Johann Christian Reinhart
Johann Christian Reinhart ( born January 24, 1761 yard, † June 9, 1847 in Rome, ± Cimitero acattolico ) was a German painter, draftsman and etcher. He was regarded as the center of the German colony of artists in his adopted hometown of Rome, and was especially known for his heroic ideal landscapes. He is with his work on the threshold between Classicism and Romanticism and is calculated for the period around 1800 of the most highly esteemed artists of his kind.
- 2.1 painting
- 2.2 graphics
- 2.3 Poetry
- 2.4 Aftermath 2.4.1 Rome and hometown
- 2.4.2 museum collections
- 2.4.3 Exhibitions
Life
Germany
Childhood and youth
Johann Christian Reinhart was born in 1761 in Hof, the second of three sons of Mr. and Mrs. Peter Johann and Magdalena Wilhelmine Friederike Reinhart. His eponymous older brother died before Reinhart's birth as an infant, the younger brother Amandus (* 1762) in 1834.
Reinhart's father (* 1717), a Protestant Archdeacon and Vesper preacher who came from a family of roofers, died already in 1764, when Johann Christian was three years old. The mother (* 1730), daughter of the Judicial Council Johann Karl Sigmund Muellner, married again in 1780 and lived until 1784.
Reinhart attended from 1768 the school Hofer, today Jean -Paul High School, where his father had been since 1748 vice-principal. At the local high school graduation in 1778 he held the farewell speech under the title " De utilitate artis pingendi in rebus sacris rite institutae - The Usefulness of spiritual things in well-appointed Art of Painting", a first indication of his interest in the visual arts.
Years of study
From 1778 Reinhart, the example of his father and his mother's request, began following, the study of theology in Leipzig, but soon devoted himself exclusively to the study of drawing at the local subscription, Mahlerey and Architecturakademie. Its first director, Adam Friedrich Oeser, had already taught Goethe. In a presumably addressed to Oeser letter of recommendation from 1779 Reinhart's widowed mother asked for help - and substance - for the new interest of her son. Reinhart himself was drawing and painting lessons and created first illustrations to poems and novels.
In spring 1782, Reinhart became engaged with the then 18 -year-old Thekla Podleska, who was trained in the house Johann Adam Hiller for singer and later went to the court of Dorothea of Courland after Jelgava southwest of Riga. The romance is described as intense, but there was no marriage about, because Reinhart oriented increasingly to Italy as the land of longing German artist. The couple met in 1786 for the last time, to 1788 letters were still being exchanged.
1783 moved Reinhart their gallery of Old Masters for Dresden, where he took closely related to the landscape art private lessons with Johann Christian Klengel and the Swiss painter Konrad Gessner met. First etchings and Reinhart took part in the Dresden Academy exhibition. On the occasion of his mother's death in 1784, he met his brother Amandus in court, which in turn was stayed with the study of theology for three years. Johann Christian Reinhart took walks through Saxony, Thuringia, Vogtland and Bohemia; with the poet Elisa von der Recke, he traveled from Karlovy Vary to Gotha and continues through Saxony.
1785 back in Leipzig, he met Friedrich Schiller, who advised him to study in Italy. They developed a friendship developed. As Reinhart, however, was drawn to Rome, it was only after twelve years, in 1801, the resumption of the compound in the form of an exchange of letters, which was continued until Schiller's death. Reinhart created some works, which describe Schiller; in 1800, he devoted him an etching. The 1839 built by Bertel Thorvaldsen on the Schiller Platz in Stuttgart monument to the poet was a drawing Reinhart as a template.
Also in 1785, Reinhart was inducted into the Masonic Lodge Minerva of the three palm trees. From 1786 to 1789 he lived at the court of Duke George I of Saxe- Meiningen on, who had already offered to him before to take him into his service. Reinhart accompanied the Duke, among others in 1787 on a trip to Bad Ems and the Rhine, which was also used by both to draw in nature. During this time, from 1788, the Thuringian sketchbook was created.
