph Friedrich Erdmann von Menzel，1815年12月8日－1905年2月9日）是德国油画家和版画家。 门采尔出生于普鲁士西里西亚省的省会布雷斯劳，他的父亲是一位女子学校的校长，1830年，全家迁居柏林，他父亲开办了一个石印工厂，在他17岁时父亲去世，他承担起支撑家庭的责任，供养母亲和弟妹，1833年他18岁时，柏林一家出版社出版了他的一本为歌德的诗集插图的石版画册。从1839年至1842年，他创作了大约400幅木刻版画，为《腓特烈大帝传》作插图，从1843年至1849年，他根据腓特烈·威廉四世的委托，为《》创作了200幅插图。从此，他成为德国著名的插图画家，他自学油画创作，很快创作出大批绘画作品，主要描绘腓特烈大帝时代的历史场景，但也描绘日常生活的景象，绘画题材丰富。 1898年，他获得当时普鲁士王国的最高荣誉“黑鹰勋章”和贵族称号，成为当时国内最伟大的画家。他曾经三次到法国，三次到意大利旅行，但几乎每年都有两个月去德国乡间旅行，画了大量的速写和素描作品，他热心于绘画，身后留下80本素描集和近7000张单张素描。门采尔以90岁高龄在柏林逝世，第二次世界大战期间，他的部分油画作品在战争中烧毁或散失。 (zh)
Адольф Фрідріх Ердманн фон Менцель (нім. Adolph Friedrich Erdmann von Menzel) (8 грудня 1815, Бреслау, Пруссія — 9 лютого 1905, Берлін, Пруссія, Німецька імперія) — німецький маляр, живописець, ілюстратор. Вважається одним з найважливіших німецьких реалістів XIX століття. (uk)
rdfs:comment
Adolph Friedrich Erdmann von MENZEL (8a de Decembro, 1815 – 9a de Februaro, 1905) estis germana artisto de la Realismo fama pro siaj desegnoj, akvafortoj, kaj pentraĵoj. Kun Caspar David Friedrich, li estas konsiderata unu el la du plej elstaraj germanaj pentristoj de la 19-a jarcento, kaj estis la plej sukcesa artisto siaepoke en Germanio. Dekomence konata kiel Adolph Menzel, li estis nobeligita en 1898 kaj ŝanĝis sian nomon al Adolph von Menzel. (eo)
Adolph Friedrich Erdmann Menzel, ab 1898 von Menzel (* 8. Dezember 1815 in Breslau; † 9. Februar 1905 in Berlin), war ein deutscher Maler, Zeichner und Illustrator. Er gilt als der bedeutendste deutsche Realist des 19. Jahrhunderts. Sein Werk ist außerordentlich vielfältig; bekannt und zu Lebzeiten hoch geehrt wurde er vor allem wegen seiner historisierenden Darstellungen aus dem Leben Friedrichs des Großen. (de)
Adolph Friedrich Erdmann von Menzel (Breslau, 1815eko abenduaren 8a – Berlin, 1905eko otsailaren 9a) XIX. mendeko alemaniar margolaria izan zen. Caspar David Friedrichekin batera, bere garaietako Alemaniako margolaririk hobenetariko bat izan zen. politikoki propagandistikoak ziren bere lanek hainbeste ospe eman zioten ezen Berlingo museoek laster erosi baitzituzten. Egun horietako asko Alte Nationalgalerie museoan daude ikusgai. (eu)
Adolph Friedrich Erdmann von Menzel (8 Desember 1815 – 9 Februari 1905) adalah seorang seniman Realis asal Jerman yang terkenal karena gambar, etsa, dan lukisan. Bersama dengan Caspar David Friedrich, ia dianggap sebagai salah satu dari dua pelukis Jerman paling terkemuka di abad ke-19, dan merupakan seniman paling sukses pada zamannya di Jerman. First known as Adolph Menzel, dia dianugerahi gelar bangsawan pada tahun 1898 dan mengubah namanya menjadi Adolph von Menzel. (in)
Adolph Friedrich Erdmann von Menzel (Breslavia, 8 dicembre 1815 – Berlino, 9 febbraio 1905) è stato un pittore tedesco noto non solo per i suoi dipinti ma anche per le sue incisioni e i suoi disegni. (it)
Adolph Friedrich Erdmann Menzel, vanaf 1898 von Menzel (Breslau, 8 december 1815 - Berlijn, 9 februari 1905) was een Duitse kunstschilder, tekenaar en illustrator. (nl)
アドルフ・フリードリヒ・エルトマン・フォン・メンツェル（Adolph Friedrich Erdmann von Menzel, 1815年12月8日 - 1905年2月9日）は、ドイツの画家、挿絵画家、版画家。 (ja)
А́дольф фон Ме́нцель (нем. Adolph Friedrich Erdmann von Menzel; 8 декабря 1815, Бреслау — 9 февраля 1905, Берлин) — немецкий художник и иллюстратор, один из лидеров романтического историзма. (ru)
Adolph Friedrich Erdmann von Menzel, född 8 december 1815 i Breslau, död 9 februari 1905, var en tysk konstnär. (sv)
Adolph Friedrich Erdmann von Menzel (Breslau, 8 de dezembro de 1815 — Berlim, 9 de fevereiro de 1905) foi um pintor, desenhista e ilustrador alemão, mestre do realismo e o maior expoente desta escola no seu país no século XIX. (pt)
阿道夫·弗里德利希·艾尔德曼·冯·门采尔（德語：Adolph Friedrich Erdmann von Menzel，1815年12月8日－1905年2月9日）是德国油画家和版画家。 门采尔出生于普鲁士西里西亚省的省会布雷斯劳，他的父亲是一位女子学校的校长，1830年，全家迁居柏林，他父亲开办了一个石印工厂，在他17岁时父亲去世，他承担起支撑家庭的责任，供养母亲和弟妹，1833年他18岁时，柏林一家出版社出版了他的一本为歌德的诗集插图的石版画册。从1839年至1842年，他创作了大约400幅木刻版画，为《腓特烈大帝传》作插图，从1843年至1849年，他根据腓特烈·威廉四世的委托，为《》创作了200幅插图。从此，他成为德国著名的插图画家，他自学油画创作，很快创作出大批绘画作品，主要描绘腓特烈大帝时代的历史场景，但也描绘日常生活的景象，绘画题材丰富。 1898年，他获得当时普鲁士王国的最高荣誉“黑鹰勋章”和贵族称号，成为当时国内最伟大的画家。他曾经三次到法国，三次到意大利旅行，但几乎每年都有两个月去德国乡间旅行，画了大量的速写和素描作品，他热心于绘画，身后留下80本素描集和近7000张单张素描。门采尔以90岁高龄在柏林逝世，第二次世界大战期间，他的部分油画作品在战争中烧毁或散失。 (zh)
Адольф Фрідріх Ердманн фон Менцель (нім. Adolph Friedrich Erdmann von Menzel) (8 грудня 1815, Бреслау, Пруссія — 9 лютого 1905, Берлін, Пруссія, Німецька імперія) — німецький маляр, живописець, ілюстратор. Вважається одним з найважливіших німецьких реалістів XIX століття. (uk)
أدولف فون مينزل (بالألمانية: Adolph von Menzel ) (و. 1815 – 1905 م) هو رسام، ورسام توضيحي ألماني، ولد في فروتسواف، وكان عضوًا في الأكاديمية الملكية للفنون، توفي في برلين، عن عمر يناهز 90 عاماً. حظي مينزل بشعبية واسعة في بلده خاصة بسبب لوحاته التاريخية لدرجة أن القليل من لوحاته الرئيسية قد غادرت ألمانيا، إذ وضع الكثير منها في متاحف مدينة برلين. نُشرت أعماله (وخاصة رسوماته) على نطاق واسع، إلى جانب بعض اللوحات غير الرسمية التي لم تكن مخصصة للعرض في البداية والتي ساهمت إلى حد كبير في ازدياد شهرته بعد وفاته. (ar)
Adolf von Menzel původně Adolph Friedrich Erdmann Menzel (8. prosince 1815 Vratislav – 9. února 1905 Berlín) byl německý malíř poloviny 19. století. Tvořil především olejomalby, ale věnoval se také kresbám a portrétům v ingresovském stylu. Byl též autorem četných litografií, které zachycují německou aristokratickou společnost a rysy gründerské doby. Zemřel v Berlíně roku 1905. (cs)
Adolph Friedrich Erdmann von Menzel (8 December 1815 – 9 February 1905) was a German Realist artist noted for drawings, etchings, and paintings. Along with Caspar David Friedrich, he is considered one of the two most prominent German painters of the 19th century, and was the most successful artist of his era in Germany. First known as Adolph Menzel, he was knighted in 1898 and changed his name to Adolph von Menzel. (en)
Ο Άντολφ φον Μέντσελ (Adolph Friedrich Erdmann von Menzel, 8 Δεκεμβρίου 1815 - 9 Φεβρουαρίου 1905) ήταν Γερμανός ζωγράφος από τους πιο γνωστούς του 19ου αιώνα, ενώ ήταν ο πιο επιτυχημένος την εποχή του. Ζωγράφισε τόσο θέματα καθημερινότητας όσο και ιστορικά. * Επιλογή έργων * Δωμάτιο με μπαλκόνι, 1845, Βερολίνο, Άλτε Νατσιονάλγκαλερί * Το καθιστικό δωμάτιο με την αδελφή του καλλιτέχνη, 1847, Μόναχο, Νέα Πινακοθήκη * Ο σιδηρόδρομος Βερολίνου-Πότσνταμ, 1847, Βερολίνο, Άλτε Νατσιονάλγκαλερί * Το υπνοδωμάτιο του καλλιτέχνη στην Ρίττερστράσσε , 1847, Βερολίνο, Άλτε Νατσιονάλγκαλερί * * * * * * * * (el)
Adolph Friedrich Erdmann (posteriormente: von) Menzel (Breslavia, 8 de diciembre de 1815 - Berlín, 9 de febrero de 1905) fue un pintor alemán famoso por sus pinturas a menudo inspiradas en la historia, que es considerado el más importante exponente del realismo pictórico del siglo XIX en Alemania. (es)
Adolph von Menzel, né à Wrocław le 8 décembre 1815, et mort à Berlin le 9 février 1905, est un artiste peintre, graveur et illustrateur prussien. Il est considéré comme le plus important réaliste allemand du XIXe siècle et, avec Caspar David Friedrich, comme l'un des deux peintres allemands les plus éminents du siècle. Son travail est très diversifié. Il était bien connu et très honoré de son vivant, principalement pour ses représentations historiques de la vie de Frédéric II (roi de Prusse) dit Frédéric le Grand : il est l'artiste le plus titré de son époque en Allemagne. D'abord connu sous le nom d'Adolph Menzel, il est anobli en 1898 et change son nom en Adolph von Menzel. (fr)
Adolph von Menzel (ur. 8 grudnia 1815 we Wrocławiu, zm. 9 lutego 1905 w Berlinie) – niemiecki malarz i grafik, profesor berlińskiej Królewskiej Akademii Sztuki. W roku 1830 przybył do Berlina, gdzie uczęszczał krótko na tamtejszą Akademię, potem kształcił się samodzielnie. W 1833 wystąpił po raz pierwszy ze swymi litografiami i obrazami. Jednak dopiero zilustrowanie dzieła „Geschichte Friedrichs des Großen” (400 ilustracji) oraz wydania dzieł Fryderyka Wielkiego (200 litografii) uczyniły go sławnym. (pl)
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Adolph Menzel (1815
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This exhibition is no longer on view at the National Gallery.
Overview: A survey of 41 paintings, 60 drawings and pastels, and 29 watercolors by the 19th-century German artist Adolph Menzel was chosen from public and private collections in Europe and North America. The exhibition was the first retrospective of works by Menzel, the leading artist in Berlin in the second half of the 19th century. The catalogue was the first major publication about Menzel's life in English.
Organization: The exhibition was organized by the National Gallery of Art, Washington, the Staatliche Museen zu Berlin, and the Réunion des musées nationaux/Musée d'Orsay, Paris. Curators for the exhibition were Claude Keisch, curator at the Alte Nationalgalerie in Berlin; Marie Ursula Riemann-Reyher, curator at the Kupferstichkabinett in Berlin; Henri Loyrette, director of the Musée d'Orsay in Paris; and Philip Conisbee, curator of French paintings at the National Gallery.
Sponsor: The exhibition was made possible in part by Mannesmann Capital Corporation. Additional support was provided by the Ministry for Foreign Affairs of the Federal Republic of Germany and by an indemnity from the Federal Council on the Arts and the Humanities.
Attendance: 101,230
Catalog: Adolph Menzel, 1815-1905: Between Romanticism and Impressionism, edited by Claude Keisch and Marie Ursula Riemann-Reyher. New Haven: Yale University Press, 1996.
Brochure: Adolph Menzel, 1815-1905: Between Romanticism and Impressionism, by Isabelle Dervaux. Washington, DC: National Gallery of Art, 1996.
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Adolph Menzel Prints For Sale
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Adolph Menzel prints for sale from leading galleries | Printed Editions
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Printed Editions
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https://www.printed-editions.com/artist/adolph-menzel/
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The Berlin-based artist Adolph Menzel enjoyed lifetime recognition for his paintings, drawings and prints. He earned the respect of prominent colleagues and influential contemporary critics. Numerous one-man exhibitions of his work staged in major museums, galleries and art associations added to his renown. He was accorded the highest national honours and elevated to the nobility. A comprehensive memorial exhibition staged shortly after his death at the Nationalgalerie in Berlin crowned his stellar career. The Nationalgalerie had regularly secured many of his major works for its collection and went on to acquire his artistic estate, thus guaranteeing him a permanent place in the annals of German nineteenth-century art.
Although Menzel’s rank as the leading German Realist painter is beyond dispute, this is too narrow a classification of his art-historical significance. In an artistic career spanning seven decades he produced an extraordinarily multifaceted range of pictorial imagery. His work encompasses early Impressionistic tendencies (The Balcony Room, Nationalgalerie Berlin), historical genre scenes (The Flute Concert, Nationalgalerie Berlin) and powerful depictions of the modern industrial age (The Iron-Rolling Mill [The Modern Cyclops], Nationalgalerie Berlin).
Unlike many of his contemporaries, Menzel regarded drawing as much more than a tool for compiling a repertoire of motifs for later use in paintings. For him, drawing was an autonomous artistic act. Paul Meyerheim, a friend and colleague, noted in his recollections of Menzel: ‘In his paletot he had eight pockets part-filled with sketchbooks; he could not believe that there were artists who regularly set forth, even for the briefest of trips, without a sketchbook in their pocket.’ Meyerheim also observed that ‘no object was ever too insignificant for Menzel, and he would sketch with almost compulsive zeal while walking, or on the spot.’ The working method Meyerheim describes accounts for the overwhelming number of drawings Menzel produced and their extraordinary technical virtuosity. The vast range of motifs he recorded testifies to his ceaseless efforts to capture the tiniest details of the world around him and interiorise them artistically. His achievement lies in arriving at a universal formula for his subjective vision, the reason why the fascination of his draughtsmanship remains undiminished today.
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Christie's
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Our website is currently unavailable
We’re performing essential maintenance between Friday, 9 August and Monday, 12 August. We apologise for any inconvenience caused and thank you for your patience.
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This is a faithful photographic reproduction of a two-dimensional, public domain work of art. The work of art itself is in the public domain for the following reason:
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This work is in the public domain in its country of origin and other countries and areas where the copyright term is the author's life plus 100 years or fewer.
You must also include a United States public domain tag to indicate why this work is in the public domain in the United States.
https://creativecommons.org/publicdomain/mark/1.0/PDMCreative Commons Public Domain Mark 1.0falsefalse
The official position taken by the Wikimedia Foundation is that "faithful reproductions of two-dimensional public domain works of art are public domain".
This photographic reproduction is therefore also considered to be in the public domain in the United States. In other jurisdictions, re-use of this content may be restricted; see Reuse of PD-Art photographs for details.
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Adolph Friedrich Erdmann von M as art print or hand painted oil.
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Studio wall - Adolph Friedrich Erdmann von Menzel
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https://www.art-prints-on-demand.com/favicon.ico
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https://www.art-prints-on-demand.com/a/adolph-friedrich-erdmann-von-menzel/studio-wall.html
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666
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dbpedia
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1
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https://www.flickr.com/photos/gandalfsgallery/5859664506
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en
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Adolph Menzel - Flute Concert with Frederick the Great in Sanssouci [1850-52]
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2024-08-10T09:50:09.928000+00:00
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In the 1840s Menzel produced numerous illustrations for Franz Kugler’s ever popular History of Frederick the Great. Menzel’s intense work on the times and character of Friedrich II, who reigned from 1740 to 1786, was to bear fruit, even apart from the book illustrations which made Menzel famous. Along with the self-contained “society piece,” Die Tafelrunde, the Flute Concert may be regarded as one of the paintings where Menzel, in free and full possession of his powers as a painter, deepened and transformed his subjects in a subtly shifting mix of world history and parochial patriotism.
The King of Prussia, a passionately keen flautist who also composed for the flute, is playing on the occasion of a visit from his sister, the Margravine of Bayreuth. Keeping time with his left foot, he is improvising at a high music stand which prevents any eye contact with the ensemble, so that the composition, arranged parallel to the picture plane, is divided by his figure into audience on the left and chamber ensemble on the right. Among the pronounced verticals of the composition, the extreme foreshortening of the flute is very noticeable.
Menzel’s portrayal of the scene, with its attention to historical accuracy in both dress and furnishings, does not depict the instrument as simply another anecdotal detail, but rather concentrates on the musically flickering, warm candlelight of the theatrically illuminated concert room in Sanssouci, which seems to flow backwards with its own choreographed rhythm. Rather than an apotheosis of the cultivation of the arts at the court of Frederick the Great, Menzel has created an atmospheric portrayal of music-making.
[Oil on canvas, 142 x 205 cm]
<a href="http://gandalfsgallery.blogspot.com/2011/06/flute-concert-with-frederick-great-in.html" rel="noreferrer nofollow">gandalfsgallery.blogspot.com/2011/06/flute-concert-with-f...</a>
|
en
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https://combo.staticflickr.com/pw/favicon.ico
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Flickr
|
https://www.flickr.com/photos/gandalfsgallery/5859664506
|
In the 1840s Menzel produced numerous illustrations for Franz Kugler’s ever popular History of Frederick the Great. Menzel’s intense work on the times and character of Friedrich II, who reigned from 1740 to 1786, was to bear fruit, even apart from the book illustrations which made Menzel famous. Along with the self-contained “society piece,” Die Tafelrunde, the Flute Concert may be regarded as one of the paintings where Menzel, in free and full possession of his powers as a painter, deepened and transformed his subjects in a subtly shifting mix of world history and parochial patriotism.
The King of Prussia, a passionately keen flautist who also composed for the flute, is playing on the occasion of a visit from his sister, the Margravine of Bayreuth. Keeping time with his left foot, he is improvising at a high music stand which prevents any eye contact with the ensemble, so that the composition, arranged parallel to the picture plane, is divided by his figure into audience on the left and chamber ensemble on the right. Among the pronounced verticals of the composition, the extreme foreshortening of the flute is very noticeable.
Menzel’s portrayal of the scene, with its attention to historical accuracy in both dress and furnishings, does not depict the instrument as simply another anecdotal detail, but rather concentrates on the musically flickering, warm candlelight of the theatrically illuminated concert room in Sanssouci, which seems to flow backwards with its own choreographed rhythm. Rather than an apotheosis of the cultivation of the arts at the court of Frederick the Great, Menzel has created an atmospheric portrayal of music-making.
[Oil on canvas, 142 x 205 cm]
gandalfsgallery.blogspot.com/2011/06/flute-concert-with-f...
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https://www.amazon.com/Adolph-Menzel-Reality-Werner-Busch/dp/1606065173
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Adolph Menzel: The Quest for Reality: Busch, Werner: 9781606065174: Amazon.com: Books
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Adolph Menzel: The Quest for Reality [Busch, Werner] on Amazon.com. *FREE* shipping on qualifying offers. Adolph Menzel: The Quest for Reality
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https://www.amazon.com/Adolph-Menzel-Reality-Werner-Busch/dp/1606065173
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Customer Reviews, including Product Star Ratings help customers to learn more about the product and decide whether it is the right product for them.
To calculate the overall star rating and percentage breakdown by star, we don’t use a simple average. Instead, our system considers things like how recent a review is and if the reviewer bought the item on Amazon. It also analyzed reviews to verify trustworthiness.
Learn more how customers reviews work on Amazon
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666
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https://mikenewtonartist.com/blog/2018/8/20/adolph-menzel
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Mike Newton Artist—Adolph Menzel
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2018-08-20T00:00:00
|
Room with a Balcony, 1845 Oil on Cardboard. 58 x 47 cm Nationalgalerie, Staatliche Museen zu Berlin I regret missing the chance to see this painting in 2001 when it was shown in the London National Gallery in the exhibition of 19thC paintings Spirit of an Age: Paintings from the Berlin Nationalg
|
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Mike Newton Artist
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https://mikenewtonartist.com/blog/2018/8/20/adolph-menzel
|
This painting of an interior shows a different side of his artistic talent. One of a number of oil sketches from the 1840’s that explored his Berlin apartment and the views from its windows. Painted purely for his own pleasure, these uncannily modern works are argued to presage the French Impressionists through its use of light and the loose brushwork. Menzel didn’t go to Paris until in 1855 he visited the Exposition Universelle and saw Courbet's 'Pavillon du Réalisme' and is painted 30 years before the exhibition of impressionism in 1874.
Not having seen the painting yet I cannot comment on the paint handling, but it does look as though he has applied it freely using a variety of brushstrokes that suggests objects rather than closely defining them. Despite being a classed as a sketch (it wasn’t shown until a commemorative exhibition was held at the Nationalgalerie in Berlin after Menzel’s death in 1905) it is signed and dated on the front indicating that he felt that his surroundings were a valid subject to paint rather than just an exercise. It is unusual for a painting of an interior of this period, to be neither occupied nor a formal study for a still life. This invites us to focus on the atmosphere of the room rather than on a subject within it.
The balcony doors are open and the curtains billow inwards on the breeze through the window. Today that could be read as a sexual metaphor, but I suspect he was just observing reality rather than trying to imply any moral narrative. The edge of a rug intrudes into the image from the left and a streak of sunlight brightens the floor and shimmers on the empty wall. It is a strange patch of light and suggests that a picture that was hung on the wall has been removed. There are two formal chairs turned away from each other either side of a long mirror in which we see the reflections of a sofa with a gold-framed picture hanging above it. For me it is the positioning of these chairs that give the painting a melancholic aura; whether intended or not I read them as a metaphor for an uncommunicative couple, facing away, and arguing despite the languid quality of the light suggesting a beautiful summer’s day.
©blackdog 2009
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http://artcontrarian.blogspot.com/2015/09/adolph-menzel-tiny-works-from-tiny-man.html
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Art Contrarian: Adolph Menzel: Tiny Works from a Tiny Man
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Adolph Friedrich Erdmann von Menzel (1815-1905) -- the "von" bestowed late in his career -- was very popular in his day and honored by the K...
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en
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http://artcontrarian.blogspot.com/favicon.ico
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http://artcontrarian.blogspot.com/2015/09/adolph-menzel-tiny-works-from-tiny-man.html
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A blog about about painting, design and other aspects of aesthetics along with a dash of non-art topics. The point-of-view is that modernism in art is an idea that has, after a century or more, been thoroughly tested and found wanting. Not to say that it should be abolished -- just put in its proper, diminished place.
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http://artcontrarian.blogspot.com/2015/09/adolph-menzel-tiny-works-from-tiny-man.html
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Art Contrarian: Adolph Menzel: Tiny Works from a Tiny Man
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Adolph Friedrich Erdmann von Menzel (1815-1905) -- the "von" bestowed late in his career -- was very popular in his day and honored by the K...
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en
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http://artcontrarian.blogspot.com/favicon.ico
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http://artcontrarian.blogspot.com/2015/09/adolph-menzel-tiny-works-from-tiny-man.html
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A blog about about painting, design and other aspects of aesthetics along with a dash of non-art topics. The point-of-view is that modernism in art is an idea that has, after a century or more, been thoroughly tested and found wanting. Not to say that it should be abolished -- just put in its proper, diminished place.
|
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666
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dbpedia
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0
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https://www.smb.museum/en/exhibitions/detail/menzel-painter-on-paper/
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en
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Menzel. Painter on Paper
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Adolph Menzel (1815-1905) was the eye of the nineteenth century. In autumn 2019, the Berlin Kupferstichkabinett will rediscover Menzel’s paintings on paper.
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Adolph Menzel was the eye of the nineteenth century. In autumn of 2019, the Berlin Kupferstichkabinett – which possesses the largest collection of works on paper by this German artist, comprising more than 6,000 works – is rediscovering Menzel as a painter of works on paper with a major solo exhibition. The show will feature around 100 works in watercolour, pastels and gouache from the museum’s own holdings, along with a number of key loans. Together, they offer the first comprehensive survey of Menzel’s painterly works on paper.
Adolph Menzel (1815–1905) is known as a painter of large works on canvas, and as the creator of countless studies in pencil. But it was first as a painter of works on paper that he began to employ the full palette of his artistic gifts of expression, creating colourful works ranging from experimental portrait studies through to elaborately composed paintings.
The majority of the works shown in the exhibition are standalone works, however there are also a number of preparatory studies for famous paintings – including the portrait studies carried out in preparation for the coronation picture commissioned by King Wilhelm I, which Menzel painted between 1861 and 1865, and which represents the largest and of Menzel’s paintings, depicting countless figures.
Menzel’s multi-faceted oeuvre in 10 chapters
The exhibition presents the different sides of Menzel’s work as a painter of works on paper chronologically and according to techniques, arranging selected works into 10 ‘chapters’. At the same time, it gives visitors an insight into the specific effects of watercolours, pastels and gouache, and Menzel’s particular mixed technique. There is a particular focus on his pastel technique, which between the mid-1840s and the late 1850s functioned as a crucial bridge between drawing and painting for Menzel.
Alongside fragmentary sketches, the show will also feature experiments and abandoned drafts – such as a detailed “drapery study” rendered by Menzel in luminous chalk on paper, and later destroyed with energetic gestures.
The portrait pair Gentleman and Lady in a Train Compartment back together again
Hidden among the scenic depictions, a particular sensation awaits audiences in the form of the portrait pair Gentleman and Lady in a Train Compartment (1859), which first joined the collection in 1907. Presumed lost for decades after disappearing during the Second World War, the “Lady” was recently able to be regained for the Kupferstichkabinett’s collection. The couple, so cold in their interaction with one another, observed by Menzel with his keen sense for the twists and turns of human relationships, is now back together for the first time in more than 70 years.
Loans, new acquisitions and recovered works
Also on show are works that are not just sketched out as scenes, but are also worked over in other media covering the full expanse of the sheet. Platz für den großen Raffael (Room for the Great Raphael), a loan from the Germanisches Nationalmuseum in Nuremberg, represents Menzel’s tendency to rework pictures using various techniques: begun in 1855 in pastels, Menzel completed the work four years later in gouache.
The figures in Schlittschuhläufer (Ice Skaters), acquired for the Kupferstichkabinett in 2018, are also rendered by Menzel in pastel on a monumental scale – in this case though, the work was not later reworked in gouache. This work was produced in 1855, shortly after Menzel’s first visit to France, and bears testament to the modernity that Menzel had been able to witness first hand in Paris, and which is represented in the exhibition by the loan from the Hamburg Kunsthalle, Erinnerung an Paris (Memory of Paris).
From the 1860s onwards, Menzel’s production was dominated by a polished gouache and mixed technique. An impressive example of this can be found in Schutzmann im Winter (Constable in Winter, 1860/1865), a full-sheet depiction of his own contemporary context. As was the case with the portrait Oberregierungsrath Knerk (Senior Privy Councillor Knerk, 1863/1865), the whereabouts of the Constable had been unknown since 1941 as a result of the war. Back in the museum’s collection as of this spring, the works can now be presented to the public once more.
Other works from the collection of the Kupferstichkabinett
The exhibition is capped off by three outstanding groups of works from the collection of the Kupferstichkabinett: the Kinderalbum (Children’s Album), which was produced as an unbound series of 44 gouache paintings for Menzel’s niece Gretel and nephew Otto; the commissioned work on the designs for the “kitchenware” made by the Royal Porcelain Manufacture Berlin for the silver wedding anniversary of the Crown Prince and Princess in 1883; and Menzel’s idiosyncratically interpreted allegories.
Menzel: Painter on Paper is curated by the Menzel experts Werner Busch and Claude Keisch, Anna Marie Pfäfflin (curator for nineteenth-century art at the Kupferstichkabinett) and Georg Josef Dietz (Director of the conservation and restoration department of the Kupferstichkabinett).
The exhibition will be accompanied by a comprehensive publication released by Imhof Verlag.
A special exhibition by the Kupferstichkabinett of the Staatliche Museen zu Berlin.
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666
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dbpedia
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2
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https://www.oceansbridge.com/painting-tag/adolph-menzel
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en
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Adolph Menzel oil paintings
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Commission your favorite Adolph Menzel oil paintings from thousands of available paintings. All Adolph Menzel paintings are hand painted and include a 30-day money-back guarantee.
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Ocean's Bridge Oil Paintings
|
https://www.oceansbridge.com/painting-tag/adolph-menzel
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About Ocean's Bridge
Established in 2002 by two guys with little more than a dream and lots of enthusiasm, Ocean's Bridge has gone on to become one of the world's leading oil painting studios, with thousands (27,000+ at last count!) of satisfied customers.
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https://shop.getty.edu/products/adolph-menzel-the-quest-for-reality-978-1606065174
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Adolph Menzel: The Quest for Reality
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The work of Adolph Menzel is widely regarded as the epitome of realist art and during his lifetime he was one of Germany’s most famous artists. Today he is hailed as a consummate master of atmospheric art, but book-length investigations of his work remain rare. Werner Busch here offers an important corrective to this art-historical oversight, bringing Menzel’s unique persona and influential paintings to life in the context of the art and politics of nineteenth-century Germany.
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Werner Busch
The work of Adolph Menzel (1815–1905) is widely regarded as the epitome of realist art. From the very beginning of his career, he captured the beauty and horror of reality with unflinching precision, and he was a consummate master of atmosphere. A man of very short stature, Menzel was excluded from many aspects of life, and so his struggle with reality was also a struggle to assert himself. Werner Busch’s comprehensive new study sheds light on the biographical and historical events that shaped Menzel’s work and the course it took. Menzel’s paintings of the life of Frederick the Great still dominate our image of the monarch. Their modern perspective, however, neither glorified the king nor found favor with the Prussian royal family. After witnessing the horror of war in the aftermath of the Battle of Königgrätz, Menzel abandoned history painting. In Paris, he discovered the energy and bustle of the heroless metropolis; for the remainder of his career, he devoted himself to painting scenes of contemporary life. In this lavishly illustrated book, Busch examines the artist’s multifaceted oeuvre and brings the long nineteenth century into aesthetic focus.
Werner Busch was professor of art history at the Freie Universität Berlin from 1988 to 2010.
“This lavish book examines his career against the backdrop of events in 19th-century Germany, and traces a link between the artist's short stature and feelings of social exclusion.”
—Apollo
Art + Ideas Podcast: Werner Busch on Adolph Menzel
284 pages
9 x 11 inches
137 color and 30 b/w illustrations
ISBN 978-1-60606-517-4
hardcover
Getty Publications
Imprint: Getty Research Institute
2017
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Adolph Menzel: German Painter, Biography
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Adolph Menzel (1815-1905): German History Painter, Famous for Impressionist Paintings
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Early Life
Born Adolph Friedrich Erdmann Menzel in Breslau, Silesia (now Wroclaw, Poland), he moved with his family to Berlin in 1830, where he enrolled at the Academy of Fine Art and joined the Young Berlin Art Union (Jungerer Berliner Kunstverein). In 1832, following the death of his father, Menzel took over the family lithography business to which he applied himself with great energy, producing over 400 book illustrations for the History of Frederick the Great (1840-2) by Franz Kugler, which brought him his first popular acclaim. Aside from illustration, Menzel retained a strong interest in printmaking techniques throughout his career, producing woodcuts and etchings as well as numerous lithographs. Meanwhile, in his painting Menzel concentrated initially on realistic landscape painting, obtaining his views during the course of several sketching tours of southern Germany and Italy.
History Painting
The modern Realism art movement began in France - pioneered by Honore Daumier (1808-79), Jean-Francois Millet (1814-75) and Gustave Courbet (1819-77) - and was immediately accepted there, whereas in Germany artists and critics continued to attach a great deal of importance to a picture's narrative and idealistic content. It was against this background that Menzel turned his attention during the 1850s to history painting, centred at first on life at the court of the Prussian Emperor Frederick the Great (1712-86): see, for instance: Flute Concert of Frederick II in Sanssouci (1852, Nationalgalerie, SMPK, Berlin). Such works were significant - at a time of national awakening - in helping to create the public image of the founder of the Prussian state, and brough Menzel considerable acclaim. For a comparison with a French history painter of a similar style, see: Ernest Meissonier (1815-91).
Modern Art
During the 1860s he broadened his repertoire to include scenes from modern, contemporary life, and events of more recent German history. He was the first German artist to depict the aesthetic side of industry - as in The Steel Mill (1872-5, Alte Nationalgalerie, Berlin). Another of his 'modern' works was Afternoon in the Tuileries Gardens (1867, National Gallery, London), based on a series of sketches the artist made during a visit to Paris that year to see the Universal Exposition. Probably inspired by Edouard Manet's own somewhat looser treatment of the Tuileries Gardens, Menzel's depiction of this bustling scene, replete with incidental details, remains wholly legible. In addition, his architectural realism is evident in The Interior of the Jacobskirche at Innsbruck (1872, National Gallery of Art, Washington).
