Adam Eberle

Adam Eberle ( born March 27, 1804 in Aachen, † April 15, 1832 in Rome ) was a German painter and lithographer history of romance.

Life and work

Born in Aachen son of a cutler Philip Eberle and Elisabeth Franzin came as a child by a professional move of the parents to Dusseldorf and quickly proved his inclination to artistic activity. Therefore, after completing his education, he attended to his father's advice, the Düsseldorf Art Academy, where the new director Peter von Cornelius took a little later in 1819 his office. Eberle made ​​a first major work, the Entombment of Christ, attention and very soon became one of the most talented and most efficient favorite pupil of Cornelius. Due to his special talent Eberle was also more frequently involved as assistant to his master in dealing with his numerous and varied jobs.

Thanks to its progress Eberle was next to Hermann Anschütz and Wilhelm Kaulbach to the circle of those who Cornelius took in the summer of 1825 to Munich to continue there with the already long been of Crown Prince Ludwig of Bavaria commissioned and already begun reshaping the Glyptothek and at the same time to take up the post of Director of the Munich Academy. After Eberle had proven well again in the work of the Glyptothek and had been in this case designed by Cornelius in the fresco painting, he was awarded with the following operations in Munich Odeon Hall commissioned the middle of the three colossal frescoes, Apollo among the Shepherds, independently to customize. Pretty soon it was followed by the fresco The collection of Archduke Maximilian I. electors on February 25, 1623 as one of the 16 historical paintings in the arcades of the royal residence in the courtyard garden.

As part of the commemoration of the 300th anniversary of the death of Albrecht Dürer in Nuremberg in 1828 Eberle created one of the seven custom built for this purpose transparencies that were installed in the arched windows on the east side of the old town hall hall at Nuremberg. Finally, Eberle was still in Munich together with the group of Cornelius to the now the painter Moritz von Schwind was pushed involved in the work on the ceiling Michelangelo Lodge in the under construction Alte Pinakothek. He also produced several lithographs after drawings designed by Cornelius on planned but never executed -down Dante frescoes for the Casino Massimo in Rome. This subsequently published in 1831 in the catalog of the Leipzig art auction house CG Boerner with supplementary explanations of the church historian and connoisseur Ignaz von Dollinger.

After the meantime the relationship between Cornelius and the Crown Prince Ludwig had cooled and then the group around him gradually broke up, he moved Eberle in September 1829 together with the wife and the daughter of Cornelius, who wanted to follow him later, and the Swiss painter Emilie Linder to Italy. After stopovers in Venice and Florence, he joined the acting there in Rome painter Friedrich Overbeck on. But one is already in Munich suggestive and now increasing gloom weighed on the creativity and work Eberle, who also often desperate to again and again annihilated his pedantic and meticulous demands the work of many weeks.

The family of Cornelius moved pretty soon on, with Emilie Linder but remained in Rome and for Eberle was a valuable support in the next two years. However, when she left Rome in 1831 and although at the same time, for a few months also pulled the old childhood friend and philologist Ernst von Lasaulx, who was at that time to conduct some research work in Rome in his apartment, reinforced at the Eberle depression. In this difficult time emerged only isolated lithographs, drawings and paintings, often with religious motives. Finally Eberle died suddenly and unexpectedly on April 15, 1832 at the age of only 28 years, and was then buried in the " cimetero acattolico ", the Protestant Cemetery in Rome on the western side of the Pyramid of Cestius.

In many condolences and obituaries of former companions and art critics the merits Eberle were recognized in particular. The art critic Friedrich Pecht found an admirable characteristic of Eberle's work when he wrote, according to Fey's publication: "... that the fresco does not come into play at some beauties of the composition because of the colorful and attitude abstract painting, but that the Cartons and with the spring drawn compositions are to be respected as a truly valuable work, which aroused great expectations with law, however, was to meet Eberle at the lack of any technique in painting and because of his perfect ignorance of the laws of coloring never able to do. " This dichotomy Eberle was well aware become, which is why he seems to be both mind as well as, among others, at his impatient expectations and shattered his quest for perfection.

A portrait or possibly self-portrait is in the "Histoire de l' art moderne Allemagne " from Atanazy Raczyński.

Works (selection)

  • Apollo among the Shepherds, mean of three frescoes in Munich Odeon Hall, 1827
  • The collection of Archduke Maximilian I. electors on February 25, 1623 part of the 16 historical frescoes in the arcades of the Royal Residence in Munich Hofgarten, 1828
  • Albrecht Dürer and Raphael, who before the throne of art extend a hand to the mid- seven Transparent images in the arched windows on the east side of the old town hall hall at Nuremberg, 1828
  • Four scenes from the Wilhelm Tell legend, 1828
  • The King of Thule, oil on wood, not stated
  • Outlines of Dante's Paradise / by Peter von Cornelius [ in outline lith. v. Adam Eberle ]. With explanatory texts by J. Doellinger, Boerner, Leipzig, 1831
  • Job mocked by his friends, Pencil Drawing, 1832 ( Foundation of Emilie Linder for the Basel Museum )
  • Jesus calls two disciples, chalk drawing, 1832, (ditto)
  • Peter and Paul on the way to Rome, Pencil Drawing, 1832 (ditto)
  • The Israelites in the Babylonian captivity, pencil and wash on paper, 1832 (ditto)
  • The grieving Jerusalem, unfinished pencil drawing, 1832; completed by Josef Banz 1840, in: History of Modern German Art, Vol II, Atanazy Raczyński ( ed.) / F. H. vd Hagen (Translator)

Literature and sources

  • Friedrich Pecht: Eberle, Adam. In: General German Biography (ADB ). Volume 5, Duncker & Humblot, Leipzig 1877, pp. 573 f
  • Georg Kaspar Nagler: New artists of the world, vol 4, p 63, E. A. Fleischmann, Munich, 1837
  • J. Fey: The History of Aachen painters of the 19th century. In: From Aachen's past. Communications of the Association for the customer Aachen past. Tenth Year 1897, No. 4 / 8th, page 118/119 google online
  • Alfons Belle Home: The history painter Adam Eberle from Aachen, Aachen Journal of Historical Society No. 20, pp. 289-292, Aachen, 1898 google -online
  • Frank Büttner: Peter von Cornelius - frescoes and fresco projects, Vol 2, Franz Steiner Verlag, Stuttgart, 1999
  • Adam Eberle as an exponent of the Munich school, in: Nicole Brandmüller: The mourning Jews in exile, Inaugural Dissertation, Nuremberg, 2007, pp. 61-63 pdf
Germans Wilhelm von Kaulbach Ludwig I of Bavaria Maximilian I, Elector of Bavaria Dante Alighieri Philology Peter Ernst von Lasaulx Protestant Cemetery, Rome Cartoon#Fine art Allgemeine Deutsche Biographie Alphons Bellesheim Name Authority File
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