Carl Friedrich von Rumohr
Carl Friedrich Ludwig Felix von Rumohr ( born January 6, 1785 Reinhardtsgrimma in Dresden, † July 25, 1843 in Dresden) was a German art historian, writer, draftsman and painter, agricultural historians, gastrosopher, art collector and patron.
Life and work
Carl Friedrich von Rumohr came from a Holstein Uradelsgeschlecht. His father, Henning von Rumohr (1722-1804), landowner in Trenthorst and Schenkenberg had, through his mother Agnete Caecilie, born of Wickede (1700-1723) and the wicked ash Good Great Steinrade, which is one of Lübsche goods today inherited, . His mother Wilhelmine, née von Fersen (1751-1807), was a daughter of the Hanoverian officer Joachim Heinrich von Fersen († 1760).
Rumohr grew up on his father's property, when Lübeck, attended from 1799 to 1802 the Gymnasium in Minden wood and studied from 1802 to 1804 at the University of Göttingen. Here he attended lectures at the classicists Christian Gottlob Heyne, the historian Arnold Hermann Ludwig Heeren and the mathematician Bernhard Friedrich Thibaut. Had a lasting influence Johann Dominik Fiorillo, where he took drawing lessons and introduced him to the writings of Vasari. He was trusted by Ludwig Tieck with the ideas of romance and entered 1804 with the brothers Riepenhausen the Catholic Church. In the same year he was by the death of his father heir to a considerable fortune.
Rumohr's first trip to Italy (1805-1806) together with Tieck and the brothers Riepenhausen led them to Rome and Naples. In Rome he met Joseph Anton Koch and other German artists and familiarized himself with the local art works of the Renaissance and antiquity. On the return trip via Frankfurt - his friendship with the brothers Riepenhausen was broken - Tieck led him into the circle of Clemens Brentano. He spent the next few years, partly on his estates near Lübeck, partly on trips during which he made the acquaintance of many cultural figures of his time. Of importance for him, the encounter with Schelling's philosophy of nature was. He enrolled in the Academy of Fine Arts in Munich and befriended the son of the former director, Johann Peter von Langer. Rumohr published in 1812 his first major art historical study: Over the ancient group of Castor and Pollux A historical study dealt with the Vineta problem.
A second trip to Italy in 1816-1821, together with the young painter Franz Horny led Rumohr first to Florence and Siena to the study of local archives. In Rome he met chef again and gave the recording Hornys in his workshop. Deeply impressed by the works of the Nazarene, who worked in Rome since 1810, he was an important patron them and supported them through publications and purchases, so until he rejected with the younger Nazarenes to Passavant and Schnorr. The later Danish King Christian VIII and the Bavarian Crown Prince Ludwig, he served in Rome as leader. He returned in 1821 on Venice first moved to Munich and the following year on his Holstein goods back.
Rumohr published in 1822 his most successful book, the spirit of the culinary art of Joseph King, a gastrosophische writing, under the name of his personal chef. It is against the excesses of any kind and argues for a traditional and modest national (not only German ) and regional cuisine. In many ways it is timeless; it was reissued in the 1970s. The Gastronomic Academy awards, the highest distinction in Germany since 1963 the Carl Friedrich von Rumohr - ring to individuals who have rendered outstanding services to the art of cooking and dining culture in particular.
1824 Rumohr was made an honorary member of the founded two years earlier Hamburger Kunstverein. He was actively involved until his retirement (1831 or 1832) in the annual raffles of images of young artists who were supported in this way.
Also advised and encouraged Rumohr many of these young Hamburg artists, including Otto and Erwin Speckter, Julius Oldach, Carl Julius Milde, Adolph Friedrich Vollmer, Christian Morgenstern, and took over in 1823 the artistic design of the 16 -year-old Friedrich Nerly. Dealing with the older about 20 years Rumohr was not without difficulties: On the one hand Rumohr stated in his memoirs in 1832, " but I stayed on it without influence; they did not understand me. " (Cone adds this quote added: " Nerly was excluded from this verdict, of course, who finally had him understand. "). On the other hand, dictates the blind Vollmer, on his life, looking back, his son: "Unfortunately, I must confess that the hasty imposition of his ideas and theory has me very tends to be harmful, because I lacked the solid reason to apply it properly and process. "
From the study of Vasari his main work arose Italian innovation. 1827 appeared the first two volumes. Through the use of historical records and their critical editing Rumohr will this work for a co-founder of the source-critical art history. According to Wilhelm von Humboldt, it is " since Winkelmann the first step to a wahrhafteren Art View".
Rumohr and art historian Gustav Friedrich scales participated as a consultant to the construction of the Berlin Gemäldegalerie, a project to which the archaeologist Aloys Hirt had already given the first impetus in 1797 and was supported by Karl Friedrich Schinkel and the Prussian Crown Prince.
On his third trip to Italy (1828-1829), accompanied by Nerly who drove to Rome and later settled in Venice, he concluded successful negotiations on purchases for the Berlin collection of paintings from, served the Prussian crown prince as leader of Florence and Siena and worked on a novel.
In the following years Rumohr worked on a variety of writings, never released in part. The third volume of "Italian studies " appeared in 1831; a critical review of his friend, the Berlin A. Hirt led to the break and numerous pamphlets.
In 1834 he arranged together with Just Mathias Thiele the royal collection of engravings in Copenhagen, was appointed Danish chamberlain and mentored the young Danish painter Lorenz Frølich.
In the spring of 1837 Rumohr out on his fourth trip to Italy to Milan, where he studied the Lombard irrigation system especially. A fifth shorter and last journey led him in 1841 to Nerly to Venice and back to Milan. On his return to Copenhagen, he requested of the Danish King Christian VIII in vain the office of a director of art collections, refused the proffered position as director of the collection of engravings and settled in Lübeck, to devote himself to his extensive art collection.
Rumohr died 1843 in Dresden. The physician, natural philosopher and painter Carl Gustav Carus has made him the death mask remove and undertook an autopsy.
His grave is on the local inside the New Town Cemetery. Christian VIII donated, designed by Gottfried Semper grave monument; In 2010 it was restored.
Rumohr in the judgment of his contemporaries
Johann Georg Rist (1775-1845) diplomat and longtime friend Rumohr:
Just Mathias Thiele (1795-1874) Danish art historian and writer:
Writings
- About the ancient group of Castor and Pollux, or by the terms of ideality in works of art. Perthes, Hamburg, 1812 digitized version of the Ruprecht -Karls- University of Heidelberg
- Antiquities of transalbingischen Saxony, 1813
- Collection of Art and History. Perthes & Besser, Hamburg digitized version of the Saxon State Library State and University Library Volume One First Issue. 1816: The ratio of the long since ordinary notions of a glorious Wineta to our positive knowledge of the culture and art of the German Baltic Slavs.
- Zweytes issue. 1825 Italian short stories of historical interest. translated and explained.
- First Part. 1827 digitized and full text in German Text Archive
- Appendage to the first band. 1827 digitized and full text in German Text Archive
- Zweyter part. 1827 digitized and full text in German Text Archive
- Third part. 1831 digitized and full text in German Text Archive