Pioneer of Impressionism
Curiously although Menzel achieved widespread contemporary recognition for his lithography and historical paintings, it was his little-known exploration of smaller-format genre painting for which he is now rightly famous. Including a number of interiors and informal landscapes, these unorthodox, freely-expressed canvases demonstrate great skill in their treatment of light and point unmistakably towards Impressionism, anticipating works by Degas and other Impressionist painters.
This pioneering style is exemplified in one of his greatest genre paintings - Living Room with the Artist's Sister (also known as The Artist's Sister with a Candle, or Emilie at the Parlour Door) (1847, Neue Pinakothek, Munich). It is one of numerous images inspired by the artist's private life and was never exhibited publicly by Menzel himself. The picture depicts his 19-year old sister Emilie, who kept his household for him. Its quiet, Biedermeier mood contrasts with the moving play of light and shadow in which the details of figures and objects become less recognizable. Menzel lingers lovingly on the soft, round face of the girl in the doorway who looks dreamily out of the picture. The main attraction of this work is the ephemeral quality of the scene: the light and shade as well as the girl's position, half-in, half-out of the door, exist for just that moment. The fleeting nature of the scene is reinforced by Menzel's Impressionistic technique. Other works in a similar vein include The French Window (1845, SMPK, Berlin) and The Balcony Room (1845, SMPK, Berlin).
Astonishingly, Menzel kept these works hidden throughout his lifetime. Indeed, not only did he suppress this 'Impressionist' side of his art, but also he was quite disparaging about Impressionist paintings in general, preferring instead the highly formal academic art of Ernest Meissonier (1815-91), the doyen of the French Academy.
Reputation as a Painter
Short of stature - he was only four foot six inches tall - Menzel spent most of his long life in Berlin. Among his most gripping works were the drawings and watercolours he produced in 1866 of dead and mutilated soldiers during the Austro-Prussian War. Revered by numerous German masters, including the modernist Max Klinger (1857-1920), as well as the great French Impressionist Degas who called him the "greatest living artist", he received many honours, and was raised to the nobility, becoming "Von Menzel". He was also elected a member of the Academy of Fine Arts in Paris, and the Royal Academy in London. After his death at the age of ninety, Menzel was given a state funeral in recognition of is artistic achievements.
Other 19th Century German Painters
Other painters belonging to the realism movement in Germany during the nineteenth century include: the landscape artist Joseph Anton Koch (1768-1839), the great Romantic Caspar David Friedrich (1774-1840), the early Biedermeier exponent Carl Spitzweg (1808-85), the eminent society portraitist Franz von Lenbach (1836-1904), the meticulous Wilhelm Leibl (1844-1900), the naturalist painter Hans Thoma (1839-1924) and the German Impressionists Max Liebermann (1847-1935), Max Slevogt (1868-1932) and Lovis Corinth (1858-1925).
Paintings by Adolph Menzel can be seen in many of the best art museums throughout the world.
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Adolph von Menzel - Discover Works
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Art objects by Adolph von Menzel at ars mundi. ✓Competent consultation ✓ Secure payment ✓ Fast delivery
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ars mundi
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https://www.arsmundi.de/en/artists/menzel-adolph-von/
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1815-1905
Adolph von Menzel was awarded the Order "Pour le Mérite" for science and art, he was also an honorary citizen of the city of Berlin and was finally knighted in 1898. Menzel was not just a history painter. He was one of the great realists of his time and a chronicler of his epoch.
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Adolph Menzel en
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Menzel was never as French as he was in the pastels he drew around 1850, and no other of his works bear such strong testimony to his affection as those depicting his sister. The image of pure grace and the sense of deep intimacy he has created using pastel chalks is simply captivating.
Adolph Menzel’s image of “Emilie” – a masterpiece
Menzel’s most frequent subject was his sister. She cared for her brother, the dwarf, for his entire life, even after her own marriage, and was Menzel’s closest companion after their mother died. She appears in paintings, pastels, drawings, and even prints. Always portrayed with affection, she also served as a model for his major works, such as the famed “Flute Concert.” A series of pastels exists in which she is depicted alone. The status of these works remains unresolved, as is reflected in their titles. Thus, the previous owner called this painting, “Costume Study of a Seated Female Model, Menzel’s Sister Emilie”. Yes and no. In order to understand what importance Menzel attached to such a work, it is necessary to take a step back. We need to understand why Menzel chose pastel as a medium, why he applied it primarily to brown paper, what motifs this manner was reserved for, and who the intended audience could have been.
Pastels were especially popular in France in the 18th century. Specialists like Maurice Quentin de la Tour or Jean-Étienne Liotard dedicated themselves largely to this technique, but it played an important role for Watteau as well. He used pastels in a special technique known as “aux Trois Crayons” by the French, in which only three crayons are used: white, black, and red. Those are clearly the dominant colors in the present drawing. It is difficult to say whether Menzel might have seen original pastel drawings by Watteau, who is not mentioned in Menzel’s correspondence. In any case, it matters little, because in the 18th century, pastels made using the “Trois Crayons” technique — such as those by Boucher, Watteau, or van Loo — could already be reproduced in three-color prints using a newly invented printing technology known as the “crayon manner.” The most important forerunner of the “Trois Crayons” technique was Peter Paul Rubens, who set his portraits — especially of his family — to paper using the aforementioned three crayons. Menzel frequently cites Rubens as an inspiration in his correspondence, but we should not lose sight of one important difference between the two artists, which also applies to most French pastel drawings: Rubens’ pastels preserve the character of a hand drawing primarily by allowing the paper to show through, thus giving it a strong role to play. Menzel’s pastels have the character of a full-color image to a greater degree, somewhat closer to paintings than drawings. And yet, since Rubens also used brown paper, his pastel works, like Menzel’s, give the impression of four colors. This calls to mind a famous anecdote about the ancient Greek painter Apelles, which was first recounted in Pliny the Elder’s Natural History and has since been retold in countless art-historical texts. Supposedly, Apelles chided his contemporaries for their penchant for pomposity and the overuse of color. He claimed that a true artist, like himself, could depict anything with just four colors. He named the colors as well: red, yellow (he apparently meant a shade of ochre), black, and white. Consider further that Titian is said to have applied paint in a medium shade to the canvas as a bed for further color, which he darkened or lightened through the addition of further paint, then the larger tradition in which Menzel stands also becomes clear. The medium shade, serving as the dominant color, is an ochre of brownish-yellow hue, an earthy shade from which all is shaped. Just as God created man out of clay, the artist summons his picture forth from the ground on the canvas, likewise a creator. This ennobles the resulting picture considerably.
Upon closer examination, while the four colors do clearly dominate, and the background color shows through in many places and thus becomes one of the colors of the depicted subject, Menzel lightens the ochre-brown tone in the hands and the face. In Emilie’s red jacket as well, ruched at the waist, there is a barely perceptible expansion of the color palette. Where the light — surprisingly coming from the right — hits the jacket, Menzel adds a few minute strokes of yellow and bright blue. The latter can also be seen in the parts of the jacket that are in the shadows. Their function is clear; they serve to lend a lifelike quality to the picture. So does the heavy use of white on the dress, the collar, and the cuffs — where, incidentally, Menzel’s light sketch with a sharp black crayon is easily discerned. The use of yellow and blue strokes on the red jacket is no coincidence; red, yellow, and blue comprise the Aristotelian color triad, framed by the so-called “non-colors” black and white. Thus, the entire color spectrum is present, and two color theories interpenetrate one another.
Emilie is sitting on a sort of low wooden box, leaning on her left hand while her right hand rests on her knee. Her gaze is directed downward, so that we can only guess at her facial expression. Indeed, as the former title suggested, our attention is focused on her pose and the garment itself. With light smudging, Menzel blurs the picture toward the left and right borders of the page, thereby focusing our attention on the center. When one looks through Menzel’s portrayals of his sister in drawings and paintings, it quickly becomes clear that he sought to capture her attitude in unobserved moments, in unusual and transitory poses, as if he might thereby convey more of her essence. In this respect, the pastel also shows a direct connection to the Hamburg oil sketch of a sleeping Emilie from 1849. On the other hand, everything that Menzel drew served as a study for him. Although often not created for a particular purpose, Menzel’s collected drawings formed a reserve that he could call upon for other works when needed. He often marked successful drawings with a small cross on the border to indicate that they were especially suitable for reuse. His pastels, however, are more ambitious — they are full-fledged works of art, albeit with a double limitation. First, they were mere depictions of a fleeting state, without a narrative. Second, they remained in the private sphere, since they were not originally intended for sale. This corresponds to their status as a form in between drawings and paintings. They are not purely studies, but they are also not official artworks. This lends them a special charm. They allow us to observe Menzel at work and reconstruct his process, while simultaneously affording us a glimpse into Menzel’s carefully protected private life.
In this way, the present work allows us to understand more of Menzel. On the one hand, he absorbs everything he sees as soberly and precisely as possible. On the other hand, he only acknowledges his feelings in the shelter of privacy. This pastel will most likely have remained in his family sphere, which makes the depiction of his sister so touching. At the same time, it is a singular masterpiece of a caliber that rarely appears on the market anymore today.
Werner Busch
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Kunkel Fine Art
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2022-04-21T11:57:18+02:00
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Adolph Menzel 1815 Breslau – 1905 Berlin The Berlin-based artist Adolph Menzel enjoyed lifetime recognition for his paintings, drawings and prints. He earned the respect of prominent colleagues and influential contemporary critics. Numerous one-man exhibitions of his work staged in major museums, galleries and art associations added to his renown. He was accorded the highest national [...]
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https://kunkelfineart.de/en/artists/menzel-adolph/
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Adolph Menzel
1815 Breslau – 1905 Berlin
The Berlin-based artist Adolph Menzel enjoyed lifetime recognition for his paintings, drawings and prints. He earned the respect of prominent colleagues and influential contemporary critics. Numerous one-man exhibitions of his work staged in major museums, galleries and art associations added to his renown. He was accorded the highest national honours and elevated to the nobility. A comprehensive memorial exhibition staged shortly after his death at the Nationalgalerie in Berlin crowned his stellar career. The Nationalgalerie had regularly secured many of his major works for its collection and went on to acquire his artistic estate, thus guaranteeing him a permanent place in the annals of German nineteenth-century art.
Although Menzel’s rank as the leading German Realist painter is beyond dispute, this is too narrow a classification of his art-historical significance. In an artistic career spanning seven decades he produced an extraordinarily multifaceted range of pictorial imagery. His work encompasses early Impressionistic tendencies (The Balcony Room, Nationalgalerie Berlin), historical genre scenes (The Flute Concert, Nationalgalerie Berlin) and powerful depictions of the modern industrial age (The Iron-Rolling Mill [The Modern Cyclops], Nationalgalerie Berlin).
Unlike many of his contemporaries, Menzel regarded drawing as much more than a tool for compiling a repertoire of motifs for later use in paintings. For him, drawing was an autonomous artistic act. Paul Meyerheim, a friend and colleague, noted in his recollections of Menzel: ‘In his paletot he had eight pockets part-filled with sketchbooks; he could not believe that there were artists who regularly set forth, even for the briefest of trips, without a sketchbook in their pocket.’ Meyerheim also observed that ‘no object was ever too insignificant for Menzel, and he would sketch with almost compulsive zeal while walking, or on the spot.’ The working method Meyerheim describes accounts for the overwhelming number of drawings Menzel produced and their extraordinary technical virtuosity. The vast range of motifs he recorded testifies to his ceaseless efforts to capture the tiniest details of the world around him and interiorise them artistically. His achievement lies in arriving at a universal formula for his subjective vision, the reason why the fascination of his draughtsmanship remains undiminished today.
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Adolph Menzel left more than 5,000 drawings created during a long and successful career that spanned the 19th century. Near the end of his life, when this drawing was made, he used a carpenter's pencil--a broad, flat-pointed lead pencil made of soft graphite--and stumping (rubbing with bits of tightly rolled paper or leather) to created numerous studies of heads of models that he considered independent works of art. In this drawing of a woman seen from behind from the shoulders up, the virtuosity of Menzel's stumping creates the effect of tangible surfaces and light falling on them, especially on the woman's face and hat. While he used the width of the pencil vigorously to indicate grainy black shadows in the folds of the coat and seat back, he used the sharp point for fine lines describing hair and facial features. The immediacy of the image--drawn in close proximity and capturing her mouth slightly open--suggests Menzel's focus on a fleeting moment. He wrote of drawings such as this as "true to nature" yet without "being copied from nature with fearful exactitude."
|
en
| null |
Did You Know?
Adolph Menzel drew continuously and had a special coat made with deep pockets to hold his sketchpad, pencils, shading stumps, and gum eraser.
Description
Adolph Menzel left more than 5,000 drawings created during a long and successful career that spanned the 19th century. Near the end of his life, when this drawing was made, he used a carpenter's pencil--a broad, flat-pointed lead pencil made of soft graphite--and stumping (rubbing with bits of tightly rolled paper or leather) to created numerous studies of heads of models that he considered independent works of art. In this drawing of a woman seen from behind from the shoulders up, the virtuosity of Menzel's stumping creates the effect of tangible surfaces and light falling on them, especially on the woman's face and hat. While he used the width of the pencil vigorously to indicate grainy black shadows in the folds of the coat and seat back, he used the sharp point for fine lines describing hair and facial features. The immediacy of the image--drawn in close proximity and capturing her mouth slightly open--suggests Menzel's focus on a fleeting moment. He wrote of drawings such as this as "true to nature" yet without "being copied from nature with fearful exactitude."
|
||||
666
|
dbpedia
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2
| 20 |
https://www.metmuseum.org/art/collection/search/440726
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en
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The Artist's Sitting Room in Ritterstrasse
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https://collectionapi.metmuseum.org/api/collection/v1/iiif/440726/802349/main-image
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https://collectionapi.metmuseum.org/api/collection/v1/iiif/440726/802349/main-image
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[
"Menzel",
"Adolph",
"Oil paint",
"Paper",
"Cardboard",
"Paintings",
"Europe",
"Germany"
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[] | null |
en
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https://www.metmuseum.org/content/img/presentation/icons/favicons/favicon.ico?v=3
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The Metropolitan Museum of Art
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https://www.metmuseum.org/art/collection/search/440726
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As part of the Met's Open Access policy, you can freely copy, modify and distribute this image, even for commercial purposes.
API
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666
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dbpedia
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0
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https://midlibrary.io/styles/adolph-menzel
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Adolph Menzel Midjourney style
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Adolph Menzel style in Midjourney AI. Painters | German artist | Scenes, Classical, Broad brushstrokes
|
en
| null |
Adolph Menzel (1815-1905) was a German artist renowned for his drawings, etchings, and paintings. Born in Breslau, Prussia (now Wrocław, Poland), Menzel became one of the most prominent artists of his time in Germany, celebrated for his historical scenes, landscapes, and genre paintings.
Menzel's work is characterized by its meticulous attention to detail, realism, and technical mastery. He had a remarkable ability to capture the texture and atmosphere of a scene, whether depicting the grandeur of a royal court or the intimacy of everyday life. Menzel was also a keen observer of the industrial age, and his works often reflect the social and technological changes of his time.
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666
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dbpedia
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2
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https://www.artsy.net/artist/adolph-menzel/auction-results
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en
|
Adolph Menzel - Auction Results and Sales Data
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[] |
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[
""
] | null |
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Find out about Adolph Menzel’s auction history, past sales, and current market value. Browse Artsy’s Price Database for recent auction results from the artist.
|
en
|
https://d1s2w0upia4e9w.cloudfront.net/images/favicon.ico
|
Artsy
|
https://www.artsy.net/artist/adolph-menzel
|
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||
666
|
dbpedia
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3
| 95 |
https://www.christies.com/en/lot/lot-6338391
|
en
|
ADOLPH VON MENZEL (German, 1815-1905), Mondschein über den Dächern von Berlin
|
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] |
[] |
[] |
[
"Christie’s",
"Live Auction",
"Auction",
"Lot"
] | null |
[] | null |
Mondschein über den Dächern von Berlin
|
en
|
/Assets/Discovery.Project.Website/V2023/favicons/favicon.ico
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https://www.christies.com/en/lot/lot-6338391
|
The work is being offered for sale pursuant to a settlement agreement between the current owner and the heirs of Alfred and Gertrude Sommerguth. This settlement agreement resolves the dispute over ownership of the work and title will pass to the successful bidder.
The cloud study forms an important subgenre of its own within the broader context of Romantic landscape painting. Motivated by the desire to capture a fleeting moment in time, which would later come to define the Impressionist movement, as well as an interest in contemporary natural sciences and cosmology, the Romantic painters returned time and time again to the ever-changing sky. While John Constable is perhaps the Romantic artist best remembered for his cloud studies today, the genre held an equally important place in the development of German Romantic painting, and painting clouds, particularly in the light of the moon, became a recurring motif in the work of the movement’s three most important exponents – Caspar David Friedrich, Johan Christian Dahl (who, while Norwegian by birth, was an important figure in the Dresden art scene), and Adolph von Menzel.
From the advent of German Romanticism moonlight became one of the most used motifs in art and literature, symbolizing internal contemplation of the presence of the divine within nature. ‘Why has looking at the moon become so beneficiary, so soothing and so sublime? Because the moon remains purely an object for contemplation, not of the will. […] Furthermore, the moon is sublime, and moves us sublimely because it stays aloof from all our earthly activities, it sees all, yet takes no part in it…”, wrote German philosopher Arthur Schopenhauer in 1840. While the moon as an object of contemplation was mediated by either a human presence or landscape in the works of both Dahl and Friedrich, by the time Menzel undertook the present work in 1855-1860, the landscape was no longer a necessary element to understand the subject matter of the nocturnal cloud study. Instead, Menzel has reduced the landscape to the mere suggestion of the upper levels of buildings in the lower right-hand corner of this small masterpiece, only visible upon close examination, and devoted the bulk of the sheet to a lyrical, gestural, almost abstract study of the moon and clouds over Berlin.
Much like Schopenhauer’s depiction of the moon as above earthly activities, Menzel himself seeks to similarly elevate his artistic viewpoint, determinedly untethering himself from the landscape to express the transcendent emotional state of his soul while looking at the night sky through his rendering of it. The only concrete element to which the viewer could fix their attention is the bright circle of the moon, and yet this is partially obscured by the black, mauve and lavender clouds passing before it. Instead, our attention is captured by the light reflected on the clouds behind the moon, which in turn helps define what is obscured, an astonishingly modern approach which Menzel’s contemporaries struggled with. The writer and critic Theodor Fontane recalled seeing one of Menzel’s compositions called Berlin by Night, describing it as a ‘sheet of black paper. With enough imagination one could distinguish clearly the cupola of the castle and the towers of the Gendarmenmarkt, but for most mortals, it was merely a large blot of ink, that’s all!’ (Letter from Fontane to W. van Merckel, 21 December 1857).
To modern eyes, however, trained on the later Impressionist and abstract painters, Menzel’s more experimental work is not at all inaccessible. Instead, we can appreciate both the artist’s ability to capture his emotional state in looking at the moon, and his almost contradictory ability to express objective observation of meteorological phenomena. The thin washes of low, scudding clouds along the horizon which dissolve into the suggestion of the buildings are contrasted against the thick, fluid application of undulating passages of gouache to indicate the higher altitude Altocumulus clouds – what are known as Schäfchenwolken, or sheep clouds, in German, and as a ‘mackerel sky’ in English. The reflected light behind the moon is defined by dry brush scumbling of gouache, which emphasizes the broken structure of the clouds, reflecting the light in some places while suggesting that it passes through in others. Finally, the dark clouds passing in front of the viewer are rendered in alternating thick and thin applications of dark gouache, completing the three-dimensional effect of the light by obscuring it in some places while allowing it to almost pass through the thinner portions of the cloud and toward the viewer in others.
Described by Edgar Degas as the ‘greatest living master’ during his lifetime, Menzel is less remembered today outside of Germany than the French painter who so admired him. And yet his remarkable oeuvre, which encompasses both formal Prussian history painting and Romantic works of startling modernity like the present painting, deserves far greater appreciation and study than it receives. An important forerunner to the Impressionists and to Whistler’s nocturnes (fig. 1), Menzel’s revolutionary influence can be understood far into the 20th century in the emotive gestural brushwork of the Expressionist and Abstract painters (fig. 2).
This painting was formerly in the collection of Alfred and Gertrude Sommerguth, prominent members of Berlin society in the early 20th century. The Sommerguth collection was wide-ranging, including Dutch and Italian old masters, French and German Impressionists, and also a number of works by Menzel. As a result of increasing anti-Jewish measures enacted by the Nazi government in the 1930s, the Sommerguths were forced to sell part of their art collection, including this present work, in 1939 to meet the discriminatory 'flight taxes' imposed before emigration. They fled Germany in 1941, travelling via Cuba to New York, where Alfred passed away in 1950 and Gertrude in 1954. The sale of this painting will address its history, as generously acknowledged by the parties involved.
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https://www.smb.museum/en/whats-new/detail/work-by-menzel-long-believed-lost-returns-to-the-staatliche-museen-zu-berlin/
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Work by Menzel, long believed lost, returns to the Staatliche Museen zu Berlin
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Last week saw the return to Berlin of the gouache 'Aschermittwochmorgen’ (Ash Wednesday Morning) by Adolph von Menzel, the most revered and popular German artist in the second half of the 19th centu
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https://www.smb.museum/en/whats-new/detail/work-by-menzel-long-believed-lost-returns-to-the-staatliche-museen-zu-berlin/
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15.04.2014
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https://classicalart.wordpress.com/1969/02/05/adolph-von-menzel-1815-1905/
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Adolph von Menzel (1815-1905)
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1969-02-05T00:00:00
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Living Room with the Artist's Sister (1847) Bavarian State Art Collection, Neue Pinakothek, Munich. The German painter, etcher and lithographer Adolph von Menzel (1815-1905) ranks alongside Caspar David Friedrich (1774-1840) as one of the most innovative figures in German Art of the 19th Century. However, unlike Friedrich, who believed deeply in the romantic power of…
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https://classicalart.wordpress.com/1969/02/05/adolph-von-menzel-1815-1905/
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Living Room with the Artist’s Sister
(1847) Bavarian State Art Collection,
Neue Pinakothek, Munich.
The German painter, etcher and lithographer Adolph von Menzel (1815-1905) ranks alongside Caspar David Friedrich (1774-1840) as one of the most innovative figures in German Art of the 19th Century. However, unlike Friedrich, who believed deeply in the romantic power of nature, Menzel believed in Realism and strove for an objective, true-to-life representation of the world. A master of drawing and various types of printmaking, as well as realist painting, he created over 10,000 paintings, drawings and fine art prints, including 400 illustrations for the life of Emperor Frederick the Great. His canvases – including history paintings and genre scenes, as well as portraits – are typically well-researched, acutely observant and highly detailed. His palette, treatment of light and overall style – as exemplified for instance by Living Room with the Artist’s Sister (1847, Bavarian State Art Collection, Neue Pinakothek, Munich) – predated French Impressionism by twenty five years. Menzel now ranks alongside the best modern artists of 19th century Germany.
Early Life
Born Adolph Friedrich Erdmann Menzel in Breslau, Silesia (now Wroclaw, Poland), he moved with his family to Berlin in 1830, where he enrolled at the Academy of Fine Art and joined the Young Berlin Art Union (Jungerer Berliner Kunstverein). In 1832, following the death of his father, Menzel took over the family lithography business to which he applied himself with great energy, producing over 400 book illustrations for the History of Frederick the Great (1840-2) by Franz Kugler, which brought him his first popular acclaim. Aside from illustration, Menzel retained a strong interest in printmaking techniques throughout his career, producing woodcuts and etchings as well as numerous lithographs. Meanwhile, in his painting Menzel concentrated initially on realistic landscape painting, obtaining his views during the course of several sketching tours of southern Germany and Italy.
History Painting
The modern Realism art movement began in France – pioneered by Honore Daumier (1808-79), Jean-Francois Millet (1814-75) and Gustave Courbet (1819-77) – and was immediately accepted there, whereas in Germany artists and critics continued to attach a great deal of importance to a picture’s narrative and idealistic content. It was against this background that Menzel turned his attention during the 1850s to history painting, centred at first on life at the court of the Prussian Emperor Frederick the Great (1712-86): see, for instance: Flute Concert of Frederick II in Sanssouci (1852, Nationalgalerie, SMPK, Berlin). Such works were significant – at a time of national awakening – in helping to create the public image of the founder of the Prussian state, and brough Menzel considerable acclaim. For a comparison with a French history painter of a similar style, see: Ernest Meissonier (1815-91).
Modern Art
During the 1860s he broadened his repertoire to include scenes from modern, contemporary life, and events of more recent German history. He was the first German artist to depict the aesthetic side of industry – as in The Steel Mill (1872-5, Alte Nationalgalerie, Berlin). Another of his ‘modern’ works was Afternoon in the Tuileries Gardens (1867, National Gallery, London), based on a series of sketches the artist made during a visit to Paris that year to see the Universal Exposition. Probably inspired by Edouard Manet’s own somewhat looser treatment of the Tuileries Gardens, Menzel’s depiction of this bustling scene, replete with incidental details, remains wholly legible. In addition, his architectural realism is evident in The Interior of the Jacobskirche at Innsbruck (1872, National Gallery of Art, Washington).
Pioneer of Impressionism
Curiously although Menzel achieved widespread contemporary recognition for his lithography and historical paintings, it was his little-known exploration of smaller-format genre painting for which he is now rightly famous. Including a number of interiors and informal landscapes, these unorthodox, freely-expressed canvases demonstrate great skill in their treatment of light and point unmistakably towards Impressionism, anticipating works by Degas and other Impressionist painters.
This pioneering style is exemplified in one of his greatest genre paintings – Living Room with the Artist’s Sister (also known as The Artist’s Sister with a Candle, or Emilie at the Parlour Door) (1847, Neue Pinakothek, Munich). It is one of numerous images inspired by the artist’s private life and was never exhibited publicly by Menzel himself. The picture depicts his 19-year old sister Emilie, who kept his household for him. Its quiet, Biedermeier mood contrasts with the moving play of light and shadow in which the details of figures and objects become less recognizable. Menzel lingers lovingly on the soft, round face of the girl in the doorway who looks dreamily out of the picture. The main attraction of this work is the ephemeral quality of the scene: the light and shade as well as the girl’s position, half-in, half-out of the door, exist for just that moment. The fleeting nature of the scene is reinforced by Menzel’s Impressionistic technique. Other works in a similar vein include The French Window (1845, SMPK, Berlin) and The Balcony Room (1845, SMPK, Berlin).
Astonishingly, Menzel kept these works hidden throughout his lifetime. Indeed, not only did he suppress this ‘Impressionist’ side of his art, but also he was quite disparaging about Impressionist paintings in general, preferring instead the highly formal academic art of Ernest Meissonier (1815-91), the doyen of the French Academy.
Reputation as a Painter
Short of stature – he was only four foot six inches tall – Menzel spent most of his long life in Berlin. Among his most gripping works were the drawings and watercolours he produced in 1866 of dead and mutilated soldiers during the Austro-Prussian War. Revered by numerous German masters, including the modernist Max Klinger (1857-1920), as well as the great French Impressionist Degas who called him the “greatest living artist”, he received many honours, and was raised to the nobility, becoming “Von Menzel”. He was also elected a member of the Academy of Fine Arts in Paris, and the Royal Academy in London. After his death at the age of ninety, Menzel was given a state funeral in recognition of is artistic achievements.
Other 19th Century German Painters
Other painters belonging to the realism movement in Germany during the nineteenth century include: the landscape artist Joseph Anton Koch (1768-1839), the great Romantic Caspar David Friedrich (1774-1840), the early Biedermeier exponent Carl Spitzweg (1808-85), the eminent society portraitist Franz von Lenbach (1836-1904), the meticulous Wilhelm Leibl (1844-1900), the naturalist painter Hans Thoma (1839-1924) and the German Impressionists Max Liebermann (1847-1935), Max Slevogt (1868-1932) and Lovis Corinth (1858-1925).
Paintings by Adolph Menzel can be seen in many of the best art museums throughout the world.
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https://germanhistorydocs.org/en/forging-an-empire-bismarckian-germany-1866-1890/adolph-menzel-departure-of-king-wilhelm-i-for-the-army-july-31-1870-abreise-koenig-wilhelms-i-zur-armee-am-31-juli-1870-1871
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Adolph Menzel, Departure of King Wilhelm I for the Army on 31. July 1870 (1871)
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That Adolph Menzel (1815–1905) used the pretext of an historical event to paint the crowds and facades of Berlin’s preeminent boulevard, Unter den Linden, is suggested by the original title under which this painting was exhibited: The Berlin Linden, Afternoon of 31. July 1870. Having rushed back to Berlin from a summer visit to the mountains of Saxony, Menzel encountered this scene on the very day of his return. Along with countless others, he watched as King Wilhelm I proceeded down Unter den Linden in his carriage, on his way to the Potsdam train station to depart for the fighting front in France (the Franco-Prussian War had broken out only two weeks earlier).
The composition of the painting disappointed traditionalists of the historical genre of realism. Why had Menzel chosen to hide the queen's face behind a handkerchief and, for that matter, why was she crying when the crowd was so jubilant? Why were the blue and white flags bearing the Brandenburg eagle distinctly shapeless? Why did the bourgeois crowd so overwhelm the royal couple? Why did Menzel choose to paint the prelude to war, rather than one of the great battles or victory celebrations? The answers, as so often with Menzel, have to remain speculative, but more than a few compositional clues suggest his intention to depict bourgeois Berlin rather than royal and martial Potsdam. The placement of the king’s carriage to the far left side of Unter den Linden relegates the royal couple to the literal margins of the scene. It is the crowd, not the couple, that occupies center stage. Moreover, deep in the background, at the termination of the avenue, one sees that Menzel has allowed Berlin’s famous red-brick City Hall to tower over the indistinct Royal Palace that stands in front of it. By altering the actual relationship of the two buildings, and thereby giving city hall priority over the palace, Menzel may have been gesturing towards civic—rather than royal or martial—pride. (It should also be noted that other prestigious buildings along this stretch of Unter den Linden are conspicuously absent.) One other question arises: the German flags have been wrapped around their poles by a gust of wind: is the new Germany capable of flying yet? Less ambiguous is Menzel’s incorporation of the Red Cross flag into his painting: as in most of his works—especially the sketches drawn on the Bohemian battlefields of July 1866—the victims of war were never far from his thoughts. To monarchist art critics like Friedrich Pecht, writing in the Deutsches Kunstblatt in 1881–82, even admiration for the painter’s virtuosity could not disguise his disappointment that Menzel had offered insufficient patriotic resolution and “too much sentimental philistinism.” The novelist Theodore Fontane, in a letter to Menzel on July 2, 1871, came closer to the truth when he praised the artist for having “brought grandeur into everyday life.” (Theodor Fontane, Briefe. Otto Drude and Helmuth Nürnberger, eds., vol. 2, Munich, 1879, p. 382). The mistake of “so many ‘historians with the paintbrush,’” Fontane noted, was that they tried to make authority palpable for ordinary Germans by infusing it with concreteness. But Menzel’s own conception of history—and how to depict it on the canvas—inverted the equation and privileged everyday life. Thus, the aging king’s distinctly unheroic wave yields to the cumulative effect of the numerous and varied individuals, gestures, and fabrics that draw attention to themselves and take possession of the painting. (Note that only one figure is actually genuflecting to royalty; two others (at lower left) have turned their backs.) Thus, quite intentionally, bourgeois Berlin takes center stage even as Germany’s dynastic, international, and military history reaches a turning point.
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Data collectively all information that you submit to Stephen Ongpin Fine Art Limited via the Website. This definition incorporates, where applicable, the definitions provided in the Data Protection Laws; Cookies a small text file placed on your computer by this Website when you visit certain parts of the Website and /or when you use certain features of the Website. Details of the cookies used by this Website are set out in the clause below (Cookies); Data Protection Laws any applicable law relating to the processing of personal Data, including but not limited to the Directive 96/46/EC (Data Protection Directive) or the GDPR, and any national implementing laws, regulations and secondary legislation, for as long as the GDPR is effective in the UK; GDPR the General Data Protection Regulation (EU) 2016/679; Stephen Ongpin Fine Art Limited, we or us Stephen Ongpin Fine Art Limited, a company incorporated in England and Wales with registered number 08879095 whose registered office is at 8 Rodborough Road, London, NW11 8RY; UK and EU Cookie Law the Privacy and Electronic Communications (EC Directive) Regulations 2003 as amended by the Privacy and Electronic Communications (EC Directive) (Amendment) Regulations 2011; User or you any third party that accesses the Website and is not either (i) employed by Stephen Ongpin Fine Art Limited and acting in the course of their employment or (ii) engaged as a consultant or otherwise providing services to Stephen Ongpin Fine Art Limited and accessing the Website in connection with the provision of such services; and Website the website that you are currently using, www.stephenongpinfineart.com, and any sub-domains of this site unless expressly excluded by their own terms and conditions. Type of Cookie Purpose Strictly necessary cookies These are cookies that are required for the operation of our website. They include, for example, cookies that enable you to log into secure areas of our website, use a shopping cart or make use of e-billing services. Analytical/performance cookies They allow us to recognise and count the number of visitors and to see how visitors move around our website when they are using it. This helps us to improve the way our website works, for example, by ensuring that users are finding what they are looking for easily.