Rome
In October 1789 Reinhart traveled via Hof, Erlangen, Augsburg, Innsbruck and Bozen to Rome, where he arrived on Christmas and spent his life. The acquisition of the travel expenses and a pension paid to 1791 he owed Margrave Alexander von Brandenburg -Ansbach.
In 1798, Reinhart was a disease of malaria. 1801 or 1802, he married the Italian Anna CAFFO ( 1775-1851 ). The institution of civil marriage that existed at that time in Rome, enabled him to marriage, without having to convert to Catholicism. Anna, daughter of a painter's box had worried his household and stood by him during another serious illness. The couple had three children: Elisha (1806-1810), Erminio (1811-1853) and Teresa ( 1804-1875 ).
Reinhart's personality was " highly profiled " by contemporaries as " self-confident ", but described as " relentless and unforgiving ." Even as a student in Leipzig, he should be noticed as " unconventional " and " ease". Ludwig Richter saw him as "a great, somewhat gaunt, but powerful build ." An acquaintance with his hand known as headstrong and eccentric Lord Bristol ended in controversy and led in 1802 to the creation of the caricature of Lord Bristol, Bishop of Derry.
Together with Friedrich Carl Ludwig Sickler was Reinhart 1810 and 1811 the almanac from Rome for artists and lovers of fine art out. In 1810 he was appointed a member of the Prussian Academy of Arts and member of the Accademia di San Luca in 1813. In 1830 the appointment of a member of the Royal Academy of Arts in Munich and in 1839 to the royal court painter baierischen followed. Already in 1825 he had after the death of the court painter Friedrich Müller, painter named Müller, get transferred his pension. In the years 1830/31 Reinhart was an eye infection that left a unilateral amblyopia, held almost a year of work, in 1837 he fell ill with cholera.
With public art criticism emerging Reinhart could not arrange any more than others; about art himself could only judge the artist. In 1833 he participated with Franz Ludwig Catel, therefore, Joseph Anton Koch and further to the polemic Three letter from Rome to art writing in Germany. Reinhart is now regarded as one of, if not the central figure in the former German colony of artists in Rome. The German -born artist of Rome met at the Caffè Greco and the Villa Malta. From the tower room Reinhart painted commissioned by King Ludwig I. in the years 1829-1835 the tempera paintings Four views of the Villa Malta on Rome.
1846 was Johann Christian Reinhart's last painting The Invention of the Corinthian capital by Callimachus. He died the year after the age of 86 in Rome. His wife survived him by four years. Reinhart is buried at the Cimitero acattolico. This Roman cemetery was intended for foreigners non-Catholic faith. The Leipzig theologian Ludwig Theodor Elze, at this time preacher candidate, represented the salaried Rome Protestant preacher at the funeral. The tomb was carried out in 1852 on behalf of the Association of German artists in Rome by the sculptor Henry Mathia. The classical stele bears a relief plaque with the image of the artist, the inscription Royal. BAIERISCHER court painter and his dates.
The estate of Johann Christian Reinhart in the form of letters and diaries took most of the poet Heinrich Wilhelm Stieglitz in itself, with the intention of writing a biography. However, he died in 1849 and the material came to Reinhart's biographer Andreas Andresen and Otto Baisch. It is now lost, in essence, residues located in the Bavarian State Library, the Central Archives of the State Museums of Berlin, in the city archives yard and other locations.
Work and reception
The importance Johann Christian Reinhart is mainly in landscape painting. Reinhart was on the realistic representation of the views painted and is in transition to a classicism romanticism assign. Hubertus Gassner describes him in this regard as " Artist of the threshold." In contrast, the sculptor and Reinhart collector Richard Tuttle sees the position of the artist less between the " light of the Enlightenment" and the "dark romanticism ", but assigns him more of a back on early Romantics.
Christian or biblical themes presented Reinhart only often represents the rise of Rome from about 1810 painting of the Nazarene ( a term which may date back to him ), he was dismissive of: these were mainly imitators of Old Masters, would take over their shortcomings and they lack of independence. Studies in animals and hunting motifs found in Reinhart because of his own passion for hunting is more common. Contemporary reports of his " hearty, sometimes bawdy humor", are all reflected in the obtained of him caricatures which he represented, for example, the art critic Ludwig von Schorn or, in less aggressive way, his teacher Adam Friedrich Oeser.
