Josef Moroder-Lusenberg

Josef Theodor Moroder, called the Lusenberger ( born May 28, 1846 in Ortisei, † February 16, 1939 ibid ) was a South Tyrolean painter, sculptor and carver. He is considered the greatest painter Ladin.

Life

Joseph was the fourth of eight children, but lost the age of eight his father. Good suggestions for drawing he got from the teacher Josef Öfner in pen Fiecht, where he enjoyed some of his school education. The first handles as a sculptor, he was in three carvers at the court Pecei on surface. Another lesson could he Passua, who lived for a time in St. Ulrich complete, the Academic sculptor Franz Prinoth. After working in his own sculpture workshop - Maria Dolorata and the Madonna in the parish church of St. Ulrich (see picture) evidence already of great artistic skill of Lusenbergers - he moved to Munich thirty years old. He was married for the second time. His first wife, Anna Maria born Sanoner, died after the birth of their fourth child. The second woman was Felizita Under Platzer, born on July 7, 1850, he married in the church S. Marius in Trento in 1875.

A 1930 published novel of folkish - national Tyrolean homeland writer Maria Veronika Rubatscher describes in detail his life in Val Gardena ..

Moroder was initially employed in the Mayer'schen Hofkunstanstalt in Munich.

At the Munich Academy of Art ( Admission: June 21, 1876 - Matriculation: 1841-1884 ) Joseph Knabl, Ludwig von Löfftz and Feodor Dietz were Moroder's teacher ( 1876-1880 ). From 1880 to 1884 he was a pupil of Franz von Defregger. In Munich, he also came with the local art currents in contact with the historical and genre painting of Franz Defregger, with the idealism and the realism of the older by only two years Wilhelm Leibl. Through his friendship with Defregger, the common walks and rides about art to Trentino and by the order- even copying the images Moroder also came into his own creations sometimes in significant dependence of the then extremely revered master.

The good nature watching the little Joseph may have acquired in the rural environment and by working in the fields and woods on the Geburtshof of Scurcia on the sunny side of Ortisei, as well as the keen eye for our community. In innumerable sketches and drawings he has his children and grandchildren held.

In the demanding watercolor technique he has portrayed a number of people that stood by their distinctive character. They are painted realistic and harmonious color. This fine chromatic harmony is found not only in the excellent portraits, but also in the attention to detail carefully designed interior, in the old rooms, kitchens and mountain huts (see picture left) and in the fresh landscape watercolors from different seasons. From its rich drawings, paintings and sculptural work, the small-format watercolors are probably the least known. In these but show his individuality and autonomy most obvious and well his exceptional drawing and painting skills. His last picture, according to a statement his daughter Aurelia, he painted 1932: costumes before the house of God. Then his eyesight left him " which could no longer perform his brush. "

A major exhibition of works Moroder took place in Innsbruck in 1973. An exhibition of his watercolors in 1985 in Bolzano. Two other large exhibitions were in 2009 in Ortisei, with 120 plants and in Bolzano with 100 works instead. In Val Gardena Museum - Museum de Gherdeina in Ortisei, the Museum of the birthplace of the artist, a collection of over 30 paintings, watercolors and drawings can be viewed. Further works are preserved in the Museum Ferdinandeum in Innsbruck and at the City Museum Brunico.

A student from the workshop of Lusenbergers was Ludwig Moroder - Lenert, whose niece of Adele Moroder, a distant relative married. In addition to his five sons, Johann Baptist, Alfons, Josef Herrmann and Otto, he also made John Piazza, Joseph Schieder from Klausen and other sculptors. One of his grandchildren is the sculptor Professor Albin Moroder, son of Otto Moroder. His son is the sculptor, wood carver and medalist Cirillo Dell'Antonio.

" The Lusenberger had a difficult character. How often are an artist, he was stubborn, self-centered and often grumpy. He had a strong self-confidence, and cared little for the affection of the Company. As a nerd, he had a special way of life and his philosophy, which had nothing in common with opportunism ".

Critical remarks

About: One Last Kiss on Anna Maria June 29, 1874 ... there is nothing to feel of defreggerischer embossing ... reminiscent of the black and white composition at the early Manet ... This also memories of the early Munch come on .. .. Moroder - Lusenberg proves with this little pictures ... as a contemporary. People pictures that could take sustained to paint Josef Moroder - Lusenberg whose meaning is not yet recognized in portraiture ..

Moroder Lusenberg became a photographic reporter Ladin landscapes and people. Inspired by Defregger's painting " The ball on the pasture ," which was shown in 1873 at the Vienna World Exhibition, Moroder had rediscovered painting. Defregger remained for him the artistic point of reference, but often he copied his time in Munich the Master. Around 1900, but it opened just as impressionistic techniques. As an art collector, he preserved many medieval works of art in front of the sell-out, so resembled his studio a mixture of museum space and representative living room. The wooden ceiling was the family portrait of the artist.