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Art Contrarian: Adolph Menzel: Tiny Works from a Tiny Man
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"Donald Pittenger",
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Adolph Friedrich Erdmann von Menzel (1815-1905) -- the "von" bestowed late in his career -- was very popular in his day and honored by the K...
|
en
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http://artcontrarian.blogspot.com/favicon.ico
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http://artcontrarian.blogspot.com/2015/09/adolph-menzel-tiny-works-from-tiny-man.html
|
A blog about about painting, design and other aspects of aesthetics along with a dash of non-art topics. The point-of-view is that modernism in art is an idea that has, after a century or more, been thoroughly tested and found wanting. Not to say that it should be abolished -- just put in its proper, diminished place.
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dbpedia
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https://www.themorgan.org/exhibitions/online/van-eyck-to-mondrian/adolph-menzel
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en
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Adolph Menzel
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2021-10-16T22:32:14-04:00
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Adolph Menzel, German, 1815–1905, Studies of a Crouching Man with Hammer and Chisel, 1883, Graphite pencil
|
en
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/sites/default/files/favicons/apple-touch-icon.png
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The Morgan Library & Museum
|
https://www.themorgan.org/exhibitions/online/van-eyck-to-mondrian/adolph-menzel
|
These expressively charged studies stem from a trip that Menzel made to Italy in 1881. Rather than visit more popular destinations like Florence or Rome, the artist traveled to Verona, where he filled sketchbooks with firsthand studies of the characters and bustle of the city’s main market. Back in Berlin, Menzel used this visual repository as the basis for more elaborate drawings such as this one, made in preparation for his painting Piazza d’Erbe in Verona. The sheet is a superb example of Menzel’s mature style and his virtuosic control of the pencil, with which he was able to alternate fluently between broad, dynamic contour and refined details, confidently smudging the soft graphite to establish finely graded shadows.
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dbpedia
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https://www.stephenongpin.com/artist/236463/adolph-menzel
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Data collectively all information that you submit to Stephen Ongpin Fine Art Limited via the Website. This definition incorporates, where applicable, the definitions provided in the Data Protection Laws; Cookies a small text file placed on your computer by this Website when you visit certain parts of the Website and /or when you use certain features of the Website. Details of the cookies used by this Website are set out in the clause below (Cookies); Data Protection Laws any applicable law relating to the processing of personal Data, including but not limited to the Directive 96/46/EC (Data Protection Directive) or the GDPR, and any national implementing laws, regulations and secondary legislation, for as long as the GDPR is effective in the UK; GDPR the General Data Protection Regulation (EU) 2016/679; Stephen Ongpin Fine Art Limited, we or us Stephen Ongpin Fine Art Limited, a company incorporated in England and Wales with registered number 08879095 whose registered office is at 8 Rodborough Road, London, NW11 8RY; UK and EU Cookie Law the Privacy and Electronic Communications (EC Directive) Regulations 2003 as amended by the Privacy and Electronic Communications (EC Directive) (Amendment) Regulations 2011; User or you any third party that accesses the Website and is not either (i) employed by Stephen Ongpin Fine Art Limited and acting in the course of their employment or (ii) engaged as a consultant or otherwise providing services to Stephen Ongpin Fine Art Limited and accessing the Website in connection with the provision of such services; and Website the website that you are currently using, www.stephenongpinfineart.com, and any sub-domains of this site unless expressly excluded by their own terms and conditions. Type of Cookie Purpose Strictly necessary cookies These are cookies that are required for the operation of our website. They include, for example, cookies that enable you to log into secure areas of our website, use a shopping cart or make use of e-billing services. Analytical/performance cookies They allow us to recognise and count the number of visitors and to see how visitors move around our website when they are using it. This helps us to improve the way our website works, for example, by ensuring that users are finding what they are looking for easily.
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666
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dbpedia
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https://www.artnet.com/artists/adolph-von-menzel/
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666
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https://www.npr.org/sections/13.7/2013/02/15/172090225/investigations-of-experience
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en
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Investigations Of Experience
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[
"Alva Noë"
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2013-02-15T00:00:00
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You have to go to Berlin to see Adolph Menzel's best work. In the estimation of Alva Noë, it would be well worth the trip. Menzel is an exciting artist whose work explores the nature of human experience.
|
en
|
NPR
|
https://www.npr.org/sections/13.7/2013/02/15/172090225/investigations-of-experience
|
The painter Adolph Menzel (1815-1905) is not well-known, even in his native Germany. He was tiny and ugly and never married; he wrote in his will that "there is a lack of any kind of self-made bond between me and the outside world." Perhaps this lack of bond is what made it possible for him to devote himself so totally to the task of making pictures.
Menzel drew constantly. He drew everything. He drew with his left hand and with his right. He drew on napkins and on the backs of menus. No social event was so formal, or so intimate, it seems, as to quiet his active hands.
I heard a great writer say recently that her inspiration comes from an impulse to record, document, fix the moment, to hold on to time, to put things in words.
Menzel must have shared this impulse. But there was more to Menzel's mania.
Plato thought of the painter as merely recording an image that was delivered to the senses; it's easy to make a picture of anything, he wrote; you simply hold a mirror up to it.
Anyone who has tried to draw knows that Plato got this wrong. It isn't easy to make pictures. It is painstaking. It requires physical effort and thought.
Plato's mistake went deeper. The human action of seeing is, for Plato, also akin to holding up a mirror to the world. What we see are nothing but images.
Enter Menzel, whose work embodies a commitment to the refutation of this Platonic idea.
Sure, we look about and we name what we see. But really seeing, really noticing, discerning, finding, discriminating? This is not easy and maybe not even possible.
The world is not a given. We need to work for it, as we need to work to build a painting or reason out a drawing. First you look here. Then you look there. The visible world outstrips what can be taken in at a glance. Seeing is active, and thoughtful. It requires a philosophical eye.
And the sketches of this compulsive and unstoppable artist, no less than his oil paintings and his gouaches, are not so much documentations of what there is, as they are investigations of the way we manufacture our own experience.
Go to the Old National Gallery in Berlin and visit with one of Menzel's smaller paintings of the 1840s such as The Balcony Room. Ask yourself this question, what do I see? Give yourself the time to realize how very difficult it is to say.
In my case, Menzel taught me that art can be a way of doing philosophy.
The quote from Menzel's will is taken from Michael Fried's beautiful book Menzel's Realism: Art and Embodiment in Nineteenth-Century Berlin (Yale University Press, 2002). My whole approach to Menzel is indebted to Fried.
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dbpedia
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https://www.treasurebunker.com/forums/index.php%3F/topic/3672-adolph-von-menzel-works-of-art/
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Scotlands Premier Militaria Shop
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The Treasure Bunker specialises in Third Reich, British,German and other nations militaria, toy soldiers and model tanks.Military collectables from Waterloo to World War II including medals, uniforms, badges, equipment, deactivated guns and helmets.We also offer a medal mounting service.
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We offer an extensive range of military collectables from Waterloo to World War II, specialising in Third Reich, British and other Nations medals and militaria, toy soldiers, model tanks and other collectors items. You can easily browse through our selection of over a thousand items on our on-line shop, including medals, uniforms, badges, helmets, equipment, replica guns and books.
We also offer a medal mounting service. All items offered for sale that are described as original have a lifetime guarantee of authenticity, supported by Treasure Bunker's excellent customer service. Run by enthusiasts and collectors, from our busy Glasgow city centre shop, you are welcome to visit us and browse at your leisure to find that missing piece for your collection.
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Adolph Menzel: The Quest for Reality
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The work of Adolph Menzel is widely regarded as the epitome of realist art and during his lifetime he was one of Germany’s most famous artists. Today he is hailed as a consummate master of atmospheric art, but book-length investigations of his work remain rare. Werner Busch here offers an important corrective to this art-historical oversight, bringing Menzel’s unique persona and influential paintings to life in the context of the art and politics of nineteenth-century Germany.
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Werner Busch
The work of Adolph Menzel (1815–1905) is widely regarded as the epitome of realist art. From the very beginning of his career, he captured the beauty and horror of reality with unflinching precision, and he was a consummate master of atmosphere. A man of very short stature, Menzel was excluded from many aspects of life, and so his struggle with reality was also a struggle to assert himself. Werner Busch’s comprehensive new study sheds light on the biographical and historical events that shaped Menzel’s work and the course it took. Menzel’s paintings of the life of Frederick the Great still dominate our image of the monarch. Their modern perspective, however, neither glorified the king nor found favor with the Prussian royal family. After witnessing the horror of war in the aftermath of the Battle of Königgrätz, Menzel abandoned history painting. In Paris, he discovered the energy and bustle of the heroless metropolis; for the remainder of his career, he devoted himself to painting scenes of contemporary life. In this lavishly illustrated book, Busch examines the artist’s multifaceted oeuvre and brings the long nineteenth century into aesthetic focus.
Werner Busch was professor of art history at the Freie Universität Berlin from 1988 to 2010.
“This lavish book examines his career against the backdrop of events in 19th-century Germany, and traces a link between the artist's short stature and feelings of social exclusion.”
—Apollo
Art + Ideas Podcast: Werner Busch on Adolph Menzel
284 pages
9 x 11 inches
137 color and 30 b/w illustrations
ISBN 978-1-60606-517-4
hardcover
Getty Publications
Imprint: Getty Research Institute
2017
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Adolph Menzel
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Adolph Menzel lived in the XIX – XX cent., a remarkable figure of German-Polish Realism. Find more works of this artist at Wikiart.org – best visual art database.
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Adolph Friedrich Erdmann von Menzel (December 8, 1815 – February 9, 1905) was a German Realist artist noted for drawings, etchings, and paintings. Along with Caspar David Friedrich, he is considered one of the two most prominent German artists of the 19th century, and was the most successful artist of his era in Germany. First known as Adolph Menzel, he was knighted in 1898 and changed his name to Adolph von Menzel.
His popularity in his native country, owing especially to history painting, was such that few of his major paintings left Germany, as many were quickly acquired by museums in Berlin. Menzel's graphic works and drawings were more widely disseminated; these, along with informal paintings not initially intended for display, have largely accounted for his posthumous reputation.
Although he traveled in order to find subjects for his art, to visit exhibitions, and to meet with other artists, Menzel spent most of his life in Berlin, and was, despite numerous friendships, by his own admission detached from others. It is likely that he felt socially estranged for physical reasons alone—Menzel had a large head, and stood about four foot six inches.
Menzel was born in Breslau, Silesia, on December 8, 1815. His father was a lithographer and intended to educate his son as a professor; however, he would not thwart his taste for art. After resigning his teaching post, Menzel senior set up a lithographic workshop in 1818. In 1830 the family moved to Berlin, and in 1832 Adolph was forced to take over the lithographic business on the death of his father. In 1833, he studied briefly at the Berlin Academy of Art, where he drew from plaster casts and ancient sculptures; thereafter Menzel was self-taught. Louis Friedrich Sachse (de) of Berlin published his first work in 1833, an album of pen-and-ink drawings reproduced on stone, to illustrate Goethe's little poem, Kunstlers Erdenwallen. He executed lithographs in the same manner to illustrate Denkwürdigkeiten aus der brandenburgisch-preussischen Geschichte; The Five Senses and The Prayer, as well as diplomas for various corporations and societies.
From 1839 to 1842, he produced 400 drawings, largely introducing to Germany the technique of wood engraving, to illustrate the Geschichte Friedrichs des Grossen (History of Frederick the Great) by Franz Kugler. He subsequently brought out Friedrichs der Grossen Armee in ihrer Uniformirung (The Uniforms of the Army under Frederick the Great), Soldaten Friedrichs der Grossen (The Soldiers of Frederick the Great); and finally, by order of King Frederick William IV, he illustrated the works of Frederick the Great, Illustrationen zu den Werken Friedrichs des Grossen (1843–1849). The artist had a deep sympathy for the Prussian king. In one of his letters to Johann Jakob Weber, he said that it was his intention to represent the monarch as a man who was both hated and admired—simply as he was, in other words, as a man of the people. Through these works, Menzel established his claim to be considered one of the first, if not actually the first, of the illustrators of his day in his own line.
This is a part of the Wikipedia article used under the Creative Commons Attribution-Sharealike 3.0 Unported License (CC-BY-SA). The full text of the article is here →
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Adolph von Menzel
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View Artworks by Adolph von Menzel on Artvee.
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https://artvee.com/artist/adolph-von-menzel/
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Adolph Friedrich Erdmann von Menzel was a German Realist artist noted for drawings, etchings, and paintings. Along with Caspar David Friedrich, he is considered one of the two most prominent German painters of the 19th century, and was the most successful artist of his era in Germany. First known as Adolph Menzel, he was knighted in 1898 and changed his name to Adolph von Menzel.
His popularity in his native country, owing especially to his history paintings, was such that few of his major paintings left Germany, as many were quickly acquired by museums in Berlin. Menzel's graphic work (and especially his drawings) were more widely disseminated; these, along with informal paintings not initially intended for display, have largely accounted for his posthumous reputation.
Although he traveled in order to find subjects for his art, to visit exhibitions, and to meet with other artists, Menzel spent most of his life in Berlin, and was, despite numerous friendships, by his own admission detached from others. It is likely that he felt socially estranged for physical reasons alone—Menzel had a large head, and stood about four foot six inches.
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Menzel, Adolph, 1815â1905
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Adolph Menzel (1815â1905)
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https://artuk.org/discover/artists/menzel-adolph-18151905
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(b Breslau, Silesia [now WrocÅaw, Poland], 8 Dec. 1815; d Berlin, 9 Feb. 1905). German painter and printmaker, active mainly in Berlin, where in 1832 he took over his dead father's lithographic business. He was extremely industrious and achieved fame with 400 illustrations (wood engravings from his lively drawings) for Franz Kugler's History of Frederick the Great (1840â2). In painting he worked on similar themes and with comparable success, creating the popular image of the founder of the Prussian state. From the 1860s he turned to subjects from modern life and was one of the first German painters to depict the picturesque qualities of industry (The Steel Mill, 1872â5, Alte NG, Berlin). Today, however, Menzel is most highly regarded not for the works that brought him contemporary acclaim, but for a series of informal landscapes and interiors dating from the 1840s that remained virtually unknown in his lifetime.
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Adolph Menzel (1815-1905)
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At the National Library of Israel, you can find information on Adolph Menzel (1815-1905) and view a variety of items related to the topic such as manuscripts, books, archives, photographs and more. Read more at:
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http://www.visual-arts-cork.com/famous-artists/adolph-menzel.htm
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Adolph Menzel: German Painter, Biography
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Adolph Menzel (1815-1905): German History Painter, Famous for Impressionist Paintings
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Early Life
Born Adolph Friedrich Erdmann Menzel in Breslau, Silesia (now Wroclaw, Poland), he moved with his family to Berlin in 1830, where he enrolled at the Academy of Fine Art and joined the Young Berlin Art Union (Jungerer Berliner Kunstverein). In 1832, following the death of his father, Menzel took over the family lithography business to which he applied himself with great energy, producing over 400 book illustrations for the History of Frederick the Great (1840-2) by Franz Kugler, which brought him his first popular acclaim. Aside from illustration, Menzel retained a strong interest in printmaking techniques throughout his career, producing woodcuts and etchings as well as numerous lithographs. Meanwhile, in his painting Menzel concentrated initially on realistic landscape painting, obtaining his views during the course of several sketching tours of southern Germany and Italy.
History Painting
The modern Realism art movement began in France - pioneered by Honore Daumier (1808-79), Jean-Francois Millet (1814-75) and Gustave Courbet (1819-77) - and was immediately accepted there, whereas in Germany artists and critics continued to attach a great deal of importance to a picture's narrative and idealistic content. It was against this background that Menzel turned his attention during the 1850s to history painting, centred at first on life at the court of the Prussian Emperor Frederick the Great (1712-86): see, for instance: Flute Concert of Frederick II in Sanssouci (1852, Nationalgalerie, SMPK, Berlin). Such works were significant - at a time of national awakening - in helping to create the public image of the founder of the Prussian state, and brough Menzel considerable acclaim. For a comparison with a French history painter of a similar style, see: Ernest Meissonier (1815-91).
Modern Art
During the 1860s he broadened his repertoire to include scenes from modern, contemporary life, and events of more recent German history. He was the first German artist to depict the aesthetic side of industry - as in The Steel Mill (1872-5, Alte Nationalgalerie, Berlin). Another of his 'modern' works was Afternoon in the Tuileries Gardens (1867, National Gallery, London), based on a series of sketches the artist made during a visit to Paris that year to see the Universal Exposition. Probably inspired by Edouard Manet's own somewhat looser treatment of the Tuileries Gardens, Menzel's depiction of this bustling scene, replete with incidental details, remains wholly legible. In addition, his architectural realism is evident in The Interior of the Jacobskirche at Innsbruck (1872, National Gallery of Art, Washington).
Pioneer of Impressionism
Curiously although Menzel achieved widespread contemporary recognition for his lithography and historical paintings, it was his little-known exploration of smaller-format genre painting for which he is now rightly famous. Including a number of interiors and informal landscapes, these unorthodox, freely-expressed canvases demonstrate great skill in their treatment of light and point unmistakably towards Impressionism, anticipating works by Degas and other Impressionist painters.
This pioneering style is exemplified in one of his greatest genre paintings - Living Room with the Artist's Sister (also known as The Artist's Sister with a Candle, or Emilie at the Parlour Door) (1847, Neue Pinakothek, Munich). It is one of numerous images inspired by the artist's private life and was never exhibited publicly by Menzel himself. The picture depicts his 19-year old sister Emilie, who kept his household for him. Its quiet, Biedermeier mood contrasts with the moving play of light and shadow in which the details of figures and objects become less recognizable. Menzel lingers lovingly on the soft, round face of the girl in the doorway who looks dreamily out of the picture. The main attraction of this work is the ephemeral quality of the scene: the light and shade as well as the girl's position, half-in, half-out of the door, exist for just that moment. The fleeting nature of the scene is reinforced by Menzel's Impressionistic technique. Other works in a similar vein include The French Window (1845, SMPK, Berlin) and The Balcony Room (1845, SMPK, Berlin).
Astonishingly, Menzel kept these works hidden throughout his lifetime. Indeed, not only did he suppress this 'Impressionist' side of his art, but also he was quite disparaging about Impressionist paintings in general, preferring instead the highly formal academic art of Ernest Meissonier (1815-91), the doyen of the French Academy.
Reputation as a Painter
Short of stature - he was only four foot six inches tall - Menzel spent most of his long life in Berlin. Among his most gripping works were the drawings and watercolours he produced in 1866 of dead and mutilated soldiers during the Austro-Prussian War. Revered by numerous German masters, including the modernist Max Klinger (1857-1920), as well as the great French Impressionist Degas who called him the "greatest living artist", he received many honours, and was raised to the nobility, becoming "Von Menzel". He was also elected a member of the Academy of Fine Arts in Paris, and the Royal Academy in London. After his death at the age of ninety, Menzel was given a state funeral in recognition of is artistic achievements.
Other 19th Century German Painters
Other painters belonging to the realism movement in Germany during the nineteenth century include: the landscape artist Joseph Anton Koch (1768-1839), the great Romantic Caspar David Friedrich (1774-1840), the early Biedermeier exponent Carl Spitzweg (1808-85), the eminent society portraitist Franz von Lenbach (1836-1904), the meticulous Wilhelm Leibl (1844-1900), the naturalist painter Hans Thoma (1839-1924) and the German Impressionists Max Liebermann (1847-1935), Max Slevogt (1868-1932) and Lovis Corinth (1858-1925).
Paintings by Adolph Menzel can be seen in many of the best art museums throughout the world.
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Afternoon in the Tuileries Gardens
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1867-08-10T00:00:00
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Adolph Menzel, Afternoon in the Tuileries Gardens, 1867. Read about this painting, learn the key facts and zoom in to discover more.
|
en
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/favicon.ico
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https://www.nationalgallery.org.uk/paintings/adolph-menzel-afternoon-in-the-tuileries-gardens
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In the summer of 1867, the German artist Adolph Menzel visited Paris for nine weeks. While there, he almost certainly went to Manet’s temporary pavilion, which for a few days was situated near the Universal Exhibition. The pavilion displayed around 50 of Manet’s paintings, including Music in the Tuileries Gardens (1862), also in the National Gallery’s collection.
Menzel began work on his painting of the Tuileries Gardens upon his return to Berlin. Not only was his version a response to Manet’s, it was also the first of what was to become a series of modern urban scenes. Menzel has directly quoted elements from Manet, such as the man in profile wearing a top hat and the crouching child in the foreground, but his picture is not a copy or pastiche. There are significant differences between the two in both composition and technique, and Menzel’s painting might be viewed as a rejection of Manet. Seen together, the two pictures reveal there was more than one way to depict ‘modern life’.
In the summer of 1867, the German artist Adolph Menzel stayed in Paris for nine weeks. It was his second visit to the city and it coincided with the Universal Exhibition, which ran from April until October. While in Paris, Menzel almost certainly visited Manet’s pavilion. Manet had not been invited to participate in the official fair but, following the example of Courbet – who had set up his own ‘Pavilion of Realism’ when his monumental canvas The Painter’s Studio (Musée d’Orsay, Paris) was rejected by the 1855 Universal Exhibition – he set up his own pavilion nearby. It displayed around 50 of Manet’s paintings, including Music in the Tuileries Gardens (1862). A pencil drawing in Menzel’s Paris sketchbook of the crowd at the Tuileries Gardens affirms that he had seen Manet’s picture and that it made a deep impression upon him.
Menzel began work on his own painting of the Tuileries Gardens as soon as he returned to Berlin. Not only was it a response to Manet, but it was also the first of what was to become a series of modern urban scenes. Half the size of Manet’s picture, Menzel’s work directly quotes from it. For example, the man in a top hat seen in profile leaning forward, partly covered by a tree, replicates Manet’s brother Eugène, and in both pictures a child crouches down in the foreground. Manet’s self portrait on the left edge of his picture is countered by Menzel placing himself, his top hat held behind his back, in the lower right corner of his. But Menzel’s picture is no copy or pastiche of Manet’s. The differences between the two are more telling than their similarities, and Menzel’s painting might be viewed as a rejection of Manet. Significantly, when first exhibited in Berlin in 1858, Menzel’s work was titled Sunday Afternoon in the Tuileries Gardens, from Memory, and he also added an abbreviation for Berlin after his signature to emphasise that it was not painted from life in Paris. Instead, the picture is a synthesis of vignettes or impressions, perhaps based upon observation, assembled in his studio to form a single scene.
There are important differences between the two pictures. While Manet used a frieze-like composition, Menzel has created deep paths through the trees at sharp angles to the picture plane, which open up the space and also allow him to include more figures. The foreground also tilts forward slightly to offer us an aerial view across the park towards its entrance on the rue de Rivoli. Menzel ’s emphasis on illusion and depth is very different from Manet’s on the flat surface of the canvas. In contrast to Manet’s lack of modelling, Menzel has maintained an effect of atmospheric recession, as figures in the foreground are painted in minute detail and almost tip out of the picture, while those further back are painted more freely. Manet’s picture shows people drawn mainly from a single class – the Parisian haute bourgeoisie – whereas Menzel’s picturesque realism, full of busy detail and anecdote, shows a heterogeneous crowd of various ages, classes and nationalities. Seen together, the two pictures show there was more than one way to depict ‘modern life’.
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https://drawpaintacademy.com/top-ten-gouache-artists-from-the-18th-to-the-20th-century/
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en
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Top Ten Gouache Artists From the 18th to the 20th Century
|
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2022-07-21T02:30:31+00:00
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Learn about our top ten gouache artists during the 18th to the 20th Century. Brief commentary, images and key takeaways.
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en
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Draw Paint Academy
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https://drawpaintacademy.com/top-ten-gouache-artists-from-the-18th-to-the-20th-century/
|
The technique of gouache has been around since ancient times. However, the term was first used in 18th-century France to describe a type of opaque paint made from pigments bound in water-soluble gum. Over time, the unique qualities of gouache resulted in its growing popularity. In particular, plein air artists and illustrators increasingly used it over their watercolors, ink or pencil drawings and pastels. In this post, we explore who are ten of the most talented gouache artists from the 18th to the 20th century.
1. François Boucher (1703-1770)
2. Joseph Mallord William Turner (1775-1851)
3. Adolph Menzel (1815-1905)
4. Camille Pissarro (1830-1903)
5. Fidelia Bridges (1834-1923)
6. Thomas Moran (1837-1926)
7. Albert Beck Wenzell (1864-1917)
8. Henri de Toulouse Lautrec (1864-1901)
9. Henri Matisse (1869-1954)
10. Egon Schiele (1890-1918)
Key Takeaways
Want to Learn More?
Thanks for Reading!
1. François Boucher (1703-1770)
François Boucher was a Rococo artist who contributed to the dissemination of this style throughout Europe. He did everything from oil and cabinet paintings to tapestry and stage designs. Only three of Boucher’s gouaches survived, but they are a testament to the artist’s mastery of the medium. One of them is The Adoration of the Shepherds, which is very similar in composition to an altarpiece of the same subject commissioned in 1750 by Madame de Pompadour, the mistress of King Louis XV. It was long considered that this gouache was a preparatory study for the altarpiece, but recent scholarship suggests it was made as an autonomous work years later. In this work, the artist used gouache over black chalk underdrawing. One of the main features of this paperwork is the cloudy sky which includes a burst of celestial golden light from where a group of angels are looking at the Virgin with her child. At the same time, the touches of flat red paint in the flesh tones of the Virgin and child stand out in this masterpiece.
2. Joseph Mallord William Turner (1775-1851)
William Turner is a celebrated Romantic painter who recreated turbulent atmospheric effects. Over his career, the artist relied on watercolors and gouache, two mediums that allowed him to work at a fast pace during the sketching tours he undertook through England, Scotland and Wales. Interestingly, Turner experimented with different methods for producing the gouache paints that he added to his watercolors or pencil studies. At first, he made them with an additive of white chalk, magnesium carbonate, or zinc white, but later on, used lead white probably for its greater density. For example, in The Scarlet Sunset, the artist first used watercolors and later on created visual accents with gouache which allowed him to capture the atmosphere of the sunset setting on a foggy day. This work was created during the last stages of Turner’s career when his work turned more gestural and reductive and started to embrace a modernist aesthetic. Turner’s use of gouache influenced the following generation of landscape artists.
3. Adolph Menzel (1815-1905)
Adolf Friedrich Erdmann von Menzel was a Realist artist celebrated for his naturalistic depictions of everyday life scenes that contributed to the emergence of Expressionism in the region. Starting in the late 1850s, Menzel preferred to use gouache for his finished compositions on paper. His approach to the medium was meticulous as he overlapped several layers of paint over his watercolors. The artist favored gouache due to its immediacy and also the great detail that can be obtained through it especially given the small scale the artist often worked with. Some of the artist’s most famous gouaches were the ones commissioned as a gift set to commemorate the visit to Berlin of Alexandra Feodorovna, wife of the Russian Emperor Nicholas II. However, over the years he created many other interesting gouaches which have a strong narrative component. Here, we see a gouache depicting an extravagant panorama of a group of female and male workers probably renovating the wealthy couple’s house located at the center of the composition. This work is filled with movement. Everyone but the owners of the villa seem busy.
4. Camille Pissarro (1830-1903)
Camille Pissarro is a celebrated Post-Impressionist artist. From the 1880s onward, Pissarro increasingly experimented with watercolors, gouaches, and prints. He also shifted from Impressionist landscape painting to compositions constructed with small, coma-like brushstrokes that portrayed peasant life scenes where his subjects were either working or resting. It is said that through this subject matter the artist sought to educate the viewers and evoke the utopian visions of peasant societies by anarchist writers like Pierre-Joseph Proudhon and Peter Kropotkin. For instance, in these years, he created many gouache portraits of female peasants and cow keepers who are depicted in diverse postures against beautifully constructed landscapes. The gouache we see here is a fine example of this period. It is one of the many gouaches he painted of the countryside of Éragny, where Pissarro lived from 1884 until he died in 1903.
5. Fidelia Bridges (1834-1923)
Bridges captured the flowers, birds, and plants near her Connecticut summer home with extreme detail. Bridges’ realistic style was highly influenced by the work of his mentor William Trost Richards, who introduced her to art patrons, helped her set up a studio, and encouraged her to exhibit her work. Notably, Fidelia was among the few nineteenth-century American women to enjoy a successful career, her works were collected and also distributed as illustrations by Louis Prang and Company. Bridges usually worked outdoors. Watercolors and gouaches were the perfect choices for her botanical studies. In this watercolor and gouache on light brown wove paper we see a portrayal of a disheveled bird’s nest. This balanced composition is both an accurate representation of plants, a depiction of the cycle of life, and an extremely complex design.
6. Thomas Moran (1837-1926)
Thomas Moran was a famous illustrator and landscape artist who created distinctive imagery for the portrayal of the American West. Over the years, he used gouache over his watercolor sketches painted outdoors in emblematic locations like the Rocky Mountains and Yellowstone National Park. In the beginning, this body of works was not made to be exhibited or sold and was conceived by the artist as references for the details of oil paintings he later produced in his studio. This watercolor, gouache, and graphite work made on off-white wove paper exemplifies the artist’s approach to landscape painting which always combined a naturalistic style with connotations of the divine. This work captures the immensity and almost transcendent nature of Colburn’s Butte, today called Tucupit Point, located in the Kolob Canyon section of Zion National Park. From this expressive watercolor, which reveals J. M. W. Turner’s influence on this artist’s work, Moran designed an engraving that was published in the art magazine The Aldine in 1874.
7. Albert Beck Wenzell (1864-1917)
Albert Beck Wenzell was an illustrator of the costumes of American high society. Coming from a wealthy family, the artist had solid academic training in Munich and Paris, where he lived much of his youth. Upon his return to the US Wenzell focused on depicting socialites, mainly young beautiful women. His works were published in popular magazines of his time such as The Ladies’ Home Journal, Century, and Cosmopolitan. He also illustrated serialized novels like those of author Edith Wharton. Wenzell’s most famous works are his black and white illustrations, which he frequently painted in gouache with a voluminous pointed brush on a warm-toned board. However, the artist also created colorful gouache and oil compositions with an Impressionist touch. Albert was recognized during his lifetime. He earned numerous awards and contributed to elevating the figure of the illustrator. As proof of this, he was one of the founding members and President of the Society of Illustrators.
8. Henri de Toulouse Lautrec (1864-1901)
Toulouse Lautrec is a Post-Impressionist artist widely known for his posters celebrating Paris’ Montmartre nightlife. However, over his career, he also experimented with gouache frequently using it next to pastels and watercolors. The artist’s distinctive technique granted his gouache compositions a distinctive look. He usually ground his pastel crayons and added them to his watercolors creating a gouache feeling. This technique of producing gouaches was also used by other landscape artists such as Turner, also included in this list. As evidenced in this painting of a young female cabaret dancer named Jane Avril, Lautrec also worked solely with gouache. In this paperwork, the opacity of the colors and the free lines create the illusion of movement. Rather than following what was anatomically correct, colors by themselves create a rhythm in the composition. This gouache was also the basis for a poster on the same subject.
9. Henri Matisse (1869-1954)
Henri Matisse was a revolutionary artist who contributed to the emergence of modern art. During the last decade of his life, he focused mainly on creating works with gouache and paper, which are known as cut-outs. The process for making these works first involved painting sheets of paper with gouache and then cutting shapes from these colored papers to arrange them in compositions. Sometimes the artist worked on boards with pins or, with the help of his assistants, arranged them on his studio’s wall. Following this process, the artist viewed it as “cutting directly into color” and “drawing with scissors,” he gave form to simple yet compelling images of human bodies, animals, and plants. The artist’s most famous cut-outs are his series of blue female nudes against white backgrounds.
10. Egon Schiele (1890-1918)
Egon Schiele created Expressionist portraits characterized by their exaggerated or distorted proportions. From 1913 onwards, Schiele increasingly used gouache in his papers works. The latter added his compositions with flatter colors and more depth and volume. Usually, the artist placed vibrant accents of gouache over the translucent tones that populated his human figures. Notably, over the years, Schiele painted oil, watercolor, and gouache portraits of his wife, Edith, whose innocent or chaste nature contrast with his openly sexual depictions of female nudes. Examples of these portraits are the 1915 gouache painting over pencil titled Edith Schiele with Striped Dress, Sitting. Here, gouache lends the composition with vivid colors coming from Edith’s signature striped dress that contrasts with the empty expression on Edith’s face. Sadly the artist and his wife passed away only three years after this painting was made.
Key Takeaways
Gouache combines the best qualities of other mediums, like acrylics and oil paints, and is usually used over watercolors and pastels to create highlights and add volume to a composition.
During the 18th and 19th centuries, gouache was frequently used by landscape artists and illustrators who worked on paper. The artists in this list represent both of the main applications gouache had.
For years artists created their “gouaches.” It was until the 19th century that a tube called “Chinese white” was added to watercolor boxes to add the gouache effect. Later on, gouaches were industrially produced which increased their popularity.
Henri Matisse created an innovative gouache technique that involved scissors, colored paper, and basic forms. His experimental approach contributed to the emergence of modern art movements.
Be inspired by the versatility that gouache offers you!
Want to Learn More?
You might be interested in my Painting Academy course. I’ll walk you through the time-tested fundamentals of painting. It’s perfect for absolute beginner to intermediate painters.
Thanks for Reading!
I appreciate you taking the time to read this post and I hope you found it helpful. Feel free to share it with friends.
