August Eisenmenger

August Eisenmenger ( born February 11, 1830 in Vienna, † December 7, 1907 ) was an Austrian historical and portrait painter in the era of the ring road and colonial times.

Life

Eisenmenger was as early as 1845 students of the Academy of Fine Arts in Vienna and won it after 14 days, the first prize in the drawing. His limited financial circumstances forced him to interrupt the visit of the Academy in the years after 1848. It was not until 1856 he was a secure job when he was Carl Rahl students and next to Edward bitterly and Christian Griepenkerl one of his best employees.

In 1863 he became a teacher of drawing at the Protestant school in Vienna, but sat next to the paint as well. Appointed professor at the Academy in 1872, he also founded a private school for the training of younger talent in the monumental painting, from the example, Rodolphe Ernst emerged. At the Academy he taught, for example, Hyacinth von Wieser (1848-1877) and Heinrich Hans Schlimarski ( 1859-1913 ).

Eisenmenger is located in a dedicated grave of the City of Vienna at the Vienna Central Cemetery in the Department 32 A, number 38 of the composer's Department, buried.

In 1913, a street was named after him in Vienna Dobling. This branched off at the Weinberggasse 74, but was later incorporated by plant expansions of the Graf & Stift in the plant and used as a work road.

In 1959 ( 10th district ) was named the Eisenmenger alley after him in Vienna favorites.

Work

The most important of his monumental works are

  • In the Golden Hall of the Vienna Musikverein executed in wax colors ceiling painting Apollo and the nine Muses, hovers on minor fields of genii
  • The ceiling paintings in the great hall of the Vienna Grand Hôtel and in the staircase hall of the Palais ( Tietz ) the architect Carl Tietz at Schottenring 10,
  • Oil paintings Twelve months at the Palais Gutmann, now The Ritz- Carlon, Vienna
  • Ancestral portraits and one significant episode in the life of the Emperor Maximilian I and the Duke Leopold in lock Hernstein, and
  • Represent the frescoes on the back of the Academy and the frieze medallions at the Museum of Art and Industry, the various branches of the art technology, which " include poetic conception and technical execution of his best monumental paintings" through her.

In 1878 he painted the curtain of the New Theatre in Augsburg with a representation of Aesop, who recites to the people of a fountain column down his fables. In 1881 he started the decoration of the staircase in the Palace of Justice, and in 1885 he completed a cycle of frieze-like compositions in the meeting room of the Chamber of Deputies in the Imperial Council building, which represents the emergence of the modern state of disarray.

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