Johann Rudolf Huber

Johann Rudolf Huber d. ( baptized on 21 Apriljul / May 1 1668greg in Basel;. . † February 28, 1748 ) was a Swiss painter and draftsman.


Origin and apprenticeship

The Council and scholars Huber family that bears the same name in Basel to distinguish other gender the nickname Ringli Huber ( according to the family coat of arms ), was originally from Ravensburg and had become naturalized in 1504 in the city of Basel. First drawing lessons to the ten year old Huber received Wannewetsch with a member of the Glass family of painters. His teaching he completed in the workshop of the Basel portrait painter Johann Caspar Meyer ( 1645-1705 ). 1683 Johann Rudolf Huber joined Bern in Joseph Werner ( 1637-1710 ) House Academy. In his early time in Bern Huber painted claims to a bailiff and his wife, several barbers and a seal cutter. 1685 already belonged to the German Eckel Master Niklaus Dachselhofer ( 1634-1707 ) to its customers. In the same year he traveled to Venice. Since even arrived, he found employment in 1686 a native of Holland Master Cavaliere Tempesta ( 1637-1701 ). Füssli reported Huber have painted staffages for the landscape and maritime painter Tempesta in the first place. Apparently Huber also worked on his own behalf, for in his catalog raisonné number, painted from life portraits are registered for Venice, including the Doge Francesco Morosini and Augustus the Strong, the art-loving Electors of Saxony. In 1689 Johann Rudolf Huber joined the Roman Art Academy and became a pupil of the famous Carlo Maratta. According Füssli Huber had arrived after six years' residence in Italy over Geneva, Lyon to Paris. In the work directory there is no indication on French towns.

Württemberg and Baden

In the spring of 1693 he returned to Basel and was soon incorporated it into the guild to heaven. The following year he was in the guild Director and thereby simultaneously chosen in the Grand Council of the city of Basel. Of the same year he met in Basel located exile ends Friedrich Magnus VII of Baden-Durlach know and verfertigte from spring to autumn 1694 a total of 22 portraits of members of the Marquis. Here he met in 1696 and the future son of the Marquis, Duke Eberhard IV Ludwig of Württemberg ( 1676-1733 ) know. He got to paint the contract, the bride of the Duke, Princess Johanna Elizabeth of Baden -Durlach. Huber's skills were appreciated by the Duke follows that the two were in negotiations. In June 1697 Johann Rudolf Huber traveled to Stuttgart to enter into the service of the young duke. He had made ​​the significant leap from the guilds workshop painter at the Württemberg court. 1698 began the work for the audience room of the Duke, the turret chamber and the cabinet of the Duchess in Stuttgart Castle. Huber thus created the first Baroque ceiling paintings in Württemberg - and setting a milestone in the southern German Baroque painting. Almost all ceiling paintings are like the palace fire of 1931 to the victim. Fortunately, the eight oval paintings have received the deeds of Hercules from the tower room. 1699 Huber left the Württemberg court. The reasons can only be surmised. The house of Baden- Durlach Huber remained faithful, however, as a painter for about 30 years. The Margrave Karl III. Wilhelm of Baden- Durlach, he painted many times. The now well-known portrait of the Marquis ( in the Badische Landesmuseum ) is a copy of the court painter Phillip Henry Kisling according to Huber's original from 1711th Long term friendship association Huber with the lawyers, archivists and poet Karl Friedrich Drollinger.

Basel and Bern

From autumn 1702 Huber worked mostly in Bern. Reasons for this decision must have been the lucrative order situation in Bern for a skilled portraitist. Possibly a friend Huber, the acting in Bern Basel engraver Justin de Beyer (1671-1738), it was not uninvolved. Johann Rudolf Huber had left both the guilds organized Malerhandwerk in Basel, as well as his court appointment in Stuttgart behind. In Bern there were no painters' guild, whose order it was obliged to submit. He knew a great patrician clientele who like to capture it on camera to let. 1705 the portrait of Susanna Margaretha Stürler ( 1668-1740 ) falls as a nymph, one of the masterpieces Huber from his time in Bern. Susanna Margaretha Stürler and her husband, who later Venner Johann Frisching, were among the best customers Huber, Bern. Huber had not initially settled permanently in Bern. His catalog shows that he often traveled between Basel and Bern. Specific historical events he was called by his clients 1702 to King Joseph I to Heidelberg in 1708 to settle the Neuchâtel succession dispute and in 1714 commissioned by the Comte du Luc to the conclusion of peace between the Empire and France to end the Spanish Succession War to Baden in Aargau. After a long stay in Basel he returned in December 1715 back to Bern. In the spring of 1718 entries in its works register. Until 1738 now worked Huber primarily in Berne. Through its operating Nothing is known so far. We know only that he refused Jakob Emanuel hand man as a pupil and adopted shortly after Johann Ulrich Schellenberg as such. Schellenberg later became his son, Johann Rudolf Schellenberg was Huber's grandson. 1740 Huber was elected as the representative of heaven guild in the Small Council of the city of Basel. Until he was 80 years old he stopped consuming this office.

Works (selection)

  • Katharina Huber- Faesch to year 1690.
  • Maximilian of Menzingen to 1699th
  • Daniel Tschiffeli (1705 )
  • Johann Bernhard von Muralt, 1710.
  • Niklaus Tscharner, 1719.
  • Portrait of an unknown gentleman to 1720.
  • Johann Rudolf kennel to 1721st
  • Maria Catharina - Effinger of this brook to 1723.
  • Johann Anton Tillier, 1723.
  • Friedrich von Werdt, 1724.
  • John Bernoulli.
  • Crucifixion, 1735.