Happy painting!
Dan Scott
Draw Paint Academy
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https://www.everand.com/book/318871854/Drawings-and-Paintings
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Drawings and Paintings by Adolph Menzel, James Gurney (Ebook)
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2016-07-19T00:00:00
|
Read Drawings and Paintings by Adolph Menzel,James Gurney with a free trial. Read millions of eBooks and audiobooks on the web, iPad, iPhone and Android.
|
en
|
https://s-f.scribdassets.com/everand.ico?0caec5b16?v=5
|
Everand
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https://www.everand.com/book/318871854/Drawings-and-Paintings
|
Title page: Plate 80.
Adolph Menzel Selbstbildnis [Self Portrait]. 1882.
Pencil on paper.
Copyright
Copyright © 2016 by Dover Publications, Inc.
Introduction copyright © 2016 by James Gurney
All rights reserved.
Bibliographical Note
Drawings and Paintings, first published by Dover Publications, Inc., in 2016, is a new compilation of the artwork of Adolph Menzel gathered from a variety of sources. A new Introduction has been written specially for this edition by James Gurney. Claude Keisch has contributed Menzel’s Studio, and Claudia Czok has contributed About the Drawings at the Kupferstichkabinett.
International Standard Book Number
ISBN-13: 978-0-486-49732-7
ISBN-10: 0-486-49732-1
Manufactured in the United States by RR Donnelley
49732101 2016
www.doverpublications.com
CONTENTS
Acknowledgments
The Shock of Truth: An Introduction by James Gurney
Menzel’s Studio by Claude Keisch
Adolph Menzel’s Drawings at the Kupferstichkabinett, Berlin, by Claudia Czok
List of Illustrations
THE PLATES
ACKNOWLEDGMENTS
I would like to thank Christian Schlierkamp for his invaluable assistance with research, making innumerable trips to locate the original works in museum collections, translating primary documents, and interviewing experts in Germany. I am indebted to those experts: Claudia Czok, Andreas Heese, and Claude Keisch, for answering questions and sharing the treasures of the Menzel archives at the Kupferstichkabinett and the Museum Georg Schäfer. I would also like to thank Christoph Heuer for his help and enthusiasm from the beginning of the project.
James Gurney
I would especially like to thank James Gurney: thank you for your trust in me and the extraordinary collaboration and encouragement I experienced through and with you.
Thank you to Katharine Maller, Janet Kopito, John Riess and everybody involved in this project at Dover Publications, for your commitment and enthusiasm!
I would furthermore like to thank Andreas Heese of the Kupferstichkabinett Berlin, Dr. Claudia Czok of the Adolph Menzel Society in Berlin, and Dr. Claude Keisch for your advice, support, and help while researching for this book.
Thank you to Dr. Sigrid Bertuleit and Mrs Karin Rhain of the Georg Schäfer Foundation in Schweinfurt, Mrs. Katrin Stoll and Mrs Petra Lüer of the auctioneer Neumeister, and Mr. Daniel Lamprecht of auctioneer Villa Grisebach for the smooth and sound cooperation.
Thank you to my friends Christoph Heuer and Renate Lilge Stodieck for your irreplacable support, encouragement, and advice. Thank you to Caroline Brechenmacher for helping me out on my little French.
In particular I want to thank my family, my wife, Lifei, and my sons, Kai and Benny: thank you for your patience with me, your support, and your love! It means the world to me.
Christian Schlierkamp
THE SHOCK OF TRUTH
AN INTRODUCTION BY JAMES GURNEY
Adolph Menzel’s drawing supplies accompanied him everywhere, whether on a short walk or a long journey. He was always prepared to draw. One of his overcoats had eight pockets, each filled with sketchbooks of different sizes. On the lower left side of his coat was an especially large pocket which held a leather case with a big sketchbook, some pencils, a couple of shading stumps, and a gum eraser.¹
His personal motto was "Nulla dies sine linea" (Not a day without a line). He drew ambidextrously, alternating between the left and the right, sometimes on the same drawing.² If he was ever caught without drawing paper, he sketched on whatever was available, even a formal invitation to a court ball. Whenever he was spotted at a social event, the whispered word went abroad that Menzel is lurking about.
He was known to interrupt an important gathering by pulling out his sketchbook, sharpening his pencil, casting an eye around the room, and focusing on a coat, a chair, or a hand. This sometimes brought the proceedings to a halt until he finished.³ He preferred to draw people unawares, often catching them in unflattering moments of eating, gossiping, or dozing. Once his friend Carl Johann Arnold awoke from a nap to find the artist busily drawing his portrait. You just woke up five minutes too early, Menzel told him.
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Adolph Menzel en
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Menzel was never as French as he was in the pastels he drew around 1850, and no other of his works bear such strong testimony to his affection as those depicting his sister. The image of pure grace and the sense of deep intimacy he has created using pastel chalks is simply captivating.
Adolph Menzel’s image of “Emilie” – a masterpiece
Menzel’s most frequent subject was his sister. She cared for her brother, the dwarf, for his entire life, even after her own marriage, and was Menzel’s closest companion after their mother died. She appears in paintings, pastels, drawings, and even prints. Always portrayed with affection, she also served as a model for his major works, such as the famed “Flute Concert.” A series of pastels exists in which she is depicted alone. The status of these works remains unresolved, as is reflected in their titles. Thus, the previous owner called this painting, “Costume Study of a Seated Female Model, Menzel’s Sister Emilie”. Yes and no. In order to understand what importance Menzel attached to such a work, it is necessary to take a step back. We need to understand why Menzel chose pastel as a medium, why he applied it primarily to brown paper, what motifs this manner was reserved for, and who the intended audience could have been.
Pastels were especially popular in France in the 18th century. Specialists like Maurice Quentin de la Tour or Jean-Étienne Liotard dedicated themselves largely to this technique, but it played an important role for Watteau as well. He used pastels in a special technique known as “aux Trois Crayons” by the French, in which only three crayons are used: white, black, and red. Those are clearly the dominant colors in the present drawing. It is difficult to say whether Menzel might have seen original pastel drawings by Watteau, who is not mentioned in Menzel’s correspondence. In any case, it matters little, because in the 18th century, pastels made using the “Trois Crayons” technique — such as those by Boucher, Watteau, or van Loo — could already be reproduced in three-color prints using a newly invented printing technology known as the “crayon manner.” The most important forerunner of the “Trois Crayons” technique was Peter Paul Rubens, who set his portraits — especially of his family — to paper using the aforementioned three crayons. Menzel frequently cites Rubens as an inspiration in his correspondence, but we should not lose sight of one important difference between the two artists, which also applies to most French pastel drawings: Rubens’ pastels preserve the character of a hand drawing primarily by allowing the paper to show through, thus giving it a strong role to play. Menzel’s pastels have the character of a full-color image to a greater degree, somewhat closer to paintings than drawings. And yet, since Rubens also used brown paper, his pastel works, like Menzel’s, give the impression of four colors. This calls to mind a famous anecdote about the ancient Greek painter Apelles, which was first recounted in Pliny the Elder’s Natural History and has since been retold in countless art-historical texts. Supposedly, Apelles chided his contemporaries for their penchant for pomposity and the overuse of color. He claimed that a true artist, like himself, could depict anything with just four colors. He named the colors as well: red, yellow (he apparently meant a shade of ochre), black, and white. Consider further that Titian is said to have applied paint in a medium shade to the canvas as a bed for further color, which he darkened or lightened through the addition of further paint, then the larger tradition in which Menzel stands also becomes clear. The medium shade, serving as the dominant color, is an ochre of brownish-yellow hue, an earthy shade from which all is shaped. Just as God created man out of clay, the artist summons his picture forth from the ground on the canvas, likewise a creator. This ennobles the resulting picture considerably.
Upon closer examination, while the four colors do clearly dominate, and the background color shows through in many places and thus becomes one of the colors of the depicted subject, Menzel lightens the ochre-brown tone in the hands and the face. In Emilie’s red jacket as well, ruched at the waist, there is a barely perceptible expansion of the color palette. Where the light — surprisingly coming from the right — hits the jacket, Menzel adds a few minute strokes of yellow and bright blue. The latter can also be seen in the parts of the jacket that are in the shadows. Their function is clear; they serve to lend a lifelike quality to the picture. So does the heavy use of white on the dress, the collar, and the cuffs — where, incidentally, Menzel’s light sketch with a sharp black crayon is easily discerned. The use of yellow and blue strokes on the red jacket is no coincidence; red, yellow, and blue comprise the Aristotelian color triad, framed by the so-called “non-colors” black and white. Thus, the entire color spectrum is present, and two color theories interpenetrate one another.
Emilie is sitting on a sort of low wooden box, leaning on her left hand while her right hand rests on her knee. Her gaze is directed downward, so that we can only guess at her facial expression. Indeed, as the former title suggested, our attention is focused on her pose and the garment itself. With light smudging, Menzel blurs the picture toward the left and right borders of the page, thereby focusing our attention on the center. When one looks through Menzel’s portrayals of his sister in drawings and paintings, it quickly becomes clear that he sought to capture her attitude in unobserved moments, in unusual and transitory poses, as if he might thereby convey more of her essence. In this respect, the pastel also shows a direct connection to the Hamburg oil sketch of a sleeping Emilie from 1849. On the other hand, everything that Menzel drew served as a study for him. Although often not created for a particular purpose, Menzel’s collected drawings formed a reserve that he could call upon for other works when needed. He often marked successful drawings with a small cross on the border to indicate that they were especially suitable for reuse. His pastels, however, are more ambitious — they are full-fledged works of art, albeit with a double limitation. First, they were mere depictions of a fleeting state, without a narrative. Second, they remained in the private sphere, since they were not originally intended for sale. This corresponds to their status as a form in between drawings and paintings. They are not purely studies, but they are also not official artworks. This lends them a special charm. They allow us to observe Menzel at work and reconstruct his process, while simultaneously affording us a glimpse into Menzel’s carefully protected private life.
In this way, the present work allows us to understand more of Menzel. On the one hand, he absorbs everything he sees as soberly and precisely as possible. On the other hand, he only acknowledges his feelings in the shelter of privacy. This pastel will most likely have remained in his family sphere, which makes the depiction of his sister so touching. At the same time, it is a singular masterpiece of a caliber that rarely appears on the market anymore today.
Werner Busch
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1883, after Menzel, 9x13 1/4, plate signed
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Adolf von Menzel (The J. Paul Getty Museum Collection)
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Adolph Menzel Media Storehouse Collection (Arts, Artists, M, Adolph Menzel) our beautiful Wall Art and Photo Gifts include Framed Prints, Photo Prints, Poster Prints, Canvas Prints, Jigsaw Puzzles, Metal Prints and so much more
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Media Storehouse Photo Prints
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https://www.mediastorehouse.com/arts/artists/m/adolph-menzel/
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Join our Newsletter to stay up to date on features and releases
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https://artuk.org/discover/artists/menzel-adolph-18151905
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Menzel, Adolph, 1815â1905
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Adolph Menzel (1815â1905)
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(b Breslau, Silesia [now WrocÅaw, Poland], 8 Dec. 1815; d Berlin, 9 Feb. 1905). German painter and printmaker, active mainly in Berlin, where in 1832 he took over his dead father's lithographic business. He was extremely industrious and achieved fame with 400 illustrations (wood engravings from his lively drawings) for Franz Kugler's History of Frederick the Great (1840â2). In painting he worked on similar themes and with comparable success, creating the popular image of the founder of the Prussian state. From the 1860s he turned to subjects from modern life and was one of the first German painters to depict the picturesque qualities of industry (The Steel Mill, 1872â5, Alte NG, Berlin). Today, however, Menzel is most highly regarded not for the works that brought him contemporary acclaim, but for a series of informal landscapes and interiors dating from the 1840s that remained virtually unknown in his lifetime.
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Adolph Menzel – my daily art display
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2012-11-24T11:34:50+00:00
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Posts about Adolph Menzel written by jonathan5485
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my daily art display
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I have said on a number of occasions that one of the joys of visiting art galleries is when you suddenly come across one you did not know existed. It is always a pleasure to go to the large and famous galleries such as the Louvre, Prado, and London’s National Gallery to name just a few but I find it exhilarating when I come across, often by accident, the smaller, more hidden-away ones such as London’s Wallace Collection or the Musée Marmottan Monet Gallery in the 16th arrondissement of Paris. I had visited Birmingham before and visited the Birmingham Museum and Art Gallery but a fortnight ago I decided to visit the city again and have a look at the Barber Institute of Fine Arts which is on the University of Birmingham campus. If I had not decided on that visit I would never have come across a divine portraiture work of Élisabeth Vigée Le Brun which I enthused about in my last blog and which was part of their permanent collection. However the reason for me going to the gallery was to see an exhibition of the Norwegian painter Thomas Fearnley and today I want to talk a little about the life of this artist and look at one of the paintings which was in the exhibition.
Thomas Fearnley, although an English-sounding name, was Norwegian. He was a romantic painter who was born in 1802 in Frederikshald, Norway, a small town in the south east of the country, a few miles from the Norwegian-Swedish border. The town has since been renamed Halden. The Fearnley family maintained its custom of naming its eldest sons Thomas and so both his father and grandfather were named Thomas. His grandfather was an English timber merchant from Heckmondwike, a small mill town near Leeds, and who with his family moved to Norway in 1753 as a representative for a trading company based in the English seaport of Hull. Fearnley’s father Thomas was also a merchant and married Maren Sophie Paus, a woman from the important Norwegian Paus dynasty. Thomas was the eldest of their eight children.
Thomas Fearnley’s father owned a shop in Frederikshald and earned his money as an importer/exporter, importing woollen and cloth goods from England and exporting Norwegian lumber. At the age of five, young Thomas went to live with his maternal aunt, Karen and her husband, Georg Frederik Hagemann in Christiania, (now known as Oslo). The couple had no children of their own and were delighted to have Thomas live with them. When Thomas was twelve years old he was enrolled as a pupil in the cadet corps of the Military Academy. At the Academy, one of the subjects Thomas was taught was drawing. It was soon clear that he had a talent for drawing and excelled in these lessons. However he achieved less in his other subjects especially in the military training and he left the Academy in the spring of 1819.
As his father and his father’s father before him had all been merchants, it was expected that Thomas would follow suit and at the age of sixteen, for a while, he took on the role of a young merchant in his uncle’s business. However Thomas had not given up his love of drawing and every evening he would attend an elementary art class in Christiania, where he spent time copying still lifes and portraits painted by various artists.
To become an artist in Norway was quite difficult as there were no major art academies where aspiring artists could learn their trade. It could well be this factor, which forced Fearnley to travel extensively through Europe visiting major art institutions. In late 1821 he travelled to Copenhagen and enrolled at the Royal Danish Academy of Fine Arts. It was here that he came across Dutch landscape paintings of Nordic scenes by the likes of Jacob van Ruisdael. It was these seventeenth century works, which influenced Fearnley and it was these depictions of Nordic landscapes, which would play an important role in Norwegian art and Norwegian artists such as Thomas Fearnley.
In 1823, aged twenty-one, Fearnley left Copenhagen and went to live in Stockholm where he attended the Drawing Class at the Royal Swedish Academy of Fine Arts enrolling on a four-year course. During this period Thomas received a number of commissions for his landscape work including a three-painting commission from the country’s royal family. During his time at the Academy, he would take the opportunity, during summer breaks in the art course, to travel back to Norway to sketch the wild and rugged landscape of his homeland. It was at this juncture in his artistic career that he completed his first en plein air oil sketch. It was also during one of these visits to western Norway, in 1826, that he first encountered another artist on an art tour. He was Johan Christian Dahl, who would become the first great romantic painter in Norway, and one of the great European artists of all time. Dahl is now looked upon as the founder of the “golden age” of Norwegian painting.
Fearnley’s four-year art course at the Copenhagen Academy ended in 1829 and Fearnley continued with his European travels, this time going to Dresden. It was in this city that Fearnley again meets Dahl and they soon become friends and Thomas received some artistic tuition from him. One of Dahl’s other artistic friends and near neighbour was the German artist Casper David Friedrich. Fearnley spent time studying Friedrich’s work and one can see in a number of Fearnley’s landscape works a characteristic employed by Friedrich – figures in the paintings are seen from behind. Fearnley studied the different ways in which Dahl and Friedrich worked. J C Dahl used rapid brushstrokes in his paintings whilst Casper Friedrich was much slower and more methodical and his landscapes often had religious connotations. The study of these two great artists was to influence Fearnley’s art in the future.
From Dresden Fearnley travelled to Prague, Nuremberg and the lake district of Salzburg before finally settling in Munich in 1830. He was to remain in the Bavarian city for two years often travelling south to the foothills of the Bavarian Alps on painting trips. Following his two-year sojourn in Munich he and two other fellow artist Wihelm Bendz and Joseph Petzl set off on foot at the end of August 1832 on their 700 kilometre trek to Italy, passing through the Bavarian alpine village of Ramsau, which is the setting for my Daily Art Display’s featured painting today. The en plein air oil on paper, laid on canvas, sketch was completed by Thomas Fearnley within a week in 1832 and is simply entitled Ramsau. This was the first painting I came across when I entered the gallery of the Barber Institute of Fine Arts, which was staging Thomas Fearnley’s exhibition In front of Nature. It was, by far, my favourite of all his works on show and was of great interest to me as I have visited the picturesque Alpine village of Ramsau on a number of occasions when I toured around Berchtesgadener Land in southern Bavaria.
The sketch is dated September 20th 1832 and diaries kept by Wilhelm Bendz record that it was the last day the intrepid trio stayed in the village before heading across the Alps to Italy. In the picture we can see the road winding and disappearing around a corner of the village before we catch a glimpse of it again as it heads off towards their destination, the snow-covered Alps. There is a beautiful stillness about this picture. In the left middle ground we see a solitary farmer collecting hay, which will be needed for the harsh and bitterly cold winter, which is fast approaching. In the background we see the majestic snow-capped mountain, Hoher Göll, which straddles the border between the German state of Bavaria and the Austrian city of Salzburg. This en plein air work would have taken Fearnley several sittings during the week-long stay, on each occasion adding another layer of colour.
It is interesting to note that whilst the intrepid trio were in Ramsau William Bendz also completed an en plein air oil sketch of the village from almost the same vantage point used by Fearnley. Bendz was principally a figure painter and this landscape work of his is a comparative rarity. You will see from Bendz’s picture that unlike the deliberate and carefully detailed picture painted by Fearnley over a seven-day period, the foreground and some other areas of Bendz’s work were hastily sketched in and the work would probably have been completed within a day or two. William Bendz’s work, which was dated September 1830, two years earlier than Fearnley’s sketch, and entitled The Church of Ramsau, Austria, can be found in Oxford’s Ashmolean Museum.
In my next blog I will conclude my look at the life of Thomas Fearnley and follow his journey through Europe visiting the Neapolitan and Amalfi Coasts as well as visiting England and travelling around the Lake District.
To end on a slightly sad note, Fearnley’s companion on his trek to Italy, which started in September 1832, Wilhelm Bendz, made it to Venice but soon after, in the November of that same year, on reaching Vincenza, he took ill and died from a lung infection. Bendz had noted in his diary that the road to Rome was hard, the weather conditions unfavourable and at times extremely harsh and the walking very strenuous and the exertion obviously took the ultimate toll of him.
In my last blog I looked at the painting Afternoon at the Tuileries Garden by Adolph Menzel which he completed in 1867. He had visited Paris that year and attended the second Exposition Universelle and it was during this stay that he completed a number of sketches of the Tuileries Gardens. On returning to his home in Berlin he completed this work. When it was exhibited, he pointed out that the painting was all done from his memory of the times when he walked around the Gardens watching the weekend promenading of the bourgeois. However, there is a train of thought that believes his work was not just based on his memories but was very much influenced by a painting he saw, when in Paris, by Édouard Manet, which was completed in 1862 entitled Music in the Tuileries Gardens. This is My Daily Art Display featured work today and I will let you decide whether Manet’s painting had any bearing on Menzel’s work.
Music in the Tuileries Garden,s like the Menzel work, hangs, in the National Gallery, London. The work depicts a fashionable Parisian crowd promenading and socialising in the Gardens as they listen to music played by a band, albeit Manet has not included the musicians in the painting. The Jardin des Tuileries lies between the Louvre and the Place de la Concorde, and it was the favourite place for people to idle away their leisure time. The way in which people spent their free time in the capital became one of Manet’s favourite subjects for his paintings. Manet’s close friend going back to his childhood, Antonin Proust, the politician and journalist, often recalled the many times he witnessed Manet walking along the Parisian boulevards in search of interesting aspects of city life, which he could depict in his paintings. Manet and his companion, the poet, Charles Beaudelaire, could often be seen in the afternoons, strolling through the Tuileries Gardens, a favoured gathering place for the beau monde, who wanted “to see and be seen”. Manet completed numerous sketches of these “beautiful people” as well as the working nannies, who were spending a pleasant afternoon with their little charges.
This was Manet’s first major work on this theme. The Tuileries Gardens were created for Catherine de Medici who, on the death of her husband King Henry II of France, decided to move her home to the Louvre Palace. She then had built a separate new palace with gardens modelled after the gardens of her native Florence. These were the Tuileries Gardens and were opened to the public in 1667 and became a public park following the French Revolution. As we look at the people in the scene we can imagine the enjoyment they were having whilst they socialised and listened to the music. Leisure time and recreational activities such as listening to music in a park on a Sunday afternoon was all part of this newly quoted term, modernity.
Menzel’s work is far more detailed than Manet’s painting. If we compare the two works there are some similarities but Menzel also maintained some differences. Both depict families enjoying their leisure time. Look at foreground and slightly right of centre of today’s painting by Manet. There is a man with the top hat bending down in conversation with a lady. He is almost the same character, in the same pose leaning against a tree, we saw yesterday in Menzel’s work. The theme of both paintings is similar – bourgeois Parisians at leisure but as I have just said there are also some differences in the two works. Menzel’s depiction of what is happening is somewhat more realistic.
In his work we saw children in the foreground playing with a bucket and spades but they are not dressed in their “Sunday best” clothes and look somewhat dirtied by their playing on the ground. Now compare that with the children in Manet’s painting. They too have buckets and spades but these children, like their adult counterparts , are dressed in their best clothes and are behaving much more demurely. Also in Menzel’s work we witnessed a small child being dragged off screeching by a woman, probably her mother. We also saw dogs skirmishing but in Manet’s work there is no such unsavoury incidents happening, which would otherwise shatter the beautiful tranquillity of the scene.
Manet has included the portraits of many of his friends into the lively social gathering, some of whom are fellow artists. Manet has painted himself at the far left of the painting partly hidden by the figure of Comte Albert de Balleroy, the wildlife artist, seen here holding a walking stick, who shared a studio with Manet. Another artist also included is Henri Fantin-Latour, best known for his flower paintings. Manet has added portraits of his brother Eugène, who was the husband of the Impressionist painter, Berthe Morissot. Several cultural figures of the time are featured in the painting such as the French poets Baudelaire and Théopile Gautier and the travel writer Baron Taylor. Other intellectuals who have found their way into the painting are the art critic Champfleury and the bearded sculptor Zacharie Astruc who sits at the table and behind him stands the journalist Aurélien Scholl. Two women sit facing us in the foreground. The younger of the two, on the left, is Madame Lejosne, the wife of the Commandant in whose house Manet met Baudelaire and the fledgling painter Frederic Bazille. The other lady is Heminie d’Alcain, the wife of Jacques Offenbach. Offenbach is the bespectacled man with a moustache who sits in front of a tree to the right of centre of the middle ground, between Eugène Manet and the painter, Charles Monginot who we see doffing his hat to a lady .
Menzel’s work was far more detailed and with his painting your eyes darted from place to place surveying different incidents. In some ways this painting, by Manet, as did Cezanne’s Large Bathers ( My Daily Art Display March 13th))have an “unfinished” look about them but this is all to do with their style of painting. So what did the critics think of this work by Manet when it was first exhibited in 1863? It received very mixed reviews. On one hand, many of the artists who were soon to be known as the Impressionists, like Claude Monet and Frederic Bazille, were delighted with Manet’s depiction of the Parisian scene. However the conservatives among the art critics were less than complimentary. Paul Mantz, the art historian and art critic, who would later become Director General of Fine Arts and a member of Supreme Council of Fine Arts was particularly ruthless in his condemnation stating that Manet’s composition struck him as being disorganised and formless, while the broken play of light that animates its surface with such an eloquently restless quality roused him to declare that “this is not colour, but the caricature of colour”.
I have had a number of comments added to the Large Bathers blog strongly disagreeing with my assertion that Cezanne’s work had an unfinished look to it and therefore I will not dare comment about the finish of this work. Emile Zola explained the “unfinished” look of Manet’s painting, countering such criticism, saying:
“…You are to imagine a crowd of people, a hundred characters perhaps, moving about in the sunlight under the trees in the Tuileries; every character is simply a blot of colour, hardly given form at all, and the details are only lines and black dots. If I had been there I should have asked the amateur [observer of the painting] to move away to a respectful distance; he would then have seen that the patches of colour were alive, that the crowd was speaking, and that the picture was one of the characteristic productions of the artist, the one picture in fact in which he had most loyally obeyed his eyes and his temperament…”
As with most of the Impressionist works of art, the best view you get is if you stand back from the work to see its exquisiteness. Close up one just sees brushstrokes but at a distance one discovers the true beauty of the work.
So which painting do you like best, the one by Adolph Menzel or the one by Édouard Manet?
The featured artist in My Daily Art Display today is German and is looked upon, along with the artist I featured in my previous blog, Caspar David Friedrich, as one of the most famous and most successful German artists of the nineteenth century. His name is Adolph Friedrich Erdmann von Menzel.
Menzel was born in 1815 in Breslau, which is now the Polish city known as Wroclau. His father Carl Erdmann Menzel was originally a school headmaster but when young Menzel was just three years of age he gave up his educational career and started up a lithographic printing works. Adolph Menzel first exhibited a drawing in 1827 when he was only twelve years of age and two years later he exhibited eight lithographs, which were printed in his father’s workshop and which featured the history of Breslau. To gain more business opportunities for his printing company, Menzel’s father moved his family and business to Berlin in 1830 where he knew he was likely to receive more commissions. Adolph Menzel became an apprentice in his father’s firm and at the age of seventeen took over the running of the company when his father suddenly died. His mother and siblings now looked upon Adolph as the family breadwinner.
In 1833, aged 18 Menzel enrolled at the Berlin Königliche Akademie der Künste where he met the wallpaper manufacturer, Carl Heinrich Arnold, who would not only become Menzel’s close friend but would furnish him with a large number of commissions. His reputation as an artist and illustrator grew after he had completed a commission for the art dealer and publisher, Louis Sachse, to create a number of lithographs for the German writer, Goethe, for his book Künstlers Erdenwallen. It was not until 1837 that von Menzel started to paint in oils. His speciality subject for his paintings was the life and events surrounding Friedrich the Great and in 1839 he was commissioned to illustrate a book, Geschichte Friedrichs des Großen (History of Friedrich the Great) written by Franz Kugler, a Prussian cultural administrator and art historian. In a three year period 1839 to 1842 Menzel produced over 400 drawings.
It was not until the 1850’s that von Menzel started to travel extensively, visiting Vienna, Prague and Dresden. It was also in 1855 that he made his first visit to Paris where he attended the inaugural Exposition Universelle, the first World Fair to be held in the capital. It was held in the specially built building, Palais de l’Industrie, which overlooked the Champs-Elysées. Whilst there, von Menzel, was able to study not only the industrial exhibits but also the art exhibits on display by French artists such as Gustave Courbet. Eleven years later von Menzel returned to Paris to attend the second Exposition Universelle in 1867 and it was during this stay in the French capital that he visited the Tuileries Gardens which is the subject for today’s painting. That same year he was decorated with the “Cross of the Légion d’honneur by Napoleon III for his service to the arts.
By the 1880’s von Menzel had established his international reputation as an artist and lithographer. In 1884 the Nationalgalerie in Berlin held the first major retrospective of von Menzel’s work to commemorate the 50th anniversary of his career as an artist. In 1890, aged 70, he was given an honorary doctorate from Berlin University. He was bestowed with many other honours. He was made an honorary citizen of both Breslau and Berlin and made a member of both the Royal Academy of London and a member of the Akadémie des Beaux Arts, the Paris Academy. His greatest honour came in 1898 when he became the first artist to be admitted to the Order of the Black Eagle as a Knight, the highest order of chivalry in the Kingdom of Prussia.
Adolph von Menzel died in Berlin in 1905, aged 89.
My Daily Art Display featured painting today is entitled Afternoon at the Tuileries Garden by Adolph Menzel. He painted it in 1867 and now hangs in the National Gallery, London. It was following Menzel’s 1867 trip to Paris that he returned to his studio in Berlin with many sketches of the Tuileries Gardens, which lay across from the Louvre. He had become interested in painting scenes set in areas where society people pretentiously paraded and whilst in Paris was fascinated with the bustling social goings-on within the Gardens. The subject matter of his paintings were at this time often depicting bourgeois society and he, because of his fame as an artist, lived the lifestyle of this very grand bourgeois. Menzel’s painting is filled with detail and exudes a great deal of realism.
What I like about the works is that with so much going on in the painting your eyes flick from one group to another and every time you look at it your eyes focus on something different. I like the number of separate vignettes taking place. Let your eye wander up the centre of the painting and observe the little chubby girl being dragged off by the woman in blue. How often have we seen that! Dogs abound, in some cases having territorial disputes whilst the adults try their best to ignore such distractions and have only one thing in mind – to look their best! When the painting was first exhibited Menzel was at pains to tell everybody that it was done from his memories of his recent visit to the French capital.
Was it a work just from memory or was there something else which prompted Menzel to depict such a scene? In my next blog I will give you another possible motivation for Menzel’s depiction of the Tuileries Garden. Notwithstanding what inspired Menzel to paint this lively event, which is buzzing with activity, it is a fascinating work of art. I stood before it the other day and I was mesmerised by what I was looking at and as I said the other day, when talking about Caspar David Friedrich’s Winter Landscape, I was so pleased I had visited Room 41 of the gallery. The next time you visit the National Gallery; don’t forget to pay that particular room a visit. I guarantee you will not be disappointed.
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https://www.tavolozzafoundation.com/blog/menzel-or-not/
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2020-11-24T11:30:08+00:00
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Katrin Bellinger writes about her passion for Adoph von Menzel's drawings.
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Tavolozza Foundation
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https://www.tavolozzafoundation.com/blog/menzel-or-not/
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Menzel or not?
Every collector of Old Masters is familiar with the pitfalls of changing attributions and in the field of drawings this is even more an issue as they are rarely signed. However, you would not expect this to be a problem with 19th century drawings and certainly not those by an artist such as Adolph von Menzel who frequently signed or monographed his drawings, and whose style after all is very recognisable.
Nevertheless, I have a drawing in my collection where it is not at all clear if the drawing is by his hand even though it obviously shows Menzel in his studio (Fig. 1). What is painful is that I bought the drawing as by Menzel in an auction when it was accepted by the expert Marie Ursula Riemann-Reyher. I did wonder at the time because the drawing did not at all resemble anything else by the artist, but this was mitigated by a letter from Menzel on the back describing how the image illustrated him at work on this large commission in his temporary studio in Kassel, and it was also included and illustrated in the famous memorial exhibition in 1905, another certain indicator that was by his hand [1]. I very much wanted to believe this strong evidence despite my instinct because I was so keen to own a drawing by him that fits the theme of my collection. Are other collectors familiar with this phenomenon, when the desire to own something clouds your judgement?
So, if the carefully executed and tediously finished drawing is not by Menzel, could it be someone recording him in the studio?
Carl Johann Arnold, the son of Menzel’s friend Karl Heinrich Arnold and his only pupil, assisted him while he was working on the large cartoon of ‘Sophie von Brabant entering the city of Marburg with her son Heinrich.’ Young Arnold often drew Menzel while he stayed with his family but those drawings are always in pencil and stylistically quite different.
Claude Keisch has mentioned similarities to drawings by Johann Erdmann Hummel, a native of Kassel who taught perspective in Berlin, but it is highly unlikely that the 79- year-old artist would have been in Kassel exactly at this time [2]. Another fascinating idea Keisch has suggested is that the work could be a stylistic parody by Menzel of Hummel’s carefully finished interiors. Menzel is known to have done this kind of works in the context of his illustrations of the life of Frederick the Great but then it is surprising that there is no mention of his humorous intention in the attached letter.
I resolved my dilemma of owning either a drawing by Menzel or an interesting historic document by buying a drawing definitely by Menzel which further illuminates his stay in Kassel (Fig. 2). The amusing caricature was a gift to Carl Arnold’s sister and the inscription ‘who is still here’ refers to the fact that Menzel, rather than staying the planned eight weeks, remained with her family for eight months from August 1847 until March 1848. Many details refer to his much-extended stay which is supposed to lead “ad parnassum” to Apollo and the Muses. The other elements may well allude to the conversations in the Arnolds’ circle – “without spades” can symbolically stand for “without resentment” in the French card game – probably a suggestion to endure the exhausting presence of the artist, if possible, with good humour.
For me the acquisition of this drawing means that I can now put the work of ‘Menzel in his studio’ into context and tell a story which will, I hope, put my mind to rest about this acquisition.
On another occasion my yearning to own a Menzel drawing made me ‘cheat’ somewhat by buying a wonderful and typical sketchbook page in graphite showing an artist painting (Fig. 3), but when looking at the finished gouache it becomes clear that it is depicting a house painter and not an artist [3].
