Friedrich Wilhelm Schadow
Friedrich Wilhelm von Schadow ( born September 6, 1788 in Berlin, † March 19, 1862 in Dusseldorf ) was a German painter. Together with the Nazarene Peter von Cornelius, he founded the Düsseldorf School.
Life
Schadow was the son of the sculptor Johann Gottfried Schadow and his wife Marianne Devidels. His first artistic instruction received Schadow by his father. At 20 he was trained at the Academy of Arts, where he was a pupil of Friedrich Georg Weitsch and Karl Wilhelm Wach.
Already In 1806, Schadow in a large Academy exhibition in part with a portrait of the singer Julie Zelter. Schadow presented the Carl Friedrich Zelter's wife (nee Pappritz ) as St. Cecilia in the style of John Flaxman dar. Between 1806 and 1807 Schadow served in the Prussian army as a " voluntary Yearling ".
1810 ended Schadow successfully graduated from the academy and went along with his brother, the sculptor Rudolf Schadow, Italy. There he was in contact with the Danish sculptor Bertel Thorvaldsen. About this Schadow soon came into contact with the circle of artists around Caroline von Humboldt. He was very impressed by the Nazarenes Peter von Cornelius, Friedrich Overbeck, Veit Philipp and Karl Wilhelm Wach and joined this group - now known as St. Luke - 1813.
Through the influence of Friedrich Overbeck's converted Schadow in 1814 by the Protestant to the Catholic faith. During his stay in Rome he painted mostly religious monumental images in academically -classical style. Between 1816 and 1818 Schadow was involved along with Cornelius, Overbeck and Veit on the decoration of the Villa Bartholdy. In the summer of 1819 Schadow returned at the request of Karl Friedrich Schinkel back to Berlin; He was accompanied by Karl Wilhelm Wach. Schadow became a lecturer of the Berlin Academy of Art and taught there until in 1826.
1820 married Charlotte von Schadow Groschke, a daughter of the court physician Johann Gottlieb von Groschke ( 1760-1828 ). With her he had a daughter, Sophie (1823-1892), later the wife of Richard Hasenclever (1812-1876), and a son, Johann Gottfried Rudolf, the later Prussian lieutenant general.
In the years 1822 and 1825 led Schadow in Berlin a large studio, which - supported by the King - attracted many students. End of 1825, he gave up this job and joined his studio because it the Prussian Minister Karl had appointed Altenstein director of the Düsseldorf Art Academy of stone. Beginning of 1826, he took up his duties there as successor of Peter von Cornelius. A year later, he was followed by some of his most talented students, including Edward Bendemann, Theodor Hildebrandt, Julius Hübner, Carl Friedrich Lessing and Karl Ferdinand Sohn. It was after a short time, the Düsseldorf School. Caused a stir Schadow with one of his first Düsseldorf images, the representation of the " AA " to " Wilhelm Meister " by Johann Wolfgang von Goethe, for him, the young actress Constance Le Gaye had been sitting model.
On behalf of the Naumburg canons Immanuel Christian Leberecht von Ampach was already back in 1827 in Germany, the painting Christ among the Pharisees, Christ, the law -explanatory named for the Christ - cycle in Naumburg Cathedral.
In his capacity as Director of the Academy Schadow was instrumental in the improvement of the study of art and the associated practical training. In his 1828 printed "Thoughts on a consistent education of the painter ," he put in many places regarded principles of his conception of art and teaching publicly dar. 1829 he helped found the Art Association of the Rhineland and Westphalia. Between 1830 and 1831, and later from 1839 to 1840 is held on Schadow in Rome. Of these trips, he brought with him many sketches and ideas that formed the basis of his future artistic creativity in the studio. Following his trip to Italy from 1830/31 Schadow led an academy reform by which a three-step training course from elementary class, preparatory class and class of performers Eleven envisaged for the students, with the last stage represented the decisive innovation, because in the after learning the basics design skills as well as working on his own was promoted. The best graduates were able to visit the so-called master class then yet. Here they received their own studios in the Academy building, so it still remained connected as role models for the next generation of art school.
1842 Schadow was approved by the University of Bonn with the title Dr. phil. H.C. honored. 1843 or 1845, he was raised as a " von Schadow - Godenhaus " in the Prussian nobility. The suffix " Godenhaus " came from the manor Godenhaus, and according to the certificate of appointment was the title of official " Knight Schadow of Godenhaus ".
Between 1850 and 1854 Schadow's last major work was: a triptych with the allegorical representation of " heaven, purgatory and hell." He was inspired by the reading of Dante's "Divine Comedy". Through a serious eye condition he had to pause again and again, and only after an operation, these three images could be completed in one room of the Landgericht Dusseldorf.
1857 Schadow suffered shortly before his 69th birthday a stroke from which he never recovered. Two years later he resigned all his offices and retired into private life. At the age of 73 years Schadow died on March 19, 1862 in Dusseldorf and was buried in the cemetery Golzheimer.
In his honor, they named in Dusseldorf Schadowstraße, formerly Flinger Steinweg, where he built his 1838 unfinished home of Rudolf Wiegmann, the Schadowplatz with the Schadow Monument and the Schadow -Arkaden after him.
Works ( images )
Schadow's painting style was guided by the old masters of the Quattrocento and Early German and Early Netherlandish painting. His works stand out through fidelity to nature and a distinct coloration of the more formal and linear style of painting the rest of the Nazarenes. To mark his style of painting, the term is often used fine painting. This style was characterized by a proper, rigorous drawing, enamel -like surfaces with fine, smooth paint, a clear and simple screen layout, a geometrizing abstraction of the single form and the exact representation of realistic details for a total of idealized perception of the sitter. Frequently monumental been summed single figures were painted by him. In this way, he soon was able to make as a sought an acclaimed portrait painter.
Works ( literature)
- My thoughts on a consistent education of the painter, in: Berlin Art Journal 1 (1828 ), pp. 264-273
- The modern Vasari. Memories from the artist's life, Berlin 1854 ( Digitized edition of the University and State Library Dusseldorf )
- About the influence of Christianity on the visual arts, Dusseldorf 1843