"Initially influenced by the sentimental tendencies of his teacher Adam Friedrich Oeser in Leipzig, then partially committed to the movement of Sturm und Drang, Reinhart became on Roman soil to a main representative of the classical landscape art. Together with Joseph Anton Koch, he made it his goal, the type of the heroic ideal landscape, which had fallen during the 18th century, slightly behind, [ ... ] to renew and establish for the art of the 19th century. "
Painting
The art historian Inge Feuchtmayr published in 1975 a work directory Johann Christian Reinhart. She shared his paintings into three groups: 39 were still detectable, another 140 would be considered as not found. Their existence it was no longer detected or they were lost. Seven paintings have been falsely attributed to him. Herbert W. Rott clarified this in the 2012 published catalog for the exhibition at the Hamburger Kunsthalle in that around 40 paintings for Reinhart were detectable and secured as well as 80 is occupied by sources and photographs, but lost today. In a further 60 plants must be doubted that they had ever existed. In summary, he assumes that Reinhart, take one of the smaller works and studies, have created about 100 to 120 paintings in fifty years. His oeuvre is thus comparable in scope to that of other contemporary landscape painter in Rome. Be Called Joseph Anton Koch, Johann Martin von Rohden and a friend of Reinhart Dutch painter Hendrik Voogd. Reinhart created mostly commissioned works, such as for Ludwig I of Bavaria, Charles IV of Spain and art patrons and collectors such as Johann Gottlob von Quandt. Other artists, the sculptor Bertel Thorvaldsen and the Bavarian court architect Leo von Klenze bought paintings at Reinhart.
In Reinhart's first half of life originated only a few paintings, the first in 1784 and in 1785. Together with Konrad Gessner he devoted time to the study of nature and in Dresden the Dutch landscape painters (Jacob van Ruysdael, Meindert Hobbema and others). In Rome, Reinhart first claimed, in economic terms, rather as an etcher than as a painter. With the increasing popularity of his ideal landscapes and storm he was seen at the beginning of the new century as the leading landscape painters of Italy; a rank in which he replaced the become successful and wealthy through his painting Jacob Philipp Hackert. After Feuchtmayr Reinhart has " the resources of scientific and intuitive thinking " deeper into the nature incorporated as this and practiced with his fidelity and his idealization of the landscape decisive influence on the German landscape painting. At the same time, the insistence was on the general education of the classical development of this style of painting in the way: Reinhart left no "school" of painters and the purely classical landscape art went with him to the end.
In his painting he remained the concepts found in 1800 throughout his life, and therefore can also be of a " certain solidification " of the question. Reinhart's paintings move between the poles realistic view painting as the commission reluctantly adopted the four views of the Villa Malta on the one hand and heroic ideal landscapes on the other. With the latter he developed his own, new image type. Was influenced Reinhart it by the works of painter Claude Lorrain and Nicolas Poussin, he could find in Roman collections or, as in Gaspard Dughet, self- possessed. Also befriended Nicolas- Didier François -Marius Granet Boguet and who lived in Reinhart's immediate neighborhood, exerted influence on him. In his paintings Reinhart followed the ideas of the art theorist Carl Ludwig Fernow, in 1803 in the New Germans Mercury honored him with an essay on landscape painting: idealized, southern landscapes with staffages from antiquity.