The most perfect example in my collection is a tiny drawing with a few touches of watercolour showing Menzel’s used brush (Fig. 4), and in that manner so unique to Menzel he transforms the ordinary into the sublime [4].
Notes
[1] Exh. cat. Adolph Menzel. Sonderausstellung zum Gedachtnis des Meisters. Leipzig, Kunstverein, at Museum der bildenden Künste, 1905 (according to label on backing board).
[2] Email communication, 26.5.2018 and 19.11.2020.
[3] D. Petherbridge and A. V. Sganzerla, Artists at Work, exh. cat., London, The Courtauld Gallery & Paul Holberton, 2018, no. 13, illustrated. This is a study for Menzel’s Beati possidentes (Happy owners), 1888, George Schäfer collection, Euerbach.
[4] C. Keisch and M. U. Riemann-Reyher, eds., Adolph Menzel. Briefe, Deutscher Kunstverlag, 2009, vol. 1 (1830 – 1855), p. 238, no. 221, illustrated.
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Adolph Menzel
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Adolph Menzel lived in the XIX – XX cent., a remarkable figure of German-Polish Realism. Find more works of this artist at Wikiart.org – best visual art database.
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https://www.wikiart.org/en/adolph-menzel
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Adolph Friedrich Erdmann von Menzel (December 8, 1815 – February 9, 1905) was a German Realist artist noted for drawings, etchings, and paintings. Along with Caspar David Friedrich, he is considered one of the two most prominent German artists of the 19th century, and was the most successful artist of his era in Germany. First known as Adolph Menzel, he was knighted in 1898 and changed his name to Adolph von Menzel.
His popularity in his native country, owing especially to history painting, was such that few of his major paintings left Germany, as many were quickly acquired by museums in Berlin. Menzel's graphic works and drawings were more widely disseminated; these, along with informal paintings not initially intended for display, have largely accounted for his posthumous reputation.
Although he traveled in order to find subjects for his art, to visit exhibitions, and to meet with other artists, Menzel spent most of his life in Berlin, and was, despite numerous friendships, by his own admission detached from others. It is likely that he felt socially estranged for physical reasons alone—Menzel had a large head, and stood about four foot six inches.
Menzel was born in Breslau, Silesia, on December 8, 1815. His father was a lithographer and intended to educate his son as a professor; however, he would not thwart his taste for art. After resigning his teaching post, Menzel senior set up a lithographic workshop in 1818. In 1830 the family moved to Berlin, and in 1832 Adolph was forced to take over the lithographic business on the death of his father. In 1833, he studied briefly at the Berlin Academy of Art, where he drew from plaster casts and ancient sculptures; thereafter Menzel was self-taught. Louis Friedrich Sachse (de) of Berlin published his first work in 1833, an album of pen-and-ink drawings reproduced on stone, to illustrate Goethe's little poem, Kunstlers Erdenwallen. He executed lithographs in the same manner to illustrate Denkwürdigkeiten aus der brandenburgisch-preussischen Geschichte; The Five Senses and The Prayer, as well as diplomas for various corporations and societies.
From 1839 to 1842, he produced 400 drawings, largely introducing to Germany the technique of wood engraving, to illustrate the Geschichte Friedrichs des Grossen (History of Frederick the Great) by Franz Kugler. He subsequently brought out Friedrichs der Grossen Armee in ihrer Uniformirung (The Uniforms of the Army under Frederick the Great), Soldaten Friedrichs der Grossen (The Soldiers of Frederick the Great); and finally, by order of King Frederick William IV, he illustrated the works of Frederick the Great, Illustrationen zu den Werken Friedrichs des Grossen (1843–1849). The artist had a deep sympathy for the Prussian king. In one of his letters to Johann Jakob Weber, he said that it was his intention to represent the monarch as a man who was both hated and admired—simply as he was, in other words, as a man of the people. Through these works, Menzel established his claim to be considered one of the first, if not actually the first, of the illustrators of his day in his own line.
This is a part of the Wikipedia article used under the Creative Commons Attribution-Sharealike 3.0 Unported License (CC-BY-SA). The full text of the article is here →
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https://www.marebooksellers.com/pages/books/019015/adolph-menzel-authors-artist/adolph-menzel-1815-1905-master-drawings-from-east-berlin
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Adolph Menzel 1815-1905. Master Drawings From East Berlin
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Alexandria, VA: Art Services International, 1990. Wraps. Very Good. Item #019015 Glossy illustrated wraps. 235 pp. Color and black and white illustrations throughout. A catalog to a 1990 exhibition of drawings, watercolor and gouache paintings by Adolph Menzel, a 19th century German painter who gained popularity due to his historical paintings. VERY GOOD condition. Light scuffing and toning.
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Mare Booksellers
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https://www.marebooksellers.com/pages/books/019015/adolph-menzel-authors-artist/adolph-menzel-1815-1905-master-drawings-from-east-berlin
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Alexandria, VA: Art Services International, 1990. Wraps. Very Good. Item #019015
Glossy illustrated wraps. 235 pp. Color and black and white illustrations throughout. A catalog to a 1990 exhibition of drawings, watercolor and gouache paintings by Adolph Menzel, a 19th century German painter who gained popularity due to his historical paintings. VERY GOOD condition. Light scuffing and toning.
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https://www.19thc-artworldwide.org/spring11/menzels-extreme-realism
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Menzel’s Extreme Realism
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Founded in 2002, Nineteenth-Century Art Worldwide is a scholarly, refereed e-journal devoted to the study of nineteenth-century painting, sculpture, graphic art
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Alte Nationalgalerie, Berlin
June 11 – August 8, 2010
That the exhibition Menzel's Extreme Realism should have taken place in the Alte Nationalgalerie (Old National Gallery) in Berlin seems obvious. The museum was designed at the beginning of the nineteenth century as a venue for contemporary German artists. (fig. 1) In his own time, Adolph Menzel (1815–1905) was recognized as a great artist, and in 1895, there was an exhibition in the Alte Nationalgalerie in honor of his eightieth anniversary.[1] The museum also holds a great number of Menzel's paintings in its permanent collection. Menzel began painting in the mid-1840s, depicting his surroundings, objects and views from his window. Later he took on grand subjects and events, for example Departure of King William I for the Army, 31 July 1870 (1871). He also took on historical subjects and made himself an expert on the life of the Prussian King Frederick the Great (1792–1786) the subject of several large-scale canvases.[2]
In recent years, not a lot of attention has been paid to Menzel, certainly not in comparison with his nineteenth century German colleague, Caspar David Friedrich. Although Menzel is best known as a painter, he started out as an engraver in the lithography workshop of his father, which he took over when he was only sixteen-years-old after the death of his father. In 1833 Menzel attended the Berlin Academy of Art for a short period, but soon gave it up and taught himself.[3] His background as an illustrator and engraver made him an excellent draftsman, able to capture and visualize objects with such detail and precision. Menzel drew all his life and this is one of the aspects of his work that became clear at the exhibition, which featured his drawings, sketches and small-scale oil paintings from the Kupferstichkabinett in Berlin.
In contrast, it seems highly improbable that the Alte Nationalgalerie would be a venue of the 6th Berlin Biennial of Contemporary Art, nor would it seem likely that Adolph Menzel's work would be represented in the biennial next to the works of contemporary artists. Still, it was the curator of the 6th Berlin Biennial, Katrin Rhomberg, who initiated this cooperation between the Alte Nationalgalerie and the Berlin Biennial. However surprising it seems that Adolph Menzel was included, Rhomberg mentions that Menzel's art was in line with her ideas on the theme of the biennial: "what is waiting out there." According to Rhomberg, reality is always subject to being mere illusion, mere staging, and yet, there is a tendency to cling to it as a seemingly indispensible idea, and there is an ongoing search for authenticity and purity.[4] A lot of the contemporary art that was exhibited at the Biennial focused on different aspects of society, usually in video art, that made the Biennial an overview of the artist's perspective on the outside world from within the framework of the art world.
However unlikely the cooperation between the Alte Nationalgalerie and the Berlin Biennial seemed, it opened up possibilities to approach and experience the exhibition in two different ways. It can be viewed as a dialogue with the permanently exhibited work of Adolph Menzel in the Alte Nationalgalerie, but also as part of the 6th Berlin Biennial, which focused on how artists deal with the concept of reality from within the art world.
The more obvious way of experiencing the exhibition would be as an addition to the permanent collection. The Menzel exhibition was installed in one of the grand neo-classical halls of the Alte Nationalgalerie, which usually displays many of Menzel's grand paintings of Frederick the Great. (fig. 2) During the exhibition one wall still displayed these large-scale canvases, while the other wall was dedicated to the exhibition. (fig. 3) Some of the works presented in the exhibition were studies, which were hung just opposite of the paintings for which they were made. For example, the exhibition contained Menzel's drawing Worker Holding Shaft of the Casting Truck (with Details) (1872–74) and Worker Washing Himself (ca. 1872–74), both studies of the figures for his painting Iron Rolling Mill (1872–75), which hung on the opposite wall in the exhibition. The exhibition works were hung on a white wall to distinguish them from the permanent display on the opposite wall; however, the distinction between the two was not especially clear. (fig. 4)
The show also seemed incoherent, lacking a focus on a particular subject or phase in Menzel's career. The exhibition showed that Menzel had taken a variety of subjects for his studies and sketches, such as his detailed studies of ordinary objects, like Dr. Puhlmann's Bookcase (1844) or Study of a Bicycle (1890). These subjects ranged from an oil on wood painting called The Artist's Foot (1876) to the drawing of the Barbarini Faun (1876). However, it was left to the viewer to decide to make the connection between the exhibition objects and the paintings on display.
The exhibition held another dimension when one experienced it as part of the Berlin Biennial. Although the inclusion of the work of a nineteenth century German realist artist might suffer from oversimplification and from far fetched connections when compared to the contemporary art exhibited at other venues of the Berlin Biennial, it is clear that Katrin Rhomberg included Adolph Menzel with specific objectives in mind. Menzel's inclusion puts the Biennial in a more art historical perspective, and raises questions about visibility, and how art can make the "invisible" visible.[5]
Rhomberg invited the American art historian Michael Fried to curate the exhibition Menzel's Extreme Realism. Fried based the exhibition on his book Menzel's Realism: Art and Embodiment in Nineteenth-Century Berlin (2002), which he views as the third book in his nineteenth century realism trilogy that also contains Courbet's Realism (1990) and Realism, Writing, Disfiguration: On Thomas Eakins and Stephen Crane (1987).[6] In the chapter "Menzel with Courbet and Eakins," Fried explains that he views Menzel's work as essentially realist, and compares him to Gustave Courbet and Thomas Eakins by emphasizing that all three are intensely bodily painters, although in each case, this takes on very different forms. Fried explains Eakins as corporeal artist, studying the body's anatomy in depth, while Courbet's art is more ontological, questioning the relation of the painter to the artwork.[7]
In Menzel's Realism, Fried connects embodiment with empathy in Menzel's art. He does this when discussing Menzel's sketch Dr. Puhlman's Bookcase, which was also included in the exhibition.[8] (fig. 5) Fried emphasizes how Menzel's eye for subtle daily objects and his excellent draftsmanship make him capable of showing the viewer objects that would otherwise be taken for granted. At first, it seems that Menzel simply depicted the bookcase as it appeared to him, and the viewer instinctively feels that such a bookcase actually existed. But, as Fried argues, it is not just a detailed depiction of a bookcase with its contents. The wear and tear of the books also shows the invisible, but not 'unrepresentable', imprint of Dr. Puhlmann's touch, his gaze, and his thoughts.[9] Fried touches on art historical discourse, but doesn't seem to contribute to it or provide new ideas on the subject. The arguments he uses to shed a new light on Menzel seem obvious, although he tries to give us a deeper understanding of Menzel's work. Still, the sketches seem to remain nothing more than studies.
Fried also explains his ideas of embodiment and empathy in the folder distributed for the exhibition. Fried based his aesthetics of empathy on the nineteenth century German aesthetic philosophy, which plays a central role in his interpretation of Adolph Menzel's most famous drawing, Unmade Bed (ca. 1845) in which the viewer is confronted with a bundle of pillows and blankets drawn with the utmost precision and detail. (fig. 6) Fried makes us aware of the possibility that this unmade bed might not have ever existed in this form, although it of course shows what a good draftsman Menzel was. Fried points out that what makes Menzel's art 'bodily', even if the body is not present, is that in the folds, bulges and contours of the pillow, blankets and sheets, there is still a reference to the form of the recent sleeper.[10] According to Fried, the viewer has these associations because we are not just visual beings, but also have a body and so understand physical form.[11] It seems again that Fried is making an effort to stress a more in-depth explanation of Menzel's studies, but his arguments seem very apparent and not very renewing. A more interesting point that Fried makes is that Menzel's work does not just show reality, but that it even produces the reality that it ostensibly records.
However, Fried also makes clear that there is more to Menzel's art that makes him a realist painter, and makes him worthy of comparison to Courbet and Eakins. He makes this clear in the exhibition folder, and in the chapter "Menzel's 'Real Allegory'" where he discusses the artist's gouache, Crown Prince Frederick Pays a Visit to the Painter Pesne on His Scaffold at Rheinsberg (1861). (fig. 7) He compares this picture to Courbet's famous painting The Artist's Studio: A Real Allegory of a Seven Year Phase in my Artistic and Moral Life (1855), and to Thomas Eakins's William Rush Carving His Allegorical Figure of the Schuylkill River (1876–77). Fried argues that Menzel's gouache is an allegory, because Menzel investigates himself as an artist and shows his capacities as such. The watercolor entitled Menzel in the Pose of Pesne (1861) supports Fried's idea of Menzel seeing himself as the artist in the picture.[12] However, as the exhibition showed, Menzel quite often used himself as an object of study, for example in Self-Portrait in Abrupt Foreshortening (before 1854). Although Fried is correct in pointing out that Menzel shows his capacities as an artist in a very interesting way, he makes leaps to draw parallels with the two famous allegories of Courbet and Eakins.
The erotic female model up on the scaffold with Pesne is very much in contrast with the mannequin lying face down in an awkward position in the left corner of the picture. Fried declares that it would be too simple just to read this dummy that lies forgotten on the ground as a preference for the living model. One can see the mannequin as a distinction that is made in Menzel's art between the living model and the body as a dead object. In this gouache Menzel makes the viewer aware that he doesn't just visualise an object in a realistic manner, but that in his art there is liveliness present.[13] Fried draws attention to the sketches Menzel made of corpses, for example Two Dead Soldiers Laid out on Straw (1866) and Corpse of a General from the Period of the Wars of Liberation (1873), and makes a point that even these images drawn with so much detail have a certain morbid liveliness to them.
Fried continues to argue that although Menzel chose a historical subject for his allegory, it is executed in a modern manner. The composition is absolutely a tour de force of vision and technique, and the gouache shows the viewer accurate detail, while giving the feeling of broad freedom at the same time. Menzel has chosen a split second of the prince climbing the unseen staircase, while the violinist on the scaffold is losing himself in his music; higher up on the scaffold, the painter Pesne is engaged in a sexually charged pas de deux with his model--unaware of the prince's unannounced visit. What makes the picture so modern is that it fills the viewer with expectations of what is going to happen in the next moment.[14] So in a much more complex manner than his sketches of objects, Menzel succeeds in making the viewer anticipate the next scene in this drama.
Next to depicting reality, Menzel also made an extremely compelling physical connection with reality, and even produces the reality that it ostensibly records, which is in line with the theme of Katrin Rhomberg's Berlin Biennial.[15] The exhibition that was produced by cooperation between the 6th Berlin Biennial and the Alte Nationalgalerie seemed promising. Still, the exhibition has left a lot of possibilities open. The viewer is left to fend for himself and make something of the suggested links and connections with Menzel's sketches and studies. It shows the work of an artist that is not only capable of drawing objects with extreme precision, but who also has the ability to make the contemporary viewer aware of how reality is formed, constructed and suggested.
Sietske Roorda
Master Student Art History at the University of Amsterdam
sietskeroorda[at]yahoo.com
[1] Michael Fried, Menzel's Realism: Art and Embodiment in Nineteenth-Century Berlin (New Haven: Yale University Press, 2002), 1-9.
[2] Ibid., 1, 6, 12.
[3] Ibid., 5–6.
[4] Katrin Rhomberg, was draussen wartet/ what is waiting out there, (Berlin : Dumont, 2010), 11–13.
[5] Ibid, 126.
[6] Fried, Menzel's Realism: Art and Embodiment in Nineteenth-Century Berlin, ix-x.
[7] Ibid., 109.
[8] Ibid., 1–4.
[9] Ibid., 1–4.
[10] Ibid., 41–42, and Michael Fried, "Menzel's Extreme Realism" in the folder of The 6th Berlin Biennale for Contemporary Art, 2010.
[11] Michael Fried, Menzel's Realism: Art and Embodiment in Nineteenth-Century Berlin, 35–36.
[12] Ibid.,109, and Michael Fried, folder of The 6th Berlin Biennale for Contemporary Art, 2010.
[13] Michael Fried, Menzel's Realism: Art and Embodiment in Nineteenth-Century Berlin, 196–197.
[14] Ibid., 185–197, and Michael Fried, the folder of The 6th Berlin Biennale for Contemporary Art, 2010.
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dbpedia
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https://www.myddoa.com/artists/adolph-menzel/
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Adolph Menzel Biography
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"Heather"
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2017-03-19T00:05:29+00:00
|
A short biography on the life of the German Realism artist, Adolph Menzel, who lived in the 19th to 20th century.
|
en
|
/favicon.ico
|
Daily Dose of Art
|
https://www.myddoa.com/artists/adolph-menzel/
|
Adolph Menzel
Adolph Menzel, full name being Adolph Friedrich Erdmann von Menzel, was a German realist artist who lived from 1815 to 1905. He was one of the two most prominent German artists of the nineteenth century, in the company of the talented Caspar David Friedrich. He lived from 1815 to 1905. Menzel was born in modern day Poland, moving to Berlin, Germany with the rest of his family when he was 15 years old.
Menzel was self-taught. He had only just started art school when he had to quit and take over his father’s lithograph business. Luckily, that same year, his art was first published in a commissioned lithograph series, and he was an immediate success.
Menzel produced a large number of drawings that were used to illustrate books, making him one of the earliest illustrators in the world. He soon transitioned to painting. As Menzel had no formal training, he created works without regard to art rules of the day, helping to start the German realism art movement. Some art critics see the very earliest beginnings of what would be both the French Impressionist and Expressionist art movements in his work.
Adolph Menzel was well-admired by other artists, including Edgar Degas who called him ‘the greatest living master.’ He was also the most successful living artist in Germany during his time. Most of his paintings were bought by museums before they had a chance to leave the country. Young German artists, such as Max Klinger, looked up to Menzel. Interestingly, he has said that he felt estranged from others, as he was embarrassed by his short stature, which was 4 foot 6 inches, and larger head.
In 1898, Menzel was given a German nobility title and was admitted to the Order of the Black Eagle. He was the very first artist to receive this honor. That same year, after the rewards, he formally changed his name from Adolph Menzel to Adolph von Menzel. When he died in 1905 at 90 years old, Kaiser William II himself walked behind Menzel’s coffin during the funeral procession.
Back to the Artists page.
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666
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https://www.myddoa.com/artists/adolph-menzel/
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Adolph Menzel Biography
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[
"Heather"
] |
2017-03-19T00:05:29+00:00
|
A short biography on the life of the German Realism artist, Adolph Menzel, who lived in the 19th to 20th century.
|
en
|
/favicon.ico
|
Daily Dose of Art
|
https://www.myddoa.com/artists/adolph-menzel/
|
Adolph Menzel
Adolph Menzel, full name being Adolph Friedrich Erdmann von Menzel, was a German realist artist who lived from 1815 to 1905. He was one of the two most prominent German artists of the nineteenth century, in the company of the talented Caspar David Friedrich. He lived from 1815 to 1905. Menzel was born in modern day Poland, moving to Berlin, Germany with the rest of his family when he was 15 years old.
Menzel was self-taught. He had only just started art school when he had to quit and take over his father’s lithograph business. Luckily, that same year, his art was first published in a commissioned lithograph series, and he was an immediate success.
Menzel produced a large number of drawings that were used to illustrate books, making him one of the earliest illustrators in the world. He soon transitioned to painting. As Menzel had no formal training, he created works without regard to art rules of the day, helping to start the German realism art movement. Some art critics see the very earliest beginnings of what would be both the French Impressionist and Expressionist art movements in his work.
Adolph Menzel was well-admired by other artists, including Edgar Degas who called him ‘the greatest living master.’ He was also the most successful living artist in Germany during his time. Most of his paintings were bought by museums before they had a chance to leave the country. Young German artists, such as Max Klinger, looked up to Menzel. Interestingly, he has said that he felt estranged from others, as he was embarrassed by his short stature, which was 4 foot 6 inches, and larger head.
In 1898, Menzel was given a German nobility title and was admitted to the Order of the Black Eagle. He was the very first artist to receive this honor. That same year, after the rewards, he formally changed his name from Adolph Menzel to Adolph von Menzel. When he died in 1905 at 90 years old, Kaiser William II himself walked behind Menzel’s coffin during the funeral procession.
Back to the Artists page.
|
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666
|
dbpedia
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https://www.mutualart.com/Artist/Adolph-von-Menzel/0971EFF82D21B7CA/Biography
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Adolph von Menzel
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Learn more about Adolph von Menzel (German, 1815 - 1905). Read the artist bio and gain a deeper understanding with MutualArt's artist profile.
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https://www.mutualart.com/Artist/Adolph-von-Menzel/0971EFF82D21B7CA/Biography
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https://www.themorgan.org/drawings/artist/menzel-adolph
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Menzel, Adolph
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The Morgan Library & Museum
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https://www.themorgan.org/drawings/artist/menzel-adolph
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Hours
The Morgan Library & Museum is open Tuesday, Wednesday, Thursday, Saturday, and Sunday from 10:30 am to 5 pm, and Friday from 10:30 am to 7 pm.
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The programs of the Morgan Library & Museum are made possible with public funds from the New York City Department of Cultural Affairs in partnership with the City Council, and by the New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature.
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dbpedia
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https://www.wga.hu/bio/m/menzel/biograph.html
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Biography of MENZEL, Adolph von in the Web Gallery of Art
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Biography of MENZEL, Adolph von (b. 1815, Breslau, d. 1905, Berlin) in the Web Gallery of Art, a searchable image collection and database of European painting, sculpture and architecture (200-1900)
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Biography
German painter, son of a headmaster who founded a lithographic press, in which Adolph worked from the age of fourteen. The family moved to Berlin in 1830, and, left orphan in 1832, Menzel had to maintain his family. In 1833-34 Adolph Menzel attended the Royal Academy of Art, where he met the wallpaper manufacturer Carl Heinrich Arnold, who would become a friend and patron.
In 1833 Sachse of Berlin published his first work, an album of pen-and-ink drawings reproduced on stone, to illustrate Goethe's little poem, "Künstlers Erdenwallen." In 1834 he joined the Younger Artists' Association. By then he was working more in oils. In 1838 he was admitted to the 'Elder Artists' Association. One year later he was commissioned to illustrate Franz Kugler's History of Frederick the Great, for which from 1839 to 1842 he produced 400 drawings, reviving at the same time the technique of engraving on wood.
In 1839 he saw some pictures by Constable in Berlin, and in the 1840s and 1850s he made a series of paintings which are very free in handling and seem to anticipate Impressionism although later he rejected the theory.
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http://beardedroman.com/forgotten-master-adolf-von-menzel-polishgerman-1815-1905/
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Forgotten Master: Adolf von Menzel (Polish/German, 1815-1905)
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http://beardedroman.com/forgotten-master-adolf-von-menzel-polishgerman-1815-1905/
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His graduation from the Academy was followed by a series of lithographic commissions, including works by Goethe and a history of the Frederick the Great.
Adolf von Menzel (Polish/German, 1815-1905) Meissonier in his studio at Poissy (1869) Oil on panel. 8 1/4 BY 11 3/8IN. Private collection.
In 1855, Menzel traveled to Paris for the first time. The occasion was most likely the influential Paris Exposition Universelle, with thousands of artists’ works on display in series of pavilions organized by nationality. There Menzel saw Gustave Courbet’s “Pavillon du Réalism,” which led to a more naturalistic approach to his paintings. From that time forward, he would make regular trips to Paris and came to know some of the city’s most important artists.
Adolf von Menzel (Polish/German, 1815-1905) Aufbewahrungssaal während des Museumsumbaus (1848) Pastel on paper. 46 BY 57CM. Alte Nationalgalerie, Berlin.
By the end of his life, Menzel was considered one of Berlin’s greatest artists. He joined the Royal Academy of Art in 1853, and was a teacher at the school from 1875 until his death in 1905. He had been decorated as a Knight of the Black Order, given the rank of Privy Councilor with the title “Your Excellency,” and awarded an honorary doctorate at the University of Berlin.
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About: Adolph Menzel
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Adolph Friedrich Erdmann von Menzel (8 December 1815 – 9 February 1905) was a German Realist artist noted for drawings, etchings, and paintings. Along with Caspar David Friedrich, he is considered one of the two most prominent German painters of the 19th century, and was the most successful artist of his era in Germany. First known as Adolph Menzel, he was knighted in 1898 and changed his name to Adolph von Menzel.
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dbo:abstract
أدولف فون مينزل (بالألمانية: Adolph von Menzel ) (و. 1815 – 1905 م) هو رسام، ورسام توضيحي ألماني، ولد في فروتسواف، وكان عضوًا في الأكاديمية الملكية للفنون، توفي في برلين، عن عمر يناهز 90 عاماً. حظي مينزل بشعبية واسعة في بلده خاصة بسبب لوحاته التاريخية لدرجة أن القليل من لوحاته الرئيسية قد غادرت ألمانيا، إذ وضع الكثير منها في متاحف مدينة برلين. نُشرت أعماله (وخاصة رسوماته) على نطاق واسع، إلى جانب بعض اللوحات غير الرسمية التي لم تكن مخصصة للعرض في البداية والتي ساهمت إلى حد كبير في ازدياد شهرته بعد وفاته. وعلى الرغم من أنه سافر بحثًا عن مواضيع للوحاته ولزيارة المعارض ولقاء فنانين آخرين، فقد أمضى مينزل معظم حياته في برلين، وكان منعزلًا عن الآخرين على الرغم من صداقاته العديدة. من المحتمل أنه شعر بالغربة اجتماعيًا لأسباب جسدية، إذ امتلك مينزل رأسًا كبيرًا، وقدر طوله بنحو 4 أقدام وست بوصات (1.37 متر). (ar)
Adolf von Menzel původně Adolph Friedrich Erdmann Menzel (8. prosince 1815 Vratislav – 9. února 1905 Berlín) byl německý malíř poloviny 19. století. Tvořil především olejomalby, ale věnoval se také kresbám a portrétům v ingresovském stylu. Byl též autorem četných litografií, které zachycují německou aristokratickou společnost a rysy gründerské doby. Narodil se ve Vratislavi v roce 1815. Roku 1830 odešel do Berlína, kde studoval litografické techniky. Ty poté hodně využíval při zobrazování historických momentů i tajemných koncertních sálů. Na obou Světových výstavách v roce 1855 a 1867 v Paříži měl možnost poznat realismus Gustava Courbeta a Jeana-Françoise Milleta. Tyto vlivy jeho dílu dodaly větší uvolněnost a malířskou svěžest, takže se osvobodil od závislosti na kreslířské akademické rutině a popisného realismu. V prusko-francouzské válce roku 1870 působil jako válečný malíř a vytvořil z této bitvy četné grafické výjevy technikou dřevorytu. Monumentální scény z pruských dějin i současnosti zachytil na svých olejomalbách, objednaných císařem Vilémem I. Za tuto práci byl oceněn pruským řádem „Pour le mérite“ a v roce 1898 povýšen do šlechtického stavu s titulem "von".V 70. letech se zúčastnil výzdoby Lannovy vily v Praze Bubenči. Zemřel v Berlíně roku 1905. (cs)
Ο Άντολφ φον Μέντσελ (Adolph Friedrich Erdmann von Menzel, 8 Δεκεμβρίου 1815 - 9 Φεβρουαρίου 1905) ήταν Γερμανός ζωγράφος από τους πιο γνωστούς του 19ου αιώνα, ενώ ήταν ο πιο επιτυχημένος την εποχή του. Ζωγράφισε τόσο θέματα καθημερινότητας όσο και ιστορικά. * Επιλογή έργων * Δωμάτιο με μπαλκόνι, 1845, Βερολίνο, Άλτε Νατσιονάλγκαλερί * Το καθιστικό δωμάτιο με την αδελφή του καλλιτέχνη, 1847, Μόναχο, Νέα Πινακοθήκη * Ο σιδηρόδρομος Βερολίνου-Πότσνταμ, 1847, Βερολίνο, Άλτε Νατσιονάλγκαλερί * Το υπνοδωμάτιο του καλλιτέχνη στην Ρίττερστράσσε , 1847, Βερολίνο, Άλτε Νατσιονάλγκαλερί * Η κηδεία των νεκρών του Μαρτίου, 1848, Αμβούργο, Kunsthalle * Το κοντσέρτο για φλάουτο του Μεγάλου Φρειδερίκου στο Σαν-Σουσσί , 1850-52, Βερολίνο, Άλτε Νατσιονάλγκαλερί * Ο τοίχος του ατελιέ , 1852, Βερολίνο, Άλτε Νατσιονάλγκαλερί * Ο Γουλιέλμος Α΄φεύγει στο μέτωπο στις 31 Ιουλίου 1870, 1870 ,Βερολίνο, Άλτε Νατσιονάλγκαλερί * Το σιδηρουργείο (Μοντέρνοι κύκλωπες), 1872-75, Βερολίνο, Άλτε Νατσιονάλγκαλερί * Καταστρώνοντας σχέδια ταξιδίου, 1875, Έσσεν, Museum Folkwang * Μπουφές στον χορό, 1878, Βερολίνο, Άλτε Νατσιονάλγκαλερί * Βερόνα, Piazza d’Erbe, 1884, Δρέσδη, Πινακοθήκη των Νέων Δασκάλων (el)
Adolph Friedrich Erdmann von Menzel (8 December 1815 – 9 February 1905) was a German Realist artist noted for drawings, etchings, and paintings. Along with Caspar David Friedrich, he is considered one of the two most prominent German painters of the 19th century, and was the most successful artist of his era in Germany. First known as Adolph Menzel, he was knighted in 1898 and changed his name to Adolph von Menzel. His popularity in his native country, owing especially to his history paintings, was such that few of his major paintings left Germany, as many were quickly acquired by museums in Berlin. Menzel's graphic work (and especially his drawings) were more widely disseminated; these, along with informal paintings not initially intended for display, have largely accounted for his posthumous reputation. Although he traveled in order to find subjects for his art, to visit exhibitions, and to meet with other artists, Menzel spent most of his life in Berlin, and was, despite numerous friendships, by his own admission detached from others. It is likely that he felt socially estranged for physical reasons alone—he had a large head, and stood about four foot six inches. (en)
Adolph Friedrich Erdmann von MENZEL (8a de Decembro, 1815 – 9a de Februaro, 1905) estis germana artisto de la Realismo fama pro siaj desegnoj, akvafortoj, kaj pentraĵoj. Kun Caspar David Friedrich, li estas konsiderata unu el la du plej elstaraj germanaj pentristoj de la 19-a jarcento, kaj estis la plej sukcesa artisto siaepoke en Germanio. Dekomence konata kiel Adolph Menzel, li estis nobeligita en 1898 kaj ŝanĝis sian nomon al Adolph von Menzel. (eo)
Adolph Friedrich Erdmann Menzel, ab 1898 von Menzel (* 8. Dezember 1815 in Breslau; † 9. Februar 1905 in Berlin), war ein deutscher Maler, Zeichner und Illustrator. Er gilt als der bedeutendste deutsche Realist des 19. Jahrhunderts. Sein Werk ist außerordentlich vielfältig; bekannt und zu Lebzeiten hoch geehrt wurde er vor allem wegen seiner historisierenden Darstellungen aus dem Leben Friedrichs des Großen. (de)
Adolph Friedrich Erdmann (posteriormente: von) Menzel (Breslavia, 8 de diciembre de 1815 - Berlín, 9 de febrero de 1905) fue un pintor alemán famoso por sus pinturas a menudo inspiradas en la historia, que es considerado el más importante exponente del realismo pictórico del siglo XIX en Alemania. Junto con Caspar David Friedrich, está considerado uno de los dos artistas alemanes más destacados del siglo XIX, y fue el artista de más éxito en su época en Alemania. Su popularidad en su país natal, debida especialmente a obras de propaganda política, fue tal que pocas de sus grandes pinturas abandonaron Alemania, donde fueron rápidamente adquiridas por museos en Berlín. La obra gráfica de Menzel y sus dibujos se difundieron más ampliamente; estos, junto con cuadros informales que no estaban realizados inicialmente para ser expuestos, son la causa en gran medida de su reputación póstuma. Aunque viajó para buscar temas para su arte, para visitar exposiciones y encontrarse con otros artistas, Menzel pasó la mayor parte de su vida en Berlín, y se mantuvo, a pesar de numerosas amistades, apartado de otros. Menzel escribió en su testamento: "No sólo me he quedado soltero, a lo largo de toda mi vida he renunciado a las relaciones con el otro sexo... En resumen, hay una falta de cualquier clase de unión entre el mundo exterior y yo." Es probable que se sintiera apartado socialmente por razones físicas únicamente, Menzel tenía la cabeza grande y era muy bajo, medía un metro treinta y siete centímetros. (es)
Adolph Friedrich Erdmann von Menzel (Breslau, 1815eko abenduaren 8a – Berlin, 1905eko otsailaren 9a) XIX. mendeko alemaniar margolaria izan zen. Caspar David Friedrichekin batera, bere garaietako Alemaniako margolaririk hobenetariko bat izan zen. politikoki propagandistikoak ziren bere lanek hainbeste ospe eman zioten ezen Berlingo museoek laster erosi baitzituzten. Egun horietako asko Alte Nationalgalerie museoan daude ikusgai. (eu)
Adolph von Menzel, né à Wrocław le 8 décembre 1815, et mort à Berlin le 9 février 1905, est un artiste peintre, graveur et illustrateur prussien. Il est considéré comme le plus important réaliste allemand du XIXe siècle et, avec Caspar David Friedrich, comme l'un des deux peintres allemands les plus éminents du siècle. Son travail est très diversifié. Il était bien connu et très honoré de son vivant, principalement pour ses représentations historiques de la vie de Frédéric II (roi de Prusse) dit Frédéric le Grand : il est l'artiste le plus titré de son époque en Allemagne. D'abord connu sous le nom d'Adolph Menzel, il est anobli en 1898 et change son nom en Adolph von Menzel. Sa popularité dans son pays natal, due notamment à ses peintures d'histoire, est telle que peu de ses toiles majeures quittent le pays : beaucoup sont rapidement acquises par les musées de Berlin. L'œuvre graphique de Menzel (et surtout ses dessins) est plus largement diffusée ; ceux-ci, ainsi que des peintures informelles non initialement destinées à être exposées, ont largement contribué à sa réputation posthume. Bien qu'il ait voyagé pour trouver des sujets pour son art, visiter des expositions et rencontrer d'autres artistes, Menzel a passé la majeure partie de sa vie à Berlin et est, malgré de nombreuses amitiés, de son propre aveu, détaché des autres. Il est probable qu'il se sente socialement éloigné pour des raisons physiques uniquement : il a une grosse tête et mesure environ 1,40 m. (fr)
Adolph Friedrich Erdmann von Menzel (8 Desember 1815 – 9 Februari 1905) adalah seorang seniman Realis asal Jerman yang terkenal karena gambar, etsa, dan lukisan. Bersama dengan Caspar David Friedrich, ia dianggap sebagai salah satu dari dua pelukis Jerman paling terkemuka di abad ke-19, dan merupakan seniman paling sukses pada zamannya di Jerman. First known as Adolph Menzel, dia dianugerahi gelar bangsawan pada tahun 1898 dan mengubah namanya menjadi Adolph von Menzel. (in)
Adolph Friedrich Erdmann von Menzel (Breslavia, 8 dicembre 1815 – Berlino, 9 febbraio 1905) è stato un pittore tedesco noto non solo per i suoi dipinti ma anche per le sue incisioni e i suoi disegni. (it)
Adolph von Menzel (ur. 8 grudnia 1815 we Wrocławiu, zm. 9 lutego 1905 w Berlinie) – niemiecki malarz i grafik, profesor berlińskiej Królewskiej Akademii Sztuki. W roku 1830 przybył do Berlina, gdzie uczęszczał krótko na tamtejszą Akademię, potem kształcił się samodzielnie. W 1833 wystąpił po raz pierwszy ze swymi litografiami i obrazami. Jednak dopiero zilustrowanie dzieła „Geschichte Friedrichs des Großen” (400 ilustracji) oraz wydania dzieł Fryderyka Wielkiego (200 litografii) uczyniły go sławnym. Około roku 1840 powstały obrazy, w których Menzel jest prekursorem impresjonizmu, m.in. „Pokój artysty”. Głównym tematem prac Menzla są przeważnie czasy Fryderyka Wielkiego – wydał w litografiach „Umundurowanie armii Fryderyka Wielkiego” cykl drzeworytów z tych czasów. Do najważniejszych osiągnięć malarskich należą m.in. „Koncert na flecie w Sanssouci” (1853, Berlin), „Hołd stanów śląskich we wrocławskim Ratuszu”, „Spotkanie Fryderyka Wielkiego z Józefem II w Nysie”, oraz z czasów Wilhelma I: „Koronacja w Królewcu”, „Przyjęcie na balu”. Menzel malował (olejno, akwarelą, gwaszem), prócz obrazów historycznych, także krajobrazy, obiekty architektury, wnętrza, zwierzęta; z tej tematyki wymienić należy: „Niedziela w ogrodach tuileryjskich” czy świetny obraz „Walcownia żelaza”, przedstawiający robotników huty w Königshütte (dzisiejszy Chorzów). Stanowił on rewolucyjne wydarzenie w malarstwie, bo po raz pierwszy pokazywał świat pracy – znany w świecie i cytowany w sztuce, socjologii, ekonomii. Dzieła Menzla cechuje zdecydowany już realizm, silna charakterystyka i świetne traktowanie materii. Inne słynne obrazy: „Słoneczne wnętrze” (1845), „Ogrody przy pałacu księcia Alberta” (1846), „Wnętrze odlewni żelaza w Królewskiej Hucie”, „Wspomnienia teatru Gymnose”, „La Piazza d’Erbe”, „Kapela w Tuileries”. Doctor honoris causa Uniwersytetu Wrocławskiego oraz honorowy obywatel Berlina i Wrocławia. 7 grudnia 1895 jako obcokrajowiec został odznaczony austro-węgierską Odznaką Honorową za Dzieła Sztuki i Umiejętności. W 1997 wykonano jego marmurowe popiersie umieszczone w galerii „Wielcy Wrocławianie” w muzeum w ratuszu wrocławskim. (pl)
Adolph Friedrich Erdmann Menzel, vanaf 1898 von Menzel (Breslau, 8 december 1815 - Berlijn, 9 februari 1905) was een Duitse kunstschilder, tekenaar en illustrator. (nl)
アドルフ・フリードリヒ・エルトマン・フォン・メンツェル（Adolph Friedrich Erdmann von Menzel, 1815年12月8日 - 1905年2月9日）は、ドイツの画家、挿絵画家、版画家。 (ja)
А́дольф фон Ме́нцель (нем. Adolph Friedrich Erdmann von Menzel; 8 декабря 1815, Бреслау — 9 февраля 1905, Берлин) — немецкий художник и иллюстратор, один из лидеров романтического историзма. (ru)
Adolph Friedrich Erdmann von Menzel, född 8 december 1815 i Breslau, död 9 februari 1905, var en tysk konstnär. (sv)
Adolph Friedrich Erdmann von Menzel (Breslau, 8 de dezembro de 1815 — Berlim, 9 de fevereiro de 1905) foi um pintor, desenhista e ilustrador alemão, mestre do realismo e o maior expoente desta escola no seu país no século XIX. (pt)
阿道夫·弗里德利希·艾尔德曼·冯·门采尔（德語：Adolph Friedrich Erdmann von Menzel，1815年12月8日－1905年2月9日）是德国油画家和版画家。 门采尔出生于普鲁士西里西亚省的省会布雷斯劳，他的父亲是一位女子学校的校长，1830年，全家迁居柏林，他父亲开办了一个石印工厂，在他17岁时父亲去世，他承担起支撑家庭的责任，供养母亲和弟妹，1833年他18岁时，柏林一家出版社出版了他的一本为歌德的诗集插图的石版画册。从1839年至1842年，他创作了大约400幅木刻版画，为《腓特烈大帝传》作插图，从1843年至1849年，他根据腓特烈·威廉四世的委托，为《》创作了200幅插图。从此，他成为德国著名的插图画家，他自学油画创作，很快创作出大批绘画作品，主要描绘腓特烈大帝时代的历史场景，但也描绘日常生活的景象，绘画题材丰富。 1898年，他获得当时普鲁士王国的最高荣誉“黑鹰勋章”和贵族称号，成为当时国内最伟大的画家。他曾经三次到法国，三次到意大利旅行，但几乎每年都有两个月去德国乡间旅行，画了大量的速写和素描作品，他热心于绘画，身后留下80本素描集和近7000张单张素描。门采尔以90岁高龄在柏林逝世，第二次世界大战期间，他的部分油画作品在战争中烧毁或散失。 (zh)
Адольф Фрідріх Ердманн фон Менцель (нім. Adolph Friedrich Erdmann von Menzel) (8 грудня 1815, Бреслау, Пруссія — 9 лютого 1905, Берлін, Пруссія, Німецька імперія) — німецький маляр, живописець, ілюстратор. Вважається одним з найважливіших німецьких реалістів XIX століття. (uk)
rdfs:comment
Adolph Friedrich Erdmann von MENZEL (8a de Decembro, 1815 – 9a de Februaro, 1905) estis germana artisto de la Realismo fama pro siaj desegnoj, akvafortoj, kaj pentraĵoj. Kun Caspar David Friedrich, li estas konsiderata unu el la du plej elstaraj germanaj pentristoj de la 19-a jarcento, kaj estis la plej sukcesa artisto siaepoke en Germanio. Dekomence konata kiel Adolph Menzel, li estis nobeligita en 1898 kaj ŝanĝis sian nomon al Adolph von Menzel. (eo)
Adolph Friedrich Erdmann Menzel, ab 1898 von Menzel (* 8. Dezember 1815 in Breslau; † 9. Februar 1905 in Berlin), war ein deutscher Maler, Zeichner und Illustrator. Er gilt als der bedeutendste deutsche Realist des 19. Jahrhunderts. Sein Werk ist außerordentlich vielfältig; bekannt und zu Lebzeiten hoch geehrt wurde er vor allem wegen seiner historisierenden Darstellungen aus dem Leben Friedrichs des Großen. (de)
Adolph Friedrich Erdmann von Menzel (Breslau, 1815eko abenduaren 8a – Berlin, 1905eko otsailaren 9a) XIX. mendeko alemaniar margolaria izan zen. Caspar David Friedrichekin batera, bere garaietako Alemaniako margolaririk hobenetariko bat izan zen. politikoki propagandistikoak ziren bere lanek hainbeste ospe eman zioten ezen Berlingo museoek laster erosi baitzituzten. Egun horietako asko Alte Nationalgalerie museoan daude ikusgai. (eu)
Adolph Friedrich Erdmann von Menzel (8 Desember 1815 – 9 Februari 1905) adalah seorang seniman Realis asal Jerman yang terkenal karena gambar, etsa, dan lukisan. Bersama dengan Caspar David Friedrich, ia dianggap sebagai salah satu dari dua pelukis Jerman paling terkemuka di abad ke-19, dan merupakan seniman paling sukses pada zamannya di Jerman. First known as Adolph Menzel, dia dianugerahi gelar bangsawan pada tahun 1898 dan mengubah namanya menjadi Adolph von Menzel. (in)
Adolph Friedrich Erdmann von Menzel (Breslavia, 8 dicembre 1815 – Berlino, 9 febbraio 1905) è stato un pittore tedesco noto non solo per i suoi dipinti ma anche per le sue incisioni e i suoi disegni. (it)
Adolph Friedrich Erdmann Menzel, vanaf 1898 von Menzel (Breslau, 8 december 1815 - Berlijn, 9 februari 1905) was een Duitse kunstschilder, tekenaar en illustrator. (nl)
アドルフ・フリードリヒ・エルトマン・フォン・メンツェル（Adolph Friedrich Erdmann von Menzel, 1815年12月8日 - 1905年2月9日）は、ドイツの画家、挿絵画家、版画家。 (ja)
А́дольф фон Ме́нцель (нем. Adolph Friedrich Erdmann von Menzel; 8 декабря 1815, Бреслау — 9 февраля 1905, Берлин) — немецкий художник и иллюстратор, один из лидеров романтического историзма. (ru)
Adolph Friedrich Erdmann von Menzel, född 8 december 1815 i Breslau, död 9 februari 1905, var en tysk konstnär. (sv)
Adolph Friedrich Erdmann von Menzel (Breslau, 8 de dezembro de 1815 — Berlim, 9 de fevereiro de 1905) foi um pintor, desenhista e ilustrador alemão, mestre do realismo e o maior expoente desta escola no seu país no século XIX. (pt)
阿道夫·弗里德利希·艾尔德曼·冯·门采尔（德語：Adolph Friedrich Erdmann von Menzel，1815年12月8日－1905年2月9日）是德国油画家和版画家。 门采尔出生于普鲁士西里西亚省的省会布雷斯劳，他的父亲是一位女子学校的校长，1830年，全家迁居柏林，他父亲开办了一个石印工厂，在他17岁时父亲去世，他承担起支撑家庭的责任，供养母亲和弟妹，1833年他18岁时，柏林一家出版社出版了他的一本为歌德的诗集插图的石版画册。从1839年至1842年，他创作了大约400幅木刻版画，为《腓特烈大帝传》作插图，从1843年至1849年，他根据腓特烈·威廉四世的委托，为《》创作了200幅插图。从此，他成为德国著名的插图画家，他自学油画创作，很快创作出大批绘画作品，主要描绘腓特烈大帝时代的历史场景，但也描绘日常生活的景象，绘画题材丰富。 1898年，他获得当时普鲁士王国的最高荣誉“黑鹰勋章”和贵族称号，成为当时国内最伟大的画家。他曾经三次到法国，三次到意大利旅行，但几乎每年都有两个月去德国乡间旅行，画了大量的速写和素描作品，他热心于绘画，身后留下80本素描集和近7000张单张素描。门采尔以90岁高龄在柏林逝世，第二次世界大战期间，他的部分油画作品在战争中烧毁或散失。 (zh)
Адольф Фрідріх Ердманн фон Менцель (нім. Adolph Friedrich Erdmann von Menzel) (8 грудня 1815, Бреслау, Пруссія — 9 лютого 1905, Берлін, Пруссія, Німецька імперія) — німецький маляр, живописець, ілюстратор. Вважається одним з найважливіших німецьких реалістів XIX століття. (uk)
أدولف فون مينزل (بالألمانية: Adolph von Menzel ) (و. 1815 – 1905 م) هو رسام، ورسام توضيحي ألماني، ولد في فروتسواف، وكان عضوًا في الأكاديمية الملكية للفنون، توفي في برلين، عن عمر يناهز 90 عاماً. حظي مينزل بشعبية واسعة في بلده خاصة بسبب لوحاته التاريخية لدرجة أن القليل من لوحاته الرئيسية قد غادرت ألمانيا، إذ وضع الكثير منها في متاحف مدينة برلين. نُشرت أعماله (وخاصة رسوماته) على نطاق واسع، إلى جانب بعض اللوحات غير الرسمية التي لم تكن مخصصة للعرض في البداية والتي ساهمت إلى حد كبير في ازدياد شهرته بعد وفاته. (ar)
Adolf von Menzel původně Adolph Friedrich Erdmann Menzel (8. prosince 1815 Vratislav – 9. února 1905 Berlín) byl německý malíř poloviny 19. století. Tvořil především olejomalby, ale věnoval se také kresbám a portrétům v ingresovském stylu. Byl též autorem četných litografií, které zachycují německou aristokratickou společnost a rysy gründerské doby. Zemřel v Berlíně roku 1905. (cs)
Adolph Friedrich Erdmann von Menzel (8 December 1815 – 9 February 1905) was a German Realist artist noted for drawings, etchings, and paintings. Along with Caspar David Friedrich, he is considered one of the two most prominent German painters of the 19th century, and was the most successful artist of his era in Germany. First known as Adolph Menzel, he was knighted in 1898 and changed his name to Adolph von Menzel. (en)
Ο Άντολφ φον Μέντσελ (Adolph Friedrich Erdmann von Menzel, 8 Δεκεμβρίου 1815 - 9 Φεβρουαρίου 1905) ήταν Γερμανός ζωγράφος από τους πιο γνωστούς του 19ου αιώνα, ενώ ήταν ο πιο επιτυχημένος την εποχή του. Ζωγράφισε τόσο θέματα καθημερινότητας όσο και ιστορικά. * Επιλογή έργων * Δωμάτιο με μπαλκόνι, 1845, Βερολίνο, Άλτε Νατσιονάλγκαλερί * Το καθιστικό δωμάτιο με την αδελφή του καλλιτέχνη, 1847, Μόναχο, Νέα Πινακοθήκη * Ο σιδηρόδρομος Βερολίνου-Πότσνταμ, 1847, Βερολίνο, Άλτε Νατσιονάλγκαλερί * Το υπνοδωμάτιο του καλλιτέχνη στην Ρίττερστράσσε , 1847, Βερολίνο, Άλτε Νατσιονάλγκαλερί * * * * * * * * (el)
Adolph Friedrich Erdmann (posteriormente: von) Menzel (Breslavia, 8 de diciembre de 1815 - Berlín, 9 de febrero de 1905) fue un pintor alemán famoso por sus pinturas a menudo inspiradas en la historia, que es considerado el más importante exponente del realismo pictórico del siglo XIX en Alemania. (es)
Adolph von Menzel, né à Wrocław le 8 décembre 1815, et mort à Berlin le 9 février 1905, est un artiste peintre, graveur et illustrateur prussien. Il est considéré comme le plus important réaliste allemand du XIXe siècle et, avec Caspar David Friedrich, comme l'un des deux peintres allemands les plus éminents du siècle. Son travail est très diversifié. Il était bien connu et très honoré de son vivant, principalement pour ses représentations historiques de la vie de Frédéric II (roi de Prusse) dit Frédéric le Grand : il est l'artiste le plus titré de son époque en Allemagne. D'abord connu sous le nom d'Adolph Menzel, il est anobli en 1898 et change son nom en Adolph von Menzel. (fr)
Adolph von Menzel (ur. 8 grudnia 1815 we Wrocławiu, zm. 9 lutego 1905 w Berlinie) – niemiecki malarz i grafik, profesor berlińskiej Królewskiej Akademii Sztuki. W roku 1830 przybył do Berlina, gdzie uczęszczał krótko na tamtejszą Akademię, potem kształcił się samodzielnie. W 1833 wystąpił po raz pierwszy ze swymi litografiami i obrazami. Jednak dopiero zilustrowanie dzieła „Geschichte Friedrichs des Großen” (400 ilustracji) oraz wydania dzieł Fryderyka Wielkiego (200 litografii) uczyniły go sławnym. (pl)
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Gurney Journey: Menzel the Man
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Adolph von MENZEL (1815-1905) ✿
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[
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Adolph Friedrich Erdmann von Menzel (1815-1905) was a German Realist artist noted for drawings, etchings, and paintings. Along with Caspar David Friedrich, he is considered one of the two most prominent German painters of the 19th century, and was the most successful artist of his era in Germany. First known as Adolph Menzel, he was knighted in 1898 and changed his name to Adolph von Menzel.
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https://www.catherinelarosepoesiaearte.com/favicon.ico
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https://www.catherinelarosepoesiaearte.com/2017/07/adolph-von-menzel-1815-1905.html
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"Il Piede dell'Artista", 1876 - Olio su pannello -
Adolf von Menzel (German Realist painter, 1815-1905)
Menzel was the leading German artist of the last half of the 19th century. He exhibited his first drawing at the age of 12. His father ran a lithographic printing works; and by the time he was 14, Menzel was contributing illustrations to publications. Active as a printmaker & a dazzling draftsman throughout his prolific career, he turned to oil painting only after he was 30. When visiting Paris, Menzel associated with other artists there including Edgar Degas. He chronicled life in Berlin. He was knighted in 1898, and received a state funeral upon his death in 1905.
Adolph Friedrich Erdmann von Menzel (1815-1905) was a German Realist artist noted for drawings, etchings, and paintings. Along with Caspar David Friedrich, he is considered one of the two most prominent German painters of the 19th century, and was the most successful artist of his era in Germany. First known as Adolph Menzel, he was knighted in 1898 and changed his name to Adolph von Menzel.
His popularity in his native country, owing especially to his history paintings, was such that few of his major paintings left Germany, as many were quickly acquired by museums in Berlin. Menzel's graphic work and especially his drawings were more widely disseminated; these, along with informal paintings not initially intended for display, have largely accounted for his posthumous reputation.
Although he traveled in order to find subjects for his art, to visit exhibitions, and to meet with other artists, Menzel spent most of his life in Berlin, and was, despite numerous friendships, by his own admission detached from others. It is likely that he felt socially estranged for physical reasons alone Menzel had a large head, and stood about four foot six inches.
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https://www.mediastorehouse.com/fine-art-storehouse/legends-icons/famous-writers-william-shakespeare-1564-1616/henry-viii-play-william-shakespeare-27345215.html
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en
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Henry VIII, play by William Shakespeare, published in 1886
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Prints of Henry VIII (Act I, Scene 4), play by William Shakespeare. Photogravure after a painting by Adolph Menzel
|
en
|
Media Storehouse Photo Prints
|
https://www.mediastorehouse.com/fine-art-storehouse/legends-icons/famous-writers-william-shakespeare-1564-1616/henry-viii-play-william-shakespeare-27345215.html
|
Henry VIII (Act I, Scene 4), play by William Shakespeare. Photogravure after a painting by Adolph Menzel (German painter, 1815 - 1905), published in 1886. Unleash your creativity and transform your space into a visual masterpiece.
ZU_09
Media ID 27345215
Adolph Menzel
Framed Prints
Bring a touch of historical drama to your home with our exquisite Framed Print of Henry VIII from Media Storehouse. This stunning piece, taken from the 1886 publication of William Shakespeare's play, features a captivating photogravure after the painting by renowned German artist Adolph Menzel. Henry VIII, depicted in Act I, Scene 4, is brought to life in this intricately detailed and beautifully preserved print. Add this timeless work of art to your collection and transport yourself to the world of Shakespearean theatre.
Photo Prints
Step back in time with our captivating Photographic Print capturing a scene from William Shakespeare's renowned play, Henry VIII. This stunning piece showcases an exquisite photogravure reproduction of Adolph Menzel's painting, published in 1886. Immerse yourself in the rich history and artistic brilliance of this iconic masterpiece, available exclusively at Media Storehouse.
Poster Prints
Experience the captivating fusion of history and literature with our Media Storehouse Poster Print featuring Henry VIII from William Shakespeare's play. This exquisite piece showcases a captivating image of Henry VIII, as portrayed in Act I, Scene 4 of the renowned play. The image is based on a painting by the acclaimed German artist Adolph Menzel, meticulously reproduced as a photogravure in 1886 by ZU_09 for the Fine Art Storehouse. Bring the rich history of the Tudor dynasty and the timeless beauty of Shakespeare's works into your home or office with this stunning poster print.
Jigsaw Puzzles
Step back in time with our exquisite jigsaw puzzle from Media Storehouse, featuring a captivating image of Henry VIII as portrayed in William Shakespeare's play, published in 1886. This intriguing puzzle showcases a photogravure after the famous painting by Adolph Menzel, offering an immersive experience into the rich history of the Tudor dynasty. With stunning attention to detail, this puzzle is perfect for history buffs, Shakespeare enthusiasts, or anyone who appreciates the beauty of fine art. Bring this masterpiece to life piece by piece and elevate your puzzle collection with this unique and captivating addition.
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666
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dbpedia
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https://www.lempertz.com/en/catalogues/artist-index/detail/menzel-adolph-von.html
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en
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Adolph von Menzel
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2020-02-24T00:00:00
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Adolph von Menzel - Works, prices, biography – Find out everything about Adolph von Menzel & sell or buy works by this artist in our auction house.
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en
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https://www.lempertz.com/en/catalogues/artist-index/detail/menzel-adolph-von.html
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Adolph von Menzel - responsibility at an early age
Adolph von Menzel was not born into nobility – he received his title only a few years before his death. His family was middle-class; his father Carl Erdmann Menzel owned a lithographic business in Breslau but left for Berlin in 1830, where he hoped for better business prospects. At first, he ran a girls’ school there and later founded a lithographic printing business. The early death of his father forced the young Adolph to take over the role of provider for the family and so continued the business whilst simultaneously attending the Berlin Art Academy. His drawing attracted attention early on and he contributed to an exhibition in his hometown of Breslau at the age of thirteen, and three years later illustrated a picture book about the life of Martin Luther. Further commissions followed, with which Adolph von Menzel made a certain name for himself.
Fame as ‘court painter’ to Frederick the Great
Adolph von Menzel achieved lasting fame, however, with his incomparably realistic depictions of an epoch that he himself had not experienced but which was to have a considerable influence on his artistic career. In 1842, von Menzel produced 436 pen lithographs depicting uniforms from Frederick the Great’s army. This project marked the start of his ‘army works’ and eventually awakened the notice of the Prussian court. Von Menzel proved his fine sense for the bygone epoch with numerous magnificent paintings of great historical accuracy, but was never the Prussian ‘state painter’ that he would become in public memory. He only painted one single picture on commission from the Prussian court: the richly emotive Coronation of Wilhelm I in Königsberg (1861). In 1866, he finally drew the wounded and dead of the Prussian-Austrian War in Bohemia, an experience that affected him so much that he would never produce war paintings again.
Adolph von Menzel was not a dreamer, but a realist
Adolph von Menzel’s selection of motifs extended far beyond the world of Frederick the Great, more frequently painting his own present than the past which he tried to capture with the greatest possible precision and far from any romantic glorification. Whilst he sometimes liked to caricature the ‘better’ society in his paintings, his depictions of simple craftsmen and workers expressed unwavering respect for their daily work. His famous painting Das Einsenwalzwerk (1872-1875) is considered the first significant depiction of industry in Germany. Adolph von Menzel’s artistic work gained great recognition and many awards during his life, from honorary doctorate of Berlin University to elevation to a peerage.
Adolph von Menzel died in Berlin on 9 February 1905 at the age of 89. More than 200 years after his death, his work is still fresh and alive, as evinced by the numerous tributes: In 2021, a stamp in his honour, much sought after by collectors, was issued once again.
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https://blogs.getty.edu/iris/audio-werner-busch-on-adolph-menzel/
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en
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PODCAST: Werner Busch on Adolph Menzel
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[
"Getty Media"
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2018-01-10T10:30:24-08:00
|
An art historian discusses a German realist painter more people should know about.
|
en
|
Getty Iris
|
https://blogs.getty.edu/iris/audio-werner-busch-on-adolph-menzel/
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JIM CUNO: Hello, I’m Jim Cuno, president of the J. Paul Getty Trust. Welcome to Art and Ideas, a podcast in which I speak to artists, conservators, authors, and scholars about their work.
WERNER BUSCH: He was famous, and he didn’t like it. He was harsh to the people, and he was—well, he was a lonely person.
CUNO: In this episode I speak with art historian Werner Busch about his recent book Adolph Menzel: The Quest for Reality.
Adolph Menzel was one of the greatest painters of the 19th century. Sadly, few people outside Germany know this. Menzel had the misfortune of not being a French painter during a period when French painting dominated both public and private taste. He was born in the era of Jacques-Louis David, came of age in the time of Delacroix and Courbet, and rose to prominence in German painting when Manet, Renoir, Degas, Monet, and Cezanne dominated the rest of the Western artistic canon.
In his recent book, Adolph Menzel: A Quest for Reality, author Werner Busch explores Menzel’s life and work, beginning with the origins of the artist’s practice in commercial prints and illustrative wood engravings. Busch examines the development of Menzel’s technique and compositional facility though experimentation in oil sketches and history paintings, and finally his triumphs as a realist painter of life and labor in Berlin.
Menzel died in 1905 at age 89. For more than fifty years he’d been a member in the Royal Academy of Arts. His funeral was held in the rotunda of the Altes Museum in Berlin, at the direction of the German Kaiser Wilhelm II, who walked behind Menzel’s coffin. A year later, the National Gallery, also in Berlin, acquired the vast bulk of his drawings and paintings.
Werner Busch is former professor of art history at Freie Universität Berlin. I spoke with him on the phone from a studio in Berlin.
Well, Werner, thank you so much for your time.
BUSCH: No problem.
CUNO: Now in anticipation of our conversation I checked the Menzel holdings at the Getty, both at the Museum and the Research Institute, and I found that we have 167 items, including two drawings and a sketchbook from 1863. The sketchbook has drawings of children and infants. And hundreds of books, ranging from the earliest book, J. F. Wesley’s His Life and Work, in German, published in 1873, to your earlier book on Menzel from 2004 and your current book, the English translation of which we have just published, and very happily so.
What’s interesting, I think, in these 167 books and items is that seven are in English, and most of these are exhibition catalogs. Only Michael Fried’s book of 2002 is a stand-alone monographic study of Menzel’s work. Even your bibliography has only two items in English, a journal article and Michael Fried’s book. Why do you think there’s been so little English language museum and university interest in Menzel’s work? Why has he remained such a German artist?
BUSCH: Yes, I think you are quite right. German art of the nineteenth century never enjoyed international standing. American reception of French art of the nineteenth century has absolutely predominated. The collections of the major American collectors are full of French Impressionist paintings. Germany was not united into a nation-state until 1871. Prior to that, it was a multitude of small independent states, and they had no art tradition of its own.
Art had to be imported from Italy and France, despite the German Romantic movement. Even Caspar David Friedrich, the most important German Romantic painter, is hardly represented in American collections. Some years ago the Metropolitan Museum bought it first Friedrich painting. In conjunction with the purchase, I gave a lecture on it in New York. And I—sorry to say this—I am not absolutely sure that it is an authentic work.
But times are changing, in regard to Friedrich and to Menzel, too. At present, we are preparing a translation of Friedrich’s writings for the Getty Research Center [read: Institute], and there are some Menzel drawings in American collection, but they were mostly brought into the country by emigrants from Germany. There are next to none of his paintings in the United State[s] as far as I know, except for a very small one in San Francisco from the Isaac Stern collection.
Menzel’s art, like Friedrich’s, is really not an easy matter. Mostly, not very appealing at the first sight. German art historians around 1900, who were interested in the art of Impressionism, of course, went to Paris, and indeed, had a lot of difficulties with Menzel. His realism seemed to contradict the painterly mode. There were only a few of Menzel’s oil sketches they found acceptable, and in which they saw the French tradition. But they overlooked the simple fact that Menzel’s oil sketches predate the French Impressionist paintings by more than ten, nearly twenty years. Perhaps [he chuckles] our conversation today could help to change these conditions a little bit.
And let me explain. A few weeks ago, I received a call by an elderly lady. She had inherited a painting from her father, who thought it was by Menzel. But years ago art historians were absolutely not convinced by this painting. She showed me the painting and I could not believe my eyes. This painting is really a sensation—a huge pastel from around 1850, Menzel’s best time. It had faded into oblivion for decades. But I was able to trace it back to Menzel’s studio. Now we are preparing an exhibition around this painting in Berlin, at the National Gallery. And next year, it [he chuckles] will be on the art market. Perhaps, I ask, it is something for the Getty Museum.
CUNO: Well, it sounds fantastic. How many paintings did he paint that we can document? Hundreds? Thousands?
BUSCH: [over Cuno] Yes, nearly a thousand.
CUNO: Yeah, yeah. And drawings, maybe many more, right?
BUSCH: Yes. In Berlin alone are more than several thousand drawings. And altogether, I think more than 10,000.
CUNO: And most of those in Berlin, he left to the state, the nation of Germany, is that correct?
BUSCH: That’s right, yeah. It’s from his studio. And some are from his art dealer. He had, at the end of his life, he had a special dealer, and he gave a lot to the museum.
And after his death, they made a great exhibition of all the Menzel items, and that was the greatest exhibition ever [he chuckles] has been in Berlin, with more than 3,000 items.
CUNO: Oh, gosh. Was he was a popular artist in his time, a successful artist in the in the trade?
BUSCH: Yes. He was very famous in Germany, and especially in Prussia. But he was not lucky with this state of affairs, because he thought he thought they didn’t—not understand what he really was doing.
CUNO: Yeah, yeah. Well, what prompted you to write this book now, your second book on Menzel?
BUSCH: Yeah. I had two main reasons for writing the book. First, we live in an age that is fascinated by contradictions and with works that do not convey a definite sense, but are open to interpretation, which can in an indirect way, expose the problems of our times.
The question for Menzel was how to bring an untidy world into an aesthetic order, without denying the existence of the contradictions of the present. In Menzel’s painting, you still have to feel the tensions of the times. And the second reason, I find that Menzel’s special and intense reception of French art is totally underestimated. We only look for something comparable to the Impressionists, and don’t realize that Menzel studied French and English popular art.
He collected prints by Daumier, he studied English caricature, and obviously possessed English and French almanacs with hundreds of illustrations in wood engravings. So he expounded the field of reality by transporting the motives of popular art into official paintings.
CUNO: Well, what kind of training did he have as an artist? Academic training or private personal training?
BUSCH: In a way, no training. He’s an autodidact. He copied, early in his career, prints his father bought for him. But he was gifted by nature. He’d draw everything what he saw, from very beginning of his career. At the age of fourteen, he produced his first successful prints. His father died early, so at seventeen, he had to support his family—his mother and his two younger siblings—and couldn’t study art.
The family moved from a rural area to Berlin, to give the young Menzel more possibilities to advance his career. He produced popular commercial prints, for example, invitation or visiting cards, not seldom with a satirical note. And later, he introduced many of unusual motifs into high art.
CUNO: Well, what was the market like for lithographs in Berlin at the time? Could he have made a career as an illustrator-caricaturist at the time, like Daumier did before him? Was there a way for him to make a living as an artist independent of commissions of paintings?
BUSCH: In his way Menzel was highly successful in making his career. He produced hundreds and hundreds of illustrations for historical work, not using the technique of lithography, but that of wood engraving, following the example of French illustrators. The reason is very simple. Technically, in Menzel’s time, it wasn’t possible to print text and illustration in a single process, except when you use wood engravings.