Reinhart painted both in oil and in temperature; a technique that he adopted from 1825. He used the similar in its effect of fresco painting tempera paints, among others, in eight large-scale landscape paintings which should be embedded in the walls of a palace. This by Francesco Saverio Massimo commissioned cycle has been lost since its outsourcing of the Old National Gallery in Berlin Zoo flak tower during the Second World War. The views from the Villa Malta, Reinhart's second large temperature cycle in the form of an urban panorama, however, were preserved and are now owned by the Neue Pinakothek:
" Reinhart's large-format views are a monumental testament to that bygone era romantic Rombegeisterung. "
Graphic
By 2012, Reinhart's work was not published more widely in color, which could explain that he was known less as a painter, but as a graphic designer. Feuchtmayr cataloged 426 drawings in public collections and private property; heavy identifiable She believes that those whose existence is documented only in the art trade, or according to sources. As for the prints, they resorted to Andreas Andresen, the auflistete 170 etchings and five lithographs created since 1818. If we add the leaves in sketches and adhesive volumes with only a catalog number contained and since Reinhart remapped so obtained by him at least 600 drawings; have made it significantly more likely. Nine watercolor sketches about showing the views of the Middle Rhine Valley, could only be identified as Reinhart's works in 2002. They were formed in 1787 on his journey with Duke George I of Saxe- Meiningen. The watercolor graphite and pen and ink drawings are now referred to as a culmination of Reinhart's work. Scenes of history, such as the populated since Roman times or Bingen, built around 1210 Ehrenberg rock, give the real landscape the "ideal" claim. The assessment that Reinhart had made his most important works only in Rome, had to be withdrawn so far.
The sale of his drawings and etchings was at least until a board in 1825 an essential part of Reinhart's livelihood. The artist, life always had money problems, sold to travelers in Italy, to collectors and art dealers such as Johann Friedrich woman wood or Carl Gustav Boerner and produced his drawings specifically for the then art market. He drew with pen, graphite pencil, brush and chalk and combined techniques like. Charcoal, red chalk and silverpoint, however, were the techniques he used only rarely.
Poetry
Less attention, and without resonance in the history of literature, Reinhart left on his drawing and painting work, a number of poems and epigrams, which provide an insight into his world of thoughts. The landscape was the subject of his poems; but most of all can be seen in them the sympathy of the painter for the ideas of Freemasonry and the related criticism of the Roman Catholic Church recognize:
The Wegsäule Still I stand, O wanderer, but I'll show you the way, I am like Your priest, he also does not go the way he shows
The image of God (1846 ) Your pride, O man ventured to say: After his own image God created me. Be honest, man, answer my questions: Didst not thou after your image Your God?
Aftereffect
Rome and hometown
At Reinhart's last residence in Rome, now No. 29 in the Via Quattro Fontane, since 1963 a memorial plaque to him. In his native city court the Johann Christian Reinhart and Reinhart school street are named after him. As an award for cultural merits, the city court gives the Johann Christian Reinhart plaque annually.
Museum collections
Three etchings and drawings Reinhart arrived in 1869 as a gift Ditlev Gothard Monrad in the Colonial Museum in Wellington and further into the present-day National Museum of New Zealand. After an initially hesitant purchasing policy acquired in the course of the 20th century museums in Berlin, Dresden, Frankfurt and Hamburg works Reinhart; since 1990, the British Museum in London with a landscape study from 1785 and the Metropolitan Museum of Art in New York with five drawings and the Washington National Gallery of Art, which indicates a possession of 29 plants in late 2013.
Exhibitions
Works of Johann Christian Reinhart's been shown in Germany, Austria and Rome since 1858 in numerous group exhibitions on overarching themes of the classical and romantic painting of landscape painting and the art of drawing. Solo exhibitions 1927 in the Hamburg Kunsthalle, 1930 and 1961 instead of his 200th birthday in court, and in 1963 at the Palazzo Braschi Roman. Since 2011 there were two exhibitions on the occasion of his 250th birthday and to a common Retrospective of the Hamburger Kunsthalle and the Munich Neue Pinakothek, which was accompanied by a comprehensive exhibition catalog:
- Johann Christian Reinhart yard. Exhibition on the occasion of the 250th birthday of Reinhart organized by culture area yard. Museum Bayerisches Vogtland 24 January, 2011 to 20 March 2011.
- Views of Rome. The German - Roman Johann Christian Reinhart 250th birthday. Curator Dieter Richter. Rome, Casa di Goethe, February 2, 2011 until May 15, 2011.
- Johann Christian Reinhart. A German landscape painter in Rome. Hamburger Kunsthalle, October 26th, 2012 to January 27, 2013; Neue Pinakothek, February 21, 2013 to 26 May 2013.