On the other hand, his commercial prints were done as lithographs, because they were individual prints. Daumier’s lithographs, of course, were, too, individual prints but with no text on the same page; it was not possible to do that. Menzel sometimes used inventions borrowed from Daumier for his prints. And in both case[s], it is not easy to decide whether it is a caricature or not.
In the cause of Daumier, it often is; in the case of Menzel, I think normally not. Artists with a strong sense for reality often border on caricature. Even if the inventor of lithography, Alois Senefelder, was German, the printer conducted his main business from Paris.
A pupil of his brought the technique from Paris to Berlin, and also to Menzel. Several lithography businesses were established in Berlin, and Menzel worked for the most important one, that of Louis Sachse, who gave him a lot of jobs. Because Sachse also worked as an art dealer in his shop, Menzel encountered a lot of French painting by artists engaged with harmless subject matter, mostly landscapes, like [Theodore] Gudin, [Camille] Roqueplan, and [Jules] Coignet, practically unknown today.
In Menzel’s time, they were much sought after by the middleclass. Menzel normally used pen lithography, sometimes chalk in lithography. And later he experimented with etching and also with lithographic processes, using a brush or a scraper. He plumbed the possibilities of technical processes to widen his means of expression.
CUNO: One of the first important works of his that you talk about from 1838 is something called The Journeyman Bricklayer’s Certificate. Tell us about that.
BUSCH: Yeah. This is a pen lithograph, and it is a commercial print that was ordered by the Council of Berlin. For a lithograph, it is executed in a really huge format—forty-five by more than, I think, fifty centimeters. It’s very ambitious. In a lot of the square segments of the print, you can follow the progress, the training, and the travels of a journeyman bricklayer. In the four corners of the print there are depictions of famous Berlin buildings, like the Nikolai Church or the so-called Bauakademie by [Karl Friedrich] Schinkel, the academy for architects. And Schinkel was the most famous German architect of the nineteenth century.
And the print has an arabesque decorative frame, filled with a lot of really witty inventions. The whole is a playful undertaking with a separate print, the text in the middle. And it is used as a certificate for the journeyman. He can show it on his travels in foreign towns, if he is interested to get a job there. At the center, at the lower part, there is a scene featuring a laying of a foundation stone. This scene is filled with people, including a small hunchbacked drummer wearing a fool’s cap, underneath which Menzel hides his signature. One really grasps that this is a self-portrait. Menzel, with a dwarf-like build, was an outsider who had never been in relationship with any women, and was often rude to whomever he choose, finding consolation only in his family and with close friends.
The working scenes of the bricklayers have been very closely observed by Menzel, as if Menzel had been a profession bricklayer himself. His exactness in describing technical processes is really absolutely astonishing. But his extreme objectivity is also a means for hiding his personal identity. While on the other hand, he is interested in his art and controlling all things, in ruling over them. I think it’s a kind of self-searching, what he is doing.
CUNO: Yeah. He was famous for walking around the city with a long overcoat with many pockets in it. And in each pocket [BUSCH: Yeah, yeah] there was a sketchbook, and he would pull the sketchbook out at any moment to draw whatever he saw. And he could draw with his left hand and with his right hand; he was ambidextrous.
BUSCH: Yeah. If we look in his studio we would see two places where he could work. The left one is for the drawing, the right one is for the painting, because the light comes through the window. And when he is painting, he is doing with the right hand; when he is drawing, he is doing with the left hand. And so [Cuno chuckles] he could do it undisturbed, yeah.
CUNO: Yeah. Now, in 1839—so quite early, it seemed to me—he received a very important commission to illustrate a book by the writer Franz Kugler. And the book was called A History of Frederick the Great. Menzel worked closely with, and at times he fought against, the author, Kugler. Tell us about that project and about its importance to Menzel’s career?
BUSCH: Well, he received the commission, as you said, in 1839, and he finished it in 1842. And at this time, he still was a very young man, but with an astonishing self-confidence. He produced, in this short time, far more than 400 illustrations and designs them on woodblocks for wood engravings. And then he trained a whole school of wood engravers to achieve the highest quality and comfortably compete with French standards.
Menzel controlled the results, as we can say, day and night. The text for the history of Frederick the Great was written by Franz Kugler. He is an early historian, also art historian, who later became a liberal state official. His text is liberal in a certain way, too. He was interested in the welfare of Prussia, and celebrating the victories of the Prussian Army under Frederick the Great.
Menzel loved Frederick no less, but for really other reasons. He saw in the Prussian king a kind of relative. Frederick was also an outsider, one with homosexual leanings. Frederick knew too well that his victories in war involved heavy losses. He was extremely difficult, with only a very few friends, like Menzel; possessing uttermost self-control, again like Menzel; and has been extremely self-centered, again like Menzel.
Frederick realized that all his victories had undermined his health once and for all. He came back from the Seven Years’ War as a broken old man, and Menzel draw him like that—not as a joyful victor, but filled with doubt, a victim of circumstances.
CUNO: Was the book a big success? Not an artistic success, but a [BUSCH: Yes, yes] commercial success, too?
BUSCH: Yeah. Until today, I think 40,000 are printed in different times.
CUNO: Was the subject, the Prussian king Frederick the Great, was that important for the development of the identity of this emergent coherent nation-state of Prussia at the time and of Germany forty years later?
BUSCH: Yeah, it was important for Menzel. Although the interpretation of Frederick the Great in the mid-nineteenth century saw him as a model of liberalism, which of course, is really a projection with only a little truth. He did his illustrations around 1830, ’40. And that’s the time the German nation tried to find together.
CUNO: Now, you point out in your book that a number of the illustrations of the Kugler book on Frederick the Great are of night scenes. And you right of those night scenes that they are primarily concerned with the phenomenon of suggestion. [BUSCH: Yeah, that’s right] I want to ask you what you meant by that, but also to ask you, is that a suggestion, to use the word again, a suggestion of a inherent romanticism in Menzel’s work?
BUSCH: Yeah. Well, he indeed has been a specialist in night scenes. And one of the reasons is the technique he used, the technique of wood engraving where only a few lines were dug into the surface of the woodblocks, as predistinct for night scenes. Looking at them, you would like to penetrate the darkness, but you find only hints what is hidden in shadow, and you are left to decipher what it is, what is happening, and give it a certain sense.
Only parts of the objects rise out of nearly nothingness. Menzel was extremely gifted at directing assumption about content in such instances.
CUNO: Would he have been aware of Delacroix’s lithographs. I know you mentioned Daumier, but would he have known Delacroix’s?
BUSCH: No, no, I don’t think so.
CUNO: Yeah. [Busch: Yeah] Because it sounds very much like a Delacroix lithograph, and I was thinking of the illustrations of romantic texts.
BUSCH: Yeah, that’s right. But we have nearly a thousand letters by Menzel and the name of Delacroix never occurs. And also, his art dealer, Sachse, never had a painting by Delacroix. It’s a—the prints sometimes, Goethe illustrations. But we have no sign that he knew it.
CUNO: Yeah. You do say that he knew that works of a landscape painter of the nineteenth century, British landscape painter John Constable—how did he know Constable’s work? And what did he see in that work that he liked so much?
BUSCH: Yeah. Well, his reaction to Constable is, it’s a long story. I will make it brief. In Berlin, two paintings of Constable, in the late eighteenth [century], were on an exhibition. And Menzel was so fascinated by them that he remembered the Constables still fifty years later. And you could ask why. Firstly, of course, it was the painterly mode; but then, the eccentric viewpoint, the missing narrative, the not following a traditional theme, and last but not least, the highly unusual colors, to say an example, as a very rich grass green. And so you can compare Menzel’s oil sketches and the sketchy paintings by Constable and there is something which is really comparable between these both.
CUNO: In Menzel, thinking of Constable, there’s a respect for the liveness of the paintings, a sense of the atmosphere of the landscape. You get some of that in Menzel’s paintings, when he’s looking out of his apartments, out onto the backyards of the gardens of [BUSCH: Yeah, yeah] Berlin.
BUSCH: That’s only in his oil sketches. And the oil sketches of Menzel were not official works, and not works to sell. They were private exercises, and with their help, he learned to paint in oil. Because before, he only was only a draftsman and engraver. And the themes of the oil sketches, too, were absolutely private. He painted members of his family or views out of the many apartments he changed in rapid succession in Berlin.
So these works were personal documents, mementos of his personal situation at a certain point in his life. They were impressions, which did not need to be finished. For us, they are the result of joyful experience, free, unfiltered expressions of physical self-experience. But don’t be deceived—a compositional structure exists in them all the same. He needs a kind of order, and then he can paint in it very freely.
CUNO: So we’ve—for the podcast listener, we’ve described Menzel as a printmaker, as a wood engraver, as a lithographer, as a draftsman who’s always drawing everything he sees. As a painter of oil sketches that are intimate, that are private, as you say. But he also gets a commission for a great cycle of history paintings, again on Frederick the Great. How did he get that commission for these great paintings? And what kind of painterly preparation did Menzel have for tackling these big subjects?
BUSCH: Yeah. Well, he was a workaholic. While working, he was by himself, totally absorbed. When painting or drawing he forgot the world. A lot of anecdotes describe this phenomenon. He has made hundreds and hundreds of drawings in preparing his great paintings, especially the late paintings. Sometimes you have 150 drawings for one painting. And every single moment and every single thing, he is drawing from different sides.
He made drawings he absolutely don’t need in the painting. And so he collected his own drawings. And sometimes when he started with a painting, he look at hundred[s] of drawings, looking what is a motive, what is what I can use for the next painting? And so he’s— had a really, I think, in his desk, more than 5,000, 6,000 drawings. And they were ordered by themes, and so it was easy for him to look over them.
CUNO: Did he get a commission for this series of paintings of Frederick the Great, or was it a private exercise for him?
BUSCH: That’s an interesting question. Mostly, there is not anybody who asked him for this painting. Very few for private owners, but not officials. And he was interested to get the Hohenzollern, the reigning dynasty in Prussia, as somebody who ask him for paintings. But it never happened. And he did it and made exhibitions with it. And normally, there were no success. That’s an interesting phenomenon with these paintings.
CUNO: You described his struggle with the series, the most important painting in the series, the battle scene of Frederick the Great when he addresses his generals before the Battle of Leuthen. Could you describe that painting for our listeners? And could you tell us why it was a failure, or thought by him to have been a failure?
BUSCH: Yeah. The Leuthen painting is unfinished. And it’s one of the biggest paintings he ever did. But Menzel gave it up after many attempts. Frederick addressing his generals before the Battle of Leuthen marks a decisive moment in the Seven Years’ War. The Austrian Army was by large superior. Frederick’s situation seemed hopeless. Frederick said this completely to his generals, and left it up to them to leave the battlefield. Of course, nobody went.
Frederick risked a surprise attack and won the battle, but losing a lot of his generals and soldiers. In his painting, Menzel arranged the generals around Frederick, viewed from slightly above. The generals in the foreground of the painting appear much larger than the small figure of Frederick, who disappears in the group. This was, again, totally unacceptable for an official painting of a hero.
The Prussian king desired that far-reaching changes be made, which were now unacceptable for Menzel. And so he left the painting as it was and never touched it again. Parts of the painting, especially in the background, are finished, and they are really marvelous. A misty, snowy day, with touches of violet and turquoise green. It’s really a wonder of paint. But of course, again, no success.
CUNO: What happened to these paintings of Frederick the Great by Menzel? Did they stay together in his studio for a very long time? Did they enter into the national collections only after his death?
BUSCH: Both is right. A lot of these paintings were long in his studio. And some were, after the late sixties, bought by the Hohenzollern Dynasty and got a new interpretation. But some of these were, at the end of his life, in his studio, and they then came to the market, and they went to the National Gallery.
CUNO: Yeah. Well, it was a difficult time in the middle of the nineteenth century in Berlin, as I mentioned earlier, about the revolution of 1848. But there was also a defeat—that is, the Germans defeated the Austrians—in 1866 at the Battle of Koniggratz. And that had an effect on Menzel and his art. What was that effect? Why did that battle mean so much to him?
BUSCH: Well, let me say it only in this way. Menzel, with his physical imperfections—he could not fight as a soldier or ride a horse—but who had illustrated hundreds of war scenes, had in fact, never witnessed a real war, let alone participated in a battle. And after the Battle of Koniggratz, between Prussia and Austria, which brought Prussia a decisive victory, he decided to weather the battlefield. What he found there were dead and dying soldiers; lead and straw in the barn; crying, stinking, covered with boils, blood, and urine.
And what did Menzel do? He took his sketchbook, positioned himself only a meter away from the corpse, and draw them, with all the horrifying details, unrelentingly. After that, in the evening, he added watercolors to the drawings, to make them even more unbearable. That’s more than even Goya did. Menzel himself was deeply traumatized, in the long term. Executing these drawings demanded all his concentration. But after that, he refused, for all times, any jobs to paint war scenes. He never touched the motif again.
CUNO: I know that painting from the illustration in your book, and I know some of the drawings over which he worked so hard to get right the physical effects of death and dying on the human body. It is astonishing. And there’s something that while he poured his energy into accurately depicting these scenes, that he turned away from them because of that. He was, however, interested in industrialization, which was a kind of warfare; that the Iron Rolling Mill painting from 1872 to 1875 shows hundreds of workers working in a hot and dangerous iron factory. And then outdoors in a market scene, where this crowd and crowd of people, almost like a battle scene; that is, to depict these people coming into physical contact with each other. So that even if he turned himself away from the actual depictions of warfare, he was still interested in bodies in motion and crowds of people.
BUSCH: That’s right. After the experience of the battlefield he never painted a history painting. It’s very easy. In the seventies and the eighties, he painted scenes with multitudes of people and only themes of the present. With good reason, these paintings were called “teeming paintings.” They are so crowded that it’s irritating. Especially because all the people in the painting are, as you said, really in a frenzy of motion.
Menzel tried to catch the experience of the modern city and the sights of modern industry—disordered, dangerous, chaotic. Menzel functioned, really, as an exorcist, seeking an artistic equivalent for a disturbing phenomenon. And yet again, he executed hundreds, literally hundreds of drawings, in preparation for these paintings, studying every detail.
CUNO: He spent so much time on these two paintings, the Iron Rolling Mill of 1872 and the Piazza d’Erbe of 1882 to ’84, with all the drawing that you just described, and all the work in the development of the composition, and the depiction of individual expressions on people’s faces and so forth and the gestures of their bodies. He spent months, I would think, on paintings like this, maybe even more than that. What happened to those paintings? Did they go to the market? I’m just trying to give our listeners a sense of his place in the developing art trade and how he could earn a living while he was spending so much time and energy on these large paintings.
BUSCH: It’s interesting. These paintings were not difficult to sell for him. He found private owners of the industry scene and the banker and—so these paintings were modern and they had no difficulties for the public to accept these paintings. It’s really funny. His history paintings had a lot of difficulties, and these paintings, with such modern themes, unattractive, in a way, were a good bargain for him.
CUNO: [he chuckles] I guess. And before these paintings of the 1870s and 1880s, in the decade of the 1850s and sixties, he was in Paris. Why did he go to Paris, and what did he think he would find in Paris?
BUSCH: Yeah. Menzel had been in Paris three times, to visit the Exposition Universelle, and the World Fairs. Several of Menzel[’s] paintings were shown there. Sometimes he thought that he would be treated better in Paris than in Germany. He wandered through the city and made drawings of whatever he saw, the changing city, the zoo, people in the parks, the demolition of dozens of buildings. And he visited French modern art exhibitions a show of sixty paintings by Manet, works by Monet, the alternative exhibition pavilion of Courbet, and so on. And back in Berlin, he painted the Tuileries Gardens, after his Paris sketches as answer to the same subject by Manet. It is not easy to define the differences between both artists. To put it as simply as possible, Manet paints, well, let us say, a carpet of splotches. The surface of the painting dominates. The eye leaps from one spot to the next. Some parts are rendered precisely; others are just touches.
BUSCH: In a way, it’s a journey for the eye. Menzel, on the other hand, views the scene from an angle slightly above the crowd, and so creates space and perspective based on an abstract order. The motifs by both artists are the same; the experiences of the paintings are totally different. In London, in National Gallery today, you can view both paintings side by side. And that’s really an interesting comparison.
CUNO: What was his career like at the end of his life? Was it presumptuous on his part to leave his studio to Berlin, to the National Gallery? Did he do that because he wanted to leave a legacy that was not appreciated in his lifetime? Or was it, at the end of his life that he was a celebrated painter and so it was quite natural for him to leave his legacy to the National Gallery?
BUSCH: I’m not sure that he himself gave it as a legacy to the National Gallery. His family did, after his death. He gave it all to his family, what he had collected. And well, at the end of his life, he had a difficult position. In a way, he was very famous, but as a funny person. All knew Menzel, and there were a lot of anecdotes about him. The people know that he painted things nobody else would [have] painted, like his foot, perhaps. [Cuno chuckles]
It’s one of his funny paintings. All these things are connected with anecdotes about Menzel. He was famous, and he didn’t like it. He was harsh to the people, and he was—well, he was a lonely person.
CUNO: Well, it is really a fantastic subject and a fantastic book. And it’s a great regret that we have in this country, that we don’t see more Menzel. And we’ll never see a lot of Menzel, because the National Gallery in Berlin has all the Menzels.
BUSCH: That’s right, yeah. But there has been one great exhibition some years ago. They started in Berlin, then in Paris, and in Washington.
CUNO: Yes, I saw that exhibition. Françoise Foster-Hahn. And I remember Michael Fried going to that exhibition—and for our listeners to know that Michael Fried is a great art historian of French painting of the nineteenth century—and he was changed completely by his contact with Menzel. And he even said with all the enthusiasm that Michael can have about his opinions of things, he said that Menzel was such a great artist, the greatest artist, so great that even the Germans don’t know how great he is.
BUSCH: Yeah. I think he is right. I met him several times, and one time we traveled to Dresden. There was an exhibition of Menzel drawings, and we had the possibility to look at it for several hours, and explained [to] each other what we felt about these drawings. It was a wonderful meeting. And I think he was absolutely fascinated by Menzel.
CUNO: One of your ambitions in your two books is obviously to make better known the work of Menzel. I hope and we expect that this book, your second book now, will confirm to an English-speaking audience, the importance of Menzel as one of the greatest painters of the nineteenth century, and one of the greatest German painters of all time. So Werner, thank you so much for the book and for the opportunity to publish in its English edition here at the Getty, and for all the work you’re doing to celebrate this great career and great achievement of Adolph Menzel.
BUSCH: Yes, I thank you, too. It’s—it was nice to speak about it. And I hope the book will take its way.
CUNO: Our theme music comes from “The Dharma at Big Sur,” composed by John Adams for the opening of the Walt Disney Concert Hall in Los Angeles in 2003. It is licensed with permission from Hendon Music. Look for new episodes of Art and Ideas every other Wednesday. Subscribe on Apple Podcasts or Google Play Music. For photos, transcripts, and other resources, visit getty.edu/podcasts. Thanks for listening.
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Oil Painting, Famous and Less Known Fine Art, Paintings by Old Masters, Modern and Contemporary Artists, Portraits, Landscape Painting, Figurative Painting, Genre Painting, Still Life, Graphics
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https://www.wga.hu/bio/m/menzel/biograph.html
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Biography of MENZEL, Adolph von in the Web Gallery of Art
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Biography of MENZEL, Adolph von (b. 1815, Breslau, d. 1905, Berlin) in the Web Gallery of Art, a searchable image collection and database of European painting, sculpture and architecture (200-1900)
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Biography
German painter, son of a headmaster who founded a lithographic press, in which Adolph worked from the age of fourteen. The family moved to Berlin in 1830, and, left orphan in 1832, Menzel had to maintain his family. In 1833-34 Adolph Menzel attended the Royal Academy of Art, where he met the wallpaper manufacturer Carl Heinrich Arnold, who would become a friend and patron.
In 1833 Sachse of Berlin published his first work, an album of pen-and-ink drawings reproduced on stone, to illustrate Goethe's little poem, "Künstlers Erdenwallen." In 1834 he joined the Younger Artists' Association. By then he was working more in oils. In 1838 he was admitted to the 'Elder Artists' Association. One year later he was commissioned to illustrate Franz Kugler's History of Frederick the Great, for which from 1839 to 1842 he produced 400 drawings, reviving at the same time the technique of engraving on wood.
In 1839 he saw some pictures by Constable in Berlin, and in the 1840s and 1850s he made a series of paintings which are very free in handling and seem to anticipate Impressionism although later he rejected the theory.
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Realism
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2016-02-02T08:40:42+00:00
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Adolph Menzel had the ability to capture scenes with great realism, showing how keenly he observed life as it evolved around him.
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en
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Spoken Vision |
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https://spokenvision.com/the-objectivity-and-realism-in-the-works-of-adolph-von-menzel-german-painter-lithographer-and-etcher/
|
Adolph Friedrich Erdmann von Menzel (also known as Adolph Menzel) was a German artist who produced a number of paintings, etchings and drawings as a painter, etcher and illustrator during the 19th century. He was born on December 9, 1815 in Breslau, Silesia, which is now known as Wroclaw, Poland.
Menzel was one of two very prominent artists during the 19th century in Germany. The other one was Caspar David Friedrich, who was into Romanticism, compared to Menzel who supported Realism.
Menzel, who was a history painter, was the most successful artist during his time. He was so popular in Germany that many of his major works never left Germany, as these were immediately grabbed by Berlin museums.
Other than his friends and acquaintances in Germany, Menzel usually kept to himself, mainly due to his physical attributes. He was only four foot six inches in height and was born with a large head. He did travel to find subjects, meet other artists and attend exhibitions, though.
Early life
Menzel’s father was a lithographer and after resigning as a teacher, he set up a lithography workshop. When he died in 1832, the younger Menzel was forced to take over the business. Menzel was generally self-taught, although he briefly took lessons at the Berlin Academy of Art. His first published work was a collection of pen-and-ink drawings, reproduced from his work etched in stone. The collection was used as illustration for Goethe’s “Kunstlers Erdenwallen.” Adolph Menzel also produced several designes for diplomas for different societies and corporations and created lithographs as illustrations for “The Prayer,” “The Five Senses’ and “Denkwürdigkeiten aus der brandenburgisch-preussischen Geschichte.”
Productive years
From the years 1839 to 1842, Menzel was able to create 400 drawings; most of them introduced wood engraving to Germany. These were used as illustrations for several books.
He also started to study painting on his own, and was soon producing a wide variety of paintings, showing his brand of workmanship and his skill in keenly observing life around him. He was given an invitation to paint The Coronation of William I at Koenigsberg. Menzel recreated the ceremony as it happened without any regard to the conventions usually imposed on official paintings.
Early manifestations of Impressionism
Adolph Menzel’s historical illustrations showed the qualities of early Impressionism, particularly in his works such as “The Palace Garden of Prince Albert” and “The French Window.” Both these painting showed a relationship to English and French art. He also showed his belief in Realism in his private watercolors and drawings of dying and dead soldiers in 1866 during the Austro-Prussian War, where he showed scenes with so much realism. While he created realistic history paintings, he also painted several pictures showing his Impressionist style, although he kept them private, with a number of paintings kept hidden from public eye.
Realism
The modern version of Realism started in France, with Gustave Courbet, Jean-Francois Millet and Honore Daumier as pioneers. In Germany however, artists were still focused on adding idealistic content and narrative to a picture. It was via this background that Menzel created history paintings, initially focused on the life on court of Frederick the Great, the Emperor from Prussia.
Menzel’s surviving works are still quite extensive, with some 10,000 drawings owned privately or found in various museums in Germany.
Photo Attribution:
Featured and 1st image by Adolph Menzel [Public domain or Public domain], <a href=”https://commons.wikimedia.org/wiki/File%3AAdolf_Friedrich_Erdmann_von_Menzel_026.jpg”>via Wikimedia Commons</a>
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https://jamesgurney.com/products/adolph-menzel-drawings-and-paintings
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en
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Adolph Menzel: Drawings and Paintings, Selected by James Gurney (Signe
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Adolph Menzel (German, 1815-1905) exhibited tremendous powers of observation and an interest in a wide range of subjects. This art book collects the best of his drawings, watercolors, pastels, and gouaches, many of which have never been published before. Menzel’s plein air studies——portraits, animals, architecture, and
|
en
|
James Gurney
|
https://jamesgurney.com/products/adolph-menzel-drawings-and-paintings
|
Adolph Menzel (German, 1815-1905) exhibited tremendous powers of observation and an interest in a wide range of subjects. This art book collects the best of his drawings, watercolors, pastels, and gouaches, many of which have never been published before.
Menzel’s plein air studies——portraits, animals, architecture, and landscapes——were revered by contemporary realists for their truth to nature and technical accomplishment. Menzel was also a master of historical illustration, and this collection includes some of his best examples of imaginative realism.
The drawings and paintings in this volume were selected by Dinotopia author James Gurney, who also provides an informative introduction. This is the finest collection in print of the drawings and watercolors of an unjustly overlooked artist.
130 images, includes 32 pages of color, 8.5 x 11 inches. Signed by the author/editor James Gurney.
Follow me on Mastodon
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https://en.wikipedia.org/wiki/Adolph_Menzel
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Adolph Menzel
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https://en.wikipedia.org/wiki/Adolph_Menzel
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German artist (1815–1905)
Adolph Friedrich Erdmann von Menzel (8 December 1815 – 9 February 1905) was a German Realist artist noted for drawings, etchings, and paintings. Along with Caspar David Friedrich, he is considered one of the two most prominent German painters of the 19th century,[1] and was the most successful artist of his era in Germany.[2] First known as Adolph Menzel, he was knighted in 1898 and changed his name to Adolph von Menzel.
His popularity in his native country, owing especially to his history paintings, was such that few of his major paintings left Germany, as many were quickly acquired by museums in Berlin.[3] Menzel's graphic work (and especially his drawings) were more widely disseminated; these, along with informal paintings not initially intended for display, have largely accounted for his posthumous reputation.[2]
Although he traveled in order to find subjects for his art, to visit exhibitions, and to meet with other artists, Menzel spent most of his life in Berlin, and was, despite numerous friendships, by his own admission detached from others.[4] It is likely that he felt socially estranged for physical reasons alone—he had a large head, and stood about four foot six inches (137 cm).[4][5]
Biography
[edit]
Career
[edit]
Menzel was born to German parents in Breslau, Prussian Silesia (now Wrocław, Poland), on 8 December 1815.[6] His father was a lithographer and intended to educate his son as a professor, but did not thwart his taste for art. After resigning his teaching post, Menzel senior set up a lithographic workshop in 1818. In 1830 the family moved to Berlin, and in 1832 Adolph was forced to take over the lithographic business on the death of his father. In 1833, he studied briefly at the Berlin Academy of Art, where he drew from plaster casts and ancient sculptures; thereafter Menzel was self-taught.[4] Louis Friedrich Sachse [de] of Berlin published his first work in 1833, an album of pen-and-ink drawings reproduced on stone, to illustrate Goethe's little poem, Kunstlers Erdenwallen. He executed lithographs in the same manner to illustrate Denkwürdigkeiten aus der brandenburgisch-preussischen Geschichte; The Five Senses and The Prayer, as well as diplomas for various corporations and societies.
From 1839 to 1842, he produced 400 drawings, largely introducing to Germany the technique of wood-engraving, to illustrate the Geschichte Friedrichs des Grossen (History of Frederick the Great) by Franz Kugler. He subsequently brought out Friedrichs der Grossen Armee in ihrer Uniformirung (The Uniforms of the Army under Frederick the Great), Soldaten Friedrichs der Grossen (The Soldiers of Frederick the Great); and finally, by order of King Frederick William IV, he illustrated the works of Frederick the Great, Illustrationen zu den Werken Friedrichs des Grossen (1843–1849). The artist had a deep sympathy for the Prussian king. In one of his letters to Johann Jakob Weber, he said that it was his intention to represent the monarch as a man who was both hated and admired—simply as he was, in other words, as a man of the people.[8] Through these works, Menzel established his claim to be considered one of the first, if not actually the first, of the illustrators of his day in his own line.
Menzel's fame came from his illustrations of the 18th-century Prussian monarch, Frederick the Great. As well as dedication to adding historical accuracy and attention to detail. Menzel also made sure to do research on the items he was painting.[10] From 1840 and onward Menzel became admirable for his small paintings and drawings. In which he depicted his unconventional ideas.[11]
In the meantime, Menzel had also begun to study, unaided, the art of painting, and he soon produced a great number and variety of pictures. His paintings consistently demonstrated keen observation and honest workmanship in subjects dealing with the life and achievements of Frederick the Great, and scenes of everyday life, such as In the Tuileries, The Ball Supper, and At Confession. Among those considered most important of these works are Iron Rolling Mill (1872–1875) [12] and The Market-place at Verona. When invited to paint The Coronation of William I at Koenigsberg, he produced an exact representation of the ceremony without regard to the traditions of official painting.
During Menzel's life, his paintings were appreciated by Otto von Bismarck and William I, and after his death they were appropriated for use as electoral posters by Adolf Hitler.[2]
If these historical illustrations anticipated the qualities of early Impressionism,[14] it is paintings such as The French Window and The Palace Garden of Prince Albert, both painted in the mid- 1840s, that now appeal as "among the most freely observed of mid-nineteenth century images."[15] Such genre paintings evidence associations with French and English art. Though he was primarily an excellent draughtsman, art historian Julius Meier-Graefe considered him to be a "proto-impressionist" painter, whose graphic work hindered his painterly potentials.[16] Private drawings and watercolors made of dead and dying soldiers in 1866 on the battlefields of the Austro-Prussian War are unsparing in their realism, and have been described by art historian Marie Ursula Riemann-Reyher as "unique in German art of the time."[17]
Later years
[edit]
The paintings which were available to the public garnered recognition not only within Germany, but from the French avant-garde as well: Edgar Degas admired and copied his work, calling him "the greatest living master",[18] and Louis Edmond Duranty wrote of his art:
In a word, the man is everywhere independent, sincere, with sure vision, a decisive note that can sometimes be a little brutal....While being perfectly healthy he has the neurosis of truthfulness....The man who has measured with a compass the buttons on a uniform from the time of Frederick, when it is a matter of depicting a modern shoe, waistcoat, or coiffure, does not make them by approximations but totally, in their absolute form and without smallness of means. He puts there everything that is called for by the character (of the object). Free, large, and rapid in his drawing, no draftsman is as definitive as he.[19]
Notwithstanding Menzel's professed estrangement from others, his renown entailed social obligations, and in the 1880s the poet Jules Laforgue described him as "no taller than a cuirassier-guard's boot, bedecked with pendants and orders, not missing a single one of these parties, moving among all these personages like a gnome and like the greatest enfant terrible for the chronicler."[20] In Germany he received many honors, and in 1898 became the first painter to be admitted to the Order of the Black Eagle; by virtue of receiving the Order, Menzel was raised to the nobility, becoming "Adolph von Menzel". He was also made a member of the Académie des Beaux-Arts in Paris and the Royal Academy in London. After his death in 1905 in Berlin, his funeral arrangements were directed by the Kaiser, who walked behind his coffin.[21]
Exhibitions (selection)
[edit]
"Adolph Menzel 1815–1905. Das Labyrinth der Wirklichkeit", Nationalgalerie (National Gallery) and Kupferstichkabinett (Museum of Prints and Drawings), Staatliche Museen zu Berlin – Preußischer Kulturbesitz, 7 Feb – 11 May 1997[22] "Menzel. Maler auf Papier", Kupferstichkabinett (Museum of Prints and Drawings), Staatliche Museen zu Berlin – Preußischer Kulturbesitz, 20 September 2019 – 19 January 2020.[23]
World War II
[edit]
Several important works by Menzel were seized, sold by force or under duress during the Nazi period. Some of these have been restituted in the 21st century. [24]
In 2014, the Menzel's Stehende Rüstungen (1886) ("Standing Suits of Armour" or "Armoury Fantasy"[25]) was restituted by the Albertina Museum in Vienna to the heirs of Adele Pächter, who was murdered at the Theresienstadt concentration camp.[26]
In 2015, the Menzel pastel "Lady with a Red Blouse" was restituted to the heirs of Erna Felicia and Hans Lachmann-Mosse.[27] [28] Oskar Reinhart had purchased the pastel from the art dealer Fritz Nathan in Munich in 1934 and donated it to the Foundation in 1940.[29]
Others have been claimed but not restituted.[30] Also in 2015 the Dutch Limbach Commission refused a restitution request for the Menzel painting "A Weekday in Paris" which had belonged to the Jewish banker Georges Behrens.[31] [32]
In 2017 Germany's Culture Minister Monika Gruetter returned Menzel's Interior of a Gothic Church to the heirs of Elsa Cohen who, persecuted by the Nazis because Jewish, sold it to Hitler's art dealer Hildebrand Gurlitt in 1938. It was rediscovered in the art stash of his son, Cornelius Gurlitt.[33]
The German Lost Art Foundation lists numerous Menzel artworks on its website.[34]
In pop culture
[edit]
Menzel and an exhibition of his art plays a pivotal role in the HBO series The Gilded Age, Season 2 Episode 3.[1]
Gallery
[edit]
Building Site with Willows, 1846
Living Room with the Artist's Sister, 1847
The Bedroom of the Artist in the Ritterstraße, 1847
Study of a Man with a Ruff Collar, ca 1850
Frederick II at Hochkirch, 1856
Students illuminated procession, 1859
Coronation of Wilhelm I, 1865
Weekday in Paris, 1869
Studio Wall, 1872
Supper at the Ball, 1878
Fronleichnamsprozession in Hofgastein, 1880
At the Beer Garden, 1883
Japanese Artist at Work, 1886, graphite on paperboard, National Gallery of Art
Notes
[edit]
Selected bibliography
[edit]
Karl Scheffler, Adolf Menzel: Der Mensch, das Werk. Berlin: Cassirer, 1915.
Elfried Bock, Adolph Menzel: Verzeichnis seines graphischen Werkes. Berlin: Amsler & Ruthardt, 1923.
Werner Schmidt, Adolf Menzel: Zeichnungen Verzeichnis und Erläuterungen. National-Galerie, Staatliche Museen, Berlin, 1955.
Ulrich Bischoff, Jens Christian Jensen, Richard Hoppe-Sailer, Wulf Schadendorf, Johann Schlick, Jürgen Schultze, Adolph Menzel: Realist – Historist – Maler des Hofes. Exhibition catalog. Schweinfurt: Weppert, 1981.
Gisela Hopp, Eckhard Schaar, Werner Hofmann, eds., Menzel – der Beobachter. Exhibition catalog. Munich: Prestel, 1982.
Jost Hermand, Adolph Menzel mit Selbstzeugnissen und Bilddokumenten (Rowohlts Monographien, vol. 361). Reinbek bei Hamburg: Rowohlt, 1986.
Gisold Lammel, Adolph Menzel. Frideriziana und Wilhelmiana. Dresden: Verlag der Kunst, 1987.
Claude Keisch and Marie Ursula Riemann-Reyher, eds.: Adolph Menzel 1815–1905: Between Romanticism and Impressionism. London and New Haven: Yale University Press, 1996.
Michaela Diener, „Ein Fürst der Kunst ist uns gestorben“: Adolph von Menzels Nachruhm im Kaiserlichen Deutschland (1905–1910). Regensburg: Roderer, 1998.
Hubertus Kohle, Adolph Menzels Friedrichbilder: Theorie und Praxis der Geschichtsmalerei im Berlin der 1850er Jahre. Munich and Berlin: Deutscher Kunstverlag, 2001.
Christina Grummt, Adolph Menzel – zwischen Kunst und Konvention, die Allegorie in der Adressenkunst des 19. Jahrhunderts. Berlin: Reimer, 2001.
Michael Fried, Menzel's Realism: Art and Embodiment in Nineteenth-Century Berlin. London and New Haven: Yale University Press, 2002.
Jens Christian Jensen, Adolph Menzel. Cologne: DuMont, 2003.
Werner Busch, Adolph Menzel: Leben und Werk. Munich: Beck, 2004.
Bernhard Maaz, ed., Adolph Menzel radikal real. Munich: Hirmer, 2008.
Werner Busch, Adolph Menzel: Auf der Suche nach der Wirklichkeit. Munich: Beck, 2015.
Anja Grebe, Menzel, Maler der Moderne. Berlin: Verlag Eisengold, 2015.
Claudia Czok, "Menzel, Adolph (Adolph Friedrich Erdmann von)", in De Gruyter: Allgemeines Künstlerlexikon: Die Bildenden Künstler aller Zeiten und Völker, vol. 89. Berlin and Boston: De Gruyter, 2016, pp. 117–121.
References
[edit]
Busch-Salmen, Gabriele (2003). "Adolf Menzels 'Flötenkonzert Friedrich der Großen in Sanssouci': Ein vertrautes Gemälde, 150 Jahre nach seiner Fertigstellung neu gesehen". Music in Art: International Journal for Music Iconography. 28 (1–2): 127–146. ISSN 1522-7464.
Eisler, Colin. Masterworks in Berlin: A City's Paintings Reunited. Bulfinch, 1996. ISBN 0-8212-1951-0
Fried, Michael. Menzel's Realism: Art and Embodiment in Nineteenth-Century Berlin. London and New Haven: Yale University Press, 2002. ISBN 0-300-09219-9
Keisch, Claude, et al. Adolph Menzel 1815–1905: Between Romanticism and Impressionism. London and New Haven: Yale University Press, 1996. ISBN 0-300-06954-5
This article incorporates text from a publication now in the public domain: Chisholm, Hugh, ed. (1911). "Menzel, Adolph Friedrich Erdmann von". Encyclopædia Britannica. Vol. 18 (11th ed.). Cambridge University Press. pp. 146–147.
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Rachel Esner reviews Menzel's Realism: Art and Embodiment in Nineteenth
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Founded in 2002, Nineteenth-Century Art Worldwide is a scholarly, refereed e-journal devoted to the study of nineteenth-century painting, sculpture, graphic art
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Michael Fried
Menzel's Realism: Art and Embodiment in Nineteenth-Century Berlin
New Haven: Yale University Press, 2002 320 pp.; 100 b/w ills.; 70 color ills.; index; $55.00 (cloth)
ISBN 0300092199
While recent exhibitions of his work in Paris and Washington served to bring Adolph Menzel's art to audiences beyond the borders of his native land, and the writings of Françoise Forster-Hahn and Peter Paret helped make him known to British and American scholars, until now there has been no comprehensive study in English of his remarkable and vast oeuvre. Rich in insight and beautifully produced, with large illustrations in both black and white and color, Michael Fried's Menzel's Realism goes toward filling this gap, despite its idiosyncrasies. This is no biography or monograph in the traditional sense; the author's approach is thematic rather than chronological; he often springs from one topic to another—a bit like Menzel himself—and his digressions are numerous (the parenthetical remarks and asterisks are particularly distracting). For the reader unfamiliar with the material, this can be frustrating or confusing, but the end result is a picture of this somewhat misunderstood and extraordinarily prolific artist that is so multifaceted that one is tempted to forgive Fried his various sins against academic convention.
This latest book by Fried picks up on and continues what has clearly become his lifetime project, namely the rewriting of the history of art since the Enlightenment from a critical perspective that privileges the body and its sensual experience over the all-seeing, transcendent eye. This approach to Menzel's art represents a significant departure from other authors, who have tended to analyze his works mainly within the context of nineteenth-century German history and politics. This aspect is of no interest to Fried, who, when he looks to non-artistic forces that may have been at work in Menzel's paintings and drawings, tends to find them instead in literature and contemporary philosophy. This provides a fresh view of his oeuvre, no doubt, but may in its way be as limiting as the purely contextualizing method adopted by his predecessors. Fried's key assertion is that "Menzel's enterprise involved countless acts of imaginative projection of bodily experience, the signs of which are plainly visible in his [art]; put more strongly, the viewer of Menzel's work…is repeatedly invited to perform feats of imaginative projection not unlike those that gave rise to the paintings and drawings in the first place…" (p. 13). What Menzel was aiming for in all his works, whether they show something as real and everyday as the artist's unmade bed, or as imagined and historically weighty as Friedrich II's generals before a battle, are these effects of embodiment. The responsive viewer can imagine the objects he so accurately depicts in use, exactly how they would feel in the hand or against the skin, or can project him or herself into the scene portrayed. And, indeed, in Fried's descriptions of Menzel's works the reader does experience just these sensations. This is perhaps the book's greatest strength: the careful acts of looking performed on these pictures are at times quite breathtaking, and reveal the author's true empathy for the artist and his creations. He (and we with him) seems almost hypnotized by the variety of things that caught Menzel's attention, by his extraordinary technical abilities, and not least by the "reenchantment" (p. 232) of the modern world that takes place in his art—here conceived as something positive, rather than as a form of commodification (à la Walter Benjamin; see section 14 in the book). Somewhat more problematic than these compelling and often brilliant analyses of individual works as physical projections of the artist's body and sense of reality are Fried's attempts to link Menzel to various philosophers and writers—of his day and ours. Although undoubtedly apposite, his disquisition on Kierkegaard's philosophy of the everyday (pp. 141–52) is a bit long-winded; the postscript on Fontane's Effi Briest (pp. 161–65) in section 10 seems unconnected to what went before; and the long quotations from Franz Kafka and W.G. Sebald at the end of the book, while poetic, strike one as superfluous. At times Fried appears engaged in a rather insular debate with his colleagues T. J. Clark and Jonathan Crary, more interested in disproving them than in adding anything positive to our knowledge of Menzel. Particularly disturbing, because so unlike his other careful and internally cogent readings, is the application of psychoanalytic theory to the Iron Rolling Mill, which he sees as containing "more than a hint of a castration scenario" (p. 121). Fried is more convincing in his linking of Menzel with the two other major realists of the period, Courbet and Eakins, demonstrating that they, too, were concerned with issues of embodiment and, like Menzel, painted pictures that can be read as allegories of their respective art-making enterprises (see section 8). Perhaps one of the greatest achievements of Fried's notion of embodiment as fundamental to Menzel's art is that it serves to reunite his grand public works—those dealing with Prussian history, both of the period of Frederick the Great and his own time (for example, The Flute Concert or the Coronation of King William I at Königsberg)—with the so-called "private" pictures, such as the famous Balcony Room, the Hamburg Studio Wall, or Rear Courtyard and House. It was Julius Meier-Graefe in the early twentieth century who first introduced the enduring dichotomy between these two segments of the artist's oeuvre, regarding the Menzel of the "private" pictures as a harbinger of impressionism, a modernist painter in the thoroughly French sense that the critic championed in his other writings, while rejecting his so-called "official" work in its entirety. As Fried convincingly demonstrates in section 7, French art—even that of the impressionists—is based on a classical paradigm that privileges the picture plane, and, he argues, this "modernist thematization of the picture plane…has effectively determined the basic pictorial expectations of countless viewers of paintings…" (p. 82). This has, in effect, made it impossible to appreciate Menzel's fundamentally different approach to pictorial representation. Rather than revealing themselves to us all at once, his works—every single one—require "a combination of extremely close looking and projective imagination" (p. 82), in short: physical and mental empathy. Fried hereby exposes the unconscious visual prejudices that have prevented Menzel, with important exceptions, from becoming the object of in-depth art-historical examination, perhaps from being taken seriously as an important nineteenth-century artist at all. Fried's book, then, will, one hopes, open up a whole new era in Menzel studies.
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Artwork of the Week: The Visit from Death
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2018-12-12T00:29:54+00:00
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Menzel was revered as a realist with an obsession with detail, but 'Visit From Death' reveals he a funny side to one of Germany's greatest artists.
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https://the8percent.com/wp-content/themes/the8percent/favicon.ico
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The 8 Percent
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https://the8percent.com/aotw-visit-from-death/
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The Art: The Visit From Death
The Artist: Adolph von Menzel
With his keen eye for realism, and self-developed style, Adolph von Menzel enjoyed a rare distinction: he was successful enough to see himself lauded as one of the greatest German artists of his time.
What appealed to those who appreciated Menzel’s work was his obsession with realism. From his 400 piece collection on the history of Frederick the Great, to his intimate paintings of everyday life in the Prussian empire, Menzel recreated life in his art in exact detail.
It is these works by which he remains best known today, but delve a little deeper, and you will find Menzel enjoyed thematics…and had a wicked sense of humour, to boot.
There is no better example than his 1844 water colour, The Visit From Death. Menzel depicts Death as a humble professional, who is neither wrathful nor unkind. Death is simply doing its job, and has no ill will for those it visits upon. It even has a sense of respect, taking its clogs off before entering the home.
The painting’s subtitle reads “Plusquamperfectum”, a Latin tense which can be interpreted to mean that Death has arrived, and there is nothing that can be done about it.
Or is there?
Menzel followed up in 1845 with a hilarious painting that suggests that the arrival of Death isn’t so final after all!
“Plusquamperfectum” has been replaced with the subtitle “Perfectum”, which is far less fatalist. Underneath it reads “Immerdar solche Vertheidiger, u.s.w.” or “Always such defenders, etc.”.
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Adolph von Menzel
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Adolph von
Menzel was a realist painter and graphic artist. He was born in Breslau in
Germany on December 8, 1815. At the age of 14 Adolph was working for his
father, a former head teacher who in 1818 had founded his own lithographic
workshop. Four years later, Adolph was responsible for supporting his family,
following the death of his father. By then they were living in Berlin.Menzel
studied at the Berlin Academy of Art and learned how to draw from sculptures,
but his short time there marked the end of his formal artistic training. He had
his first commercial success in 1833, with a set of drawings commissioned by
Louis Sasche, a publisher and art dealer. These drawings were reproduced as
lithographs to illustrate a poem by Goethe. He was
beginning to paint in oils in 1834 and was accepted as a member of the
Association of Younger Artists. Four years later Menzel was invited to join the
Elder Artists’ Association and he also had the opportunity to see, for the
first time, paintings by the English artist John Constable. Menzel
continued with his figurative drawing and established his career as a graphic
illustrator. He used wood engravings for his illustrations of a book by Franz
Kugler on the History of Frederick the Great. A milestone
in his life was reached in 1853, when Menzel was appointed professor at the
Royal Academy of Art, the same institution he had attended briefly as a student
in 1833-4 and where later, in 1875, he was elected as a member of the Senate. Menzel
visited Paris for the first time in 1855. In the Pavilion of Realism at the
Exposition Universelle he viewed realist paintings by Gustave Courbet. The French
Cross of the Legion of Honor was awarded to Menzel in 1867 for his painting
depicting Frederick the Great and his troops at the Battle of Hochkirch.
Another of his history paintings depicted the lying in of state of the Dead
March. The subject was connected to events that took place in the revolution of
1848, but this painting was never finished. A major
exhibition of paintings by Menzel took place in 1884 in Berlin, and many of his
works were shown in other parts of Europe. He received several honors and major
awards for his art. On his seventieth birthday, in December 1885, Berlin
University awarded him an honorary doctorate. In Breslau he was given the
status of honorary citizen and later he received the same honor from the city
of Berlin. He was also made an honorary member of several European art
academies. Before his
death on February 5, 1905, the artist had been raised to the highest level of
German society and had became known as Adolph von Menzel. He was the first
artist to be made a Knight of the Black Order. He never married and, according
to his last Will and Testament, had taken a deliberate decision never to form a
romantic alliance or sexual relationship. The Kaiser himself arranged the
artist’s funeral and walked behind the coffin.View our&nbsp;Adolph von Menzel Gallery
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Cutler Miles Art Gallery
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https://www.cutlermiles.com/blog/adolph-von-menzel-/
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Adolph von Menzel was a realist painter and graphic artist. He was born in Breslau in Germany on December 8, 1815. At the age of 14 Adolph was working for his father, a former head teacher who in 1818 had founded his own lithographic workshop. Four years later, Adolph was responsible for supporting his family, following the death of his father. By then they were living in Berlin.
Menzel studied at the Berlin Academy of Art and learned how to draw from sculptures, but his short time there marked the end of his formal artistic training. He had his first commercial success in 1833, with a set of drawings commissioned by Louis Sasche, a publisher and art dealer. These drawings were reproduced as lithographs to illustrate a poem by Goethe.
He was beginning to paint in oils in 1834 and was accepted as a member of the Association of Younger Artists. Four years later Menzel was invited to join the Elder Artists’ Association and he also had the opportunity to see, for the first time, paintings by the English artist John Constable.
Menzel continued with his figurative drawing and established his career as a graphic illustrator. He used wood engravings for his illustrations of a book by Franz Kugler on the History of Frederick the Great.
A milestone in his life was reached in 1853, when Menzel was appointed professor at the Royal Academy of Art, the same institution he had attended briefly as a student in 1833-4 and where later, in 1875, he was elected as a member of the Senate.
Menzel visited Paris for the first time in 1855. In the Pavilion of Realism at the Exposition Universelle he viewed realist paintings by Gustave Courbet.
The French Cross of the Legion of Honor was awarded to Menzel in 1867 for his painting depicting Frederick the Great and his troops at the Battle of Hochkirch. Another of his history paintings depicted the lying in of state of the Dead March. The subject was connected to events that took place in the revolution of 1848, but this painting was never finished.
A major exhibition of paintings by Menzel took place in 1884 in Berlin, and many of his works were shown in other parts of Europe. He received several honors and major awards for his art. On his seventieth birthday, in December 1885, Berlin University awarded him an honorary doctorate. In Breslau he was given the status of honorary citizen and later he received the same honor from the city of Berlin. He was also made an honorary member of several European art academies.
Before his death on February 5, 1905, the artist had been raised to the highest level of German society and had became known as Adolph von Menzel. He was the first artist to be made a Knight of the Black Order. He never married and, according to his last Will and Testament, had taken a deliberate decision never to form a romantic alliance or sexual relationship. The Kaiser himself arranged the artist’s funeral and walked behind the coffin.
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Past Exhibition: Adolph Menzel, 1815–1905
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An exhibition of seventy-eight drawings and watercolors lent from the Nationalgalerie in East Berlin, which holds over 4,000 of the extant Menzel drawings. This survey of the great German master's career was the first exhibition devoted to his work in the United States.
|
en
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https://www.frick.org/favicon.ico
|
https://www.frick.org/exhibitions/past/1990/menzel
|
An exhibition of seventy-eight drawings and watercolors lent from the Nationalgalerie in East Berlin, which holds over 4,000 of the extant Menzel drawings. This survey of the great German master's career was the first exhibition devoted to his work in the United States.
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https://www.gettyimages.com/photos/adolph-friedrich-erdmann-von-menzel
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Getty Images
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Getty Images Deutschland. Finden Sie hochauflösende lizenzfreie Bilder, Bilder zur redaktionellen Verwendung, Vektorgrafiken, Videoclips und Musik zur Lizenzierung in der umfangreichsten Fotobibliothek online.
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https://www.metmuseum.org/art/collection/search/670722
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en
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The Jewish Cemetery in Prague
|
https://collectionapi.metmuseum.org/api/collection/v1/iiif/670722/1561280/restricted
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https://collectionapi.metmuseum.org/api/collection/v1/iiif/670722/1561280/restricted
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en
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https://www.metmuseum.org/content/img/presentation/icons/favicons/favicon.ico?v=3
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The Metropolitan Museum of Art
|
https://www.metmuseum.org/art/collection/search/670722
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This painting, with its bold experimental technique, probably records a fleeting moment during Menzel’s 1852 stay in Prague, where he visited the famous Old Jewish Cemetery. Menzel relied on the imaginative power of vision to resolve the image: ambiguous, broad strokes form the tombstones; a blending of contours nearly merges the treetops and leaden sky; and, in the middle ground, lighter tones shine through scraped-off layers of paint. Although it would have been considered incomplete according to the academic terms of the time, it is unlikely that Menzel intended to bring this work to a higher degree of finish. The work remained unsigned in the artist’s studio; it was first shown in the artist’s commemorative retrospective in 1905.
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https://library.nationalgallery.org.uk/N10318UK/OPAC/Details/MARC.aspx%3FBibCode%3D75701813
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en
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OPAC Discovery
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666
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https://artvee.com/artist/adolph-von-menzel/
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Adolph von Menzel
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View Artworks by Adolph von Menzel on Artvee.
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en
|
Artvee
|
https://artvee.com/artist/adolph-von-menzel/
|
Adolph Friedrich Erdmann von Menzel was a German Realist artist noted for drawings, etchings, and paintings. Along with Caspar David Friedrich, he is considered one of the two most prominent German painters of the 19th century, and was the most successful artist of his era in Germany. First known as Adolph Menzel, he was knighted in 1898 and changed his name to Adolph von Menzel.
His popularity in his native country, owing especially to his history paintings, was such that few of his major paintings left Germany, as many were quickly acquired by museums in Berlin. Menzel's graphic work (and especially his drawings) were more widely disseminated; these, along with informal paintings not initially intended for display, have largely accounted for his posthumous reputation.
Although he traveled in order to find subjects for his art, to visit exhibitions, and to meet with other artists, Menzel spent most of his life in Berlin, and was, despite numerous friendships, by his own admission detached from others. It is likely that he felt socially estranged for physical reasons alone—Menzel had a large head, and stood about four foot six inches.
|
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https://app.fta.art/creator/3ff18092066ffe7949b473c89374a45db92254c0
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Adolph von Menzel
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Adolph Friedrich Erdmann von Menzel (8 December 1815 – 9 February 1905) was a German Realist artist noted for drawings, etchings, and paintings. Along with Caspar David Friedrich, he is considered one of the two most prominent German painters of the 19th century, and was the most successful artist of his era in Germany. First known as Adolph Menzel, he was knighted in 1898 and changed his name to Adolph von Menzel.His popularity in his native country, owing especially to his history paintings, was such that few of his major paintings left Germany, as many were quickly acquired by museums in Berlin. Menzel's graphic work (and especially his drawings) were more widely disseminated; these, along with informal paintings not initially intended for display, have largely accounted for his posthumous reputation.Although he traveled in order to find subjects for his art, to visit exhibitions, and to meet with other artists, Menzel spent most of his life in Berlin, and was, despite numerous friendships, by his own admission detached from others. It is likely that he felt socially estranged for physical reasons alone—Menzel had a large head, and stood about four foot six inches.
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en
|
/icons/favicon.ico
|
Adolph von Menzel
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https://app.fta.art/creator/3ff18092066ffe7949b473c89374a45db92254c0
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FeelTheArt®
Want to see more ? Try the app now !
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666
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dbpedia
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| 5 |
https://mikenewtonartist.com/blog/2018/8/20/adolph-menzel
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en
|
Mike Newton Artist—Adolph Menzel
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[
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[
"Mike Newton"
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2018-08-20T00:00:00
|
Room with a Balcony, 1845 Oil on Cardboard. 58 x 47 cm Nationalgalerie, Staatliche Museen zu Berlin I regret missing the chance to see this painting in 2001 when it was shown in the London National Gallery in the exhibition of 19thC paintings Spirit of an Age: Paintings from the Berlin Nationalg
|
en
|
https://images.squarespace-cdn.com/content/v1/5a60ce9fe45a7c78c8de473d/1516296998421-4EZ6SO63NQKACMO7ANJ4/favicon.ico?format=100w
|
Mike Newton Artist
|
https://mikenewtonartist.com/blog/2018/8/20/adolph-menzel
|
This painting of an interior shows a different side of his artistic talent. One of a number of oil sketches from the 1840’s that explored his Berlin apartment and the views from its windows. Painted purely for his own pleasure, these uncannily modern works are argued to presage the French Impressionists through its use of light and the loose brushwork. Menzel didn’t go to Paris until in 1855 he visited the Exposition Universelle and saw Courbet's 'Pavillon du Réalisme' and is painted 30 years before the exhibition of impressionism in 1874.
Not having seen the painting yet I cannot comment on the paint handling, but it does look as though he has applied it freely using a variety of brushstrokes that suggests objects rather than closely defining them. Despite being a classed as a sketch (it wasn’t shown until a commemorative exhibition was held at the Nationalgalerie in Berlin after Menzel’s death in 1905) it is signed and dated on the front indicating that he felt that his surroundings were a valid subject to paint rather than just an exercise. It is unusual for a painting of an interior of this period, to be neither occupied nor a formal study for a still life. This invites us to focus on the atmosphere of the room rather than on a subject within it.
The balcony doors are open and the curtains billow inwards on the breeze through the window. Today that could be read as a sexual metaphor, but I suspect he was just observing reality rather than trying to imply any moral narrative. The edge of a rug intrudes into the image from the left and a streak of sunlight brightens the floor and shimmers on the empty wall. It is a strange patch of light and suggests that a picture that was hung on the wall has been removed. There are two formal chairs turned away from each other either side of a long mirror in which we see the reflections of a sofa with a gold-framed picture hanging above it. For me it is the positioning of these chairs that give the painting a melancholic aura; whether intended or not I read them as a metaphor for an uncommunicative couple, facing away, and arguing despite the languid quality of the light suggesting a beautiful summer’s day.
©blackdog 2009
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https://artvee.com/dl/the-artists-sitting-room-in-ritterstrasse/
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en
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The Artist's Sitting Room in Ritterstrasse by Adolph von Menzel
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View The Artist’s Sitting Room in Ritterstrasse by Adolph von Menzel and other Artworks on Artvee
|
en
|
Artvee
|
https://artvee.com/dl/the-artists-sitting-room-in-ritterstrasse/
|
Adolph Friedrich Erdmann von Menzel was a German Realist artist noted for drawings, etchings, and paintings. Along with Caspar David Friedrich, he is considered one of the two most prominent German painters of the 19th century, and was the most successful artist of his era in Germany. First known as Adolph Menzel, he was knighted in 1898 and changed his name to Adolph von Menzel.
His popularity in his native country, owing especially to his history paintings, was such that few of his major paintings left Germany, as many were quickly acquired by museums in Berlin. Menzel's graphic work (and especially his drawings) were more widely disseminated; these, along with informal paintings not initially intended for display, have largely accounted for his posthumous reputation.
Although he traveled in order to find subjects for his art, to visit exhibitions, and to meet with other artists, Menzel spent most of his life in Berlin, and was, despite numerous friendships, by his own admission detached from others. It is likely that he felt socially estranged for physical reasons alone—Menzel had a large head, and stood about four foot six inches.
|
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https://www.tiktok.com/%40historicalnarratives_/video/7279136104274513184
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Make Your Day
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https://www.askart.com/artist_related/Adolph_Friedrich_Erdman_von_Menzel/11083965/Adolph_Friedrich_Erdman_von_Menzel.aspx
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Adolph Friedrich Erdman von Menzel
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askART similar artists to Adolph Friedrich Erdman von Menzel. 49 similar or related artists.Adolph Friedrich Erdman von Menzel (1815 - 1905) was active/lived in Germany.
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https://www.askart.com/artist_related/Adolph_Friedrich_Erdman_von_Menzel/11083965/Adolph_Friedrich_Erdman_von_Menzel.aspx
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Adolph Menzel
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Adolph Friedrich Erdmann von Menzel was a German Realist artist noted for drawings, etchings, and paintings. Along with Caspar David Friedrich, he is considered one of the two most prominent German painters of the 19th century, and was the most successful artist of his era in Germany. First known as Adolph Menzel, he was knighted in 1898 and changed his name to Adolph von Menzel.
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Wikiwand
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https://www.wikiwand.com/en/Adolph_Menzel
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Adolph Friedrich Erdmann von Menzel (8 December 1815 – 9 February 1905) was a German Realist artist noted for drawings, etchings, and paintings. Along with Caspar David Friedrich, he is considered one of the two most prominent German painters of the 19th century,[1] and was the most successful artist of his era in Germany.[2] First known as Adolph Menzel, he was knighted in 1898 and changed his name to Adolph von Menzel.
Quick Facts Born, Died ...
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His popularity in his native country, owing especially to his history paintings, was such that few of his major paintings left Germany, as many were quickly acquired by museums in Berlin.[3] Menzel's graphic work (and especially his drawings) were more widely disseminated; these, along with informal paintings not initially intended for display, have largely accounted for his posthumous reputation.[2]
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Biography and Offers
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Lots sold by Ketterer Kunst
Auction 304 - Lot 464.10
Adolph von Menzel
Das Chorgestühl im..., 1869
Sold: € 333,450 / $ 360,126
Auction 355 - Lot 331
Adolph von Menzel
Blindekuh, 1867
Sold: € 97,600 / $ 105,408
Auction 282 - Lot 311
Adolph von Menzel
Porträt eines jungen Italieners, 1888
Sold: € 50,600 / $ 54,648
Auction 498 - Lot 537
Adolph von Menzel
Frühstücksstunde..., 1891
Sold: € 47,500 / $ 51,300
Ketterer Kunst
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Adolph von Menzel
Biography
The painter and printmaker Adolph von Menzel was born in Breslau in 1815 into a middle-class family. The fact that Menzel was raised to the peerage in 1898 attests to the great esteem in which Menzel was held as a man and an artist.
Menzel's father, Carl Erdmann Menzel, was the headmaster of a school for girls and later ran a lithographic printing press. In 1830 the family moved to Berlin, where Adolph Menuel trained in lithography in his father's business. After his father's early death in 1932, the son had to support the family and continued operating the printing workshop. In 1833-1834 Adolph Menzel attended the Berlin Art Academy, where he met Carl Heinrich Arnold, a wallpaper manufacturer who would later became a friend and patron. Menzel received his first commission as an artist from Louis Sachse, an art dealer and publisher, for a sequence of lithographs illustrating the Goethe poem "Künstlers Erdenwallen". Printmaking always enjoyed high status in Adolf von Menzel's œuvre, notably illustrations to works of literature and several biographical and historical works on Frederick the Great and his army as well as his writings. Menzel thoroughly studied the biography of that great exponent of the Enlightenment and did his utmost to ensure that his illustrations were executed with the greatest possible historical accuracy even though the scenes they represented had taken place at least a century before.
In 1853 Adolf Menzel became a member of the Royal Academy of the Arts and in 1856 he was appointed professor there. By 1872 Menzel was also an honorary member of the Munich Art Academy. Among Menzel's most important oil paintings is "Das Eisenwalzwerk" ("The Rolling-Mill", 1875) - it is regarded as the first representation in European art of an industrial motif.
In 1884 the Berlin Nationalgalerie mounted the first large retrospective of Adolf Menzel's work. An exhibition a year later in Paris attests to the recognition Menzel's work had by then attained abroad. On his 70th birthday Berlin University awarded him an honorary doctorate. He was also given the Freedom of the City in Breslau and was an honorary member of the St Petersburg Academy. Then he was given the Freedom of the City in Berlin and was made a Privy Councillor, to be addressed as "Your Excellency". Adolf von Menzel's lifetime achievement was honored by his being made a Knight of the Black Eagle and raised to the peerage. Adolph von Menzel died in Berlin in 1905.
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Record hammer prices at Ketterer Kunst
Auction 550 - Lot 38
Alexej von Jawlensky
Spanische Tänzerin, 1909
Sold: € 8,338,000 / $ 9,005,040
Auction 550 - Lot 19
Ernst Ludwig Kirchner
Tanz im Varieté, 1911
Sold: € 6,958,000 / $ 7,514,640
Auction 540 - Lot 33
Alexej von Jawlensky
Mädchen mit Zopf, 1910
Sold: € 6,383,000 / $ 6,893,640
Auction 535 - Lot 10
Ernst Ludwig Kirchner
Das blaue Mädchen in..., 1910
Sold: € 4,750,000 / $ 5,130,000
Auction 535 - Lot 6
Ernst Ludwig Kirchner
Hockende, 1910
Sold: € 4,290,000 / $ 4,633,200
Auction 535 - Lot 4
Karl Schmidt-Rottluff
Lesende (Else..., 1912
Sold: € 4,060,000 / $ 4,384,800
Auction 545 - Lot 43
Wassily Kandinsky
Murnau, 1908
Sold: € 3,920,000 / $ 4,233,600
Auction 525 - Lot 243
Albert Oehlen
Ohne Titel (Triptychon), 1988
Sold: € 3,600,000 / $ 3,888,000
Auction 386 - Lot 25
Hermann Max Pechstein
Weib mit Inder auf..., 1910
Sold: € 3,480,000 / $ 3,758,400
Auction 420 - Lot 820
Kazuo Shiraga
Chijikusei Gotenrai, 1961
Sold: € 3,145,000 / $ 3,396,600
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2022-04-21T11:57:18+02:00
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Adolph Menzel 1815 Breslau – 1905 Berlin The Berlin-based artist Adolph Menzel enjoyed lifetime recognition for his paintings, drawings and prints. He earned the respect of prominent colleagues and influential contemporary critics. Numerous one-man exhibitions of his work staged in major museums, galleries and art associations added to his renown. He was accorded the highest national [...]
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Kunkel Fine Art
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https://kunkelfineart.de/en/artists/menzel-adolph/
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Adolph Menzel
1815 Breslau – 1905 Berlin
The Berlin-based artist Adolph Menzel enjoyed lifetime recognition for his paintings, drawings and prints. He earned the respect of prominent colleagues and influential contemporary critics. Numerous one-man exhibitions of his work staged in major museums, galleries and art associations added to his renown. He was accorded the highest national honours and elevated to the nobility. A comprehensive memorial exhibition staged shortly after his death at the Nationalgalerie in Berlin crowned his stellar career. The Nationalgalerie had regularly secured many of his major works for its collection and went on to acquire his artistic estate, thus guaranteeing him a permanent place in the annals of German nineteenth-century art.
Although Menzel’s rank as the leading German Realist painter is beyond dispute, this is too narrow a classification of his art-historical significance. In an artistic career spanning seven decades he produced an extraordinarily multifaceted range of pictorial imagery. His work encompasses early Impressionistic tendencies (The Balcony Room, Nationalgalerie Berlin), historical genre scenes (The Flute Concert, Nationalgalerie Berlin) and powerful depictions of the modern industrial age (The Iron-Rolling Mill [The Modern Cyclops], Nationalgalerie Berlin).
Unlike many of his contemporaries, Menzel regarded drawing as much more than a tool for compiling a repertoire of motifs for later use in paintings. For him, drawing was an autonomous artistic act. Paul Meyerheim, a friend and colleague, noted in his recollections of Menzel: ‘In his paletot he had eight pockets part-filled with sketchbooks; he could not believe that there were artists who regularly set forth, even for the briefest of trips, without a sketchbook in their pocket.’ Meyerheim also observed that ‘no object was ever too insignificant for Menzel, and he would sketch with almost compulsive zeal while walking, or on the spot.’ The working method Meyerheim describes accounts for the overwhelming number of drawings Menzel produced and their extraordinary technical virtuosity. The vast range of motifs he recorded testifies to his ceaseless efforts to capture the tiniest details of the world around him and interiorise them artistically. His achievement lies in arriving at a universal formula for his subjective vision, the reason why the fascination of his draughtsmanship remains undiminished today.
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Gurney Journey: Menzel the Man
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Should an artist's physical appearance matter, or should we consider only the work? I suppose one's appearance only matters if i...
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http://gurneyjourney.blogspot.com/favicon.ico
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http://gurneyjourney.blogspot.com/2016/09/menzel-man.html
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