Joseph Anton Koch
Koch was a Tyrolean Häusler son, his earliest artistic steps even taught himself. He received a first training in Augsburg, where he was part of the workshop of the sculptor Ignaz Ingerl. On the occasion of his confirmation in 1785, he was the Prince-Bishop of Augsburg, Clemens Wenceslaus of Saxony, equipped with a scholarship. So that he could as students attend the High School Carl in Stuttgart, where he was to receive a comprehensive artistic education. However, cooking sympathized 1791 with the ideas of the French Revolution, so he was arrested for "political suspiciousness " and threatened by the school board with the relegation. He joined the sanction previously and left school without any qualifications. From this time chef cartoon comes to art practices at the High School Karl.
Koch joined a group of Jacobins, first in Strasbourg and in 1792 in Biel, Switzerland. His long walks through the alpine valleys found in his later landscapes reflected.
In 1794 it was cooking possible with a grant of his patron George Nott to travel to Italy to Naples. He visited 1795 Salerno and Paestum, and finally settled in Rome, where he studied with the German classicists Asmus Jakob Carstens, on whose figure compositions he leaned in his own pictures. Radius Carstens Koch met, inter alia, also the Danish sculptor Bertel Thorvaldsen, with whom he became friends.
Since 1797 he worked as a draftsman and etcher and illustrated works of Homer and Shakespeare. After a stay in Vienna (1812-1815) Koch returned to Rome and became one of the outstanding figures in the artistic circle of the Luke brothers, who were known as Nazarenes later. This circle of young artists, including Peter von Cornelius, Joseph of Fiihrich, Friedrich Overbeck, Franz Pforr, Wilhelm von Schadow, Julius Schnorr von Carol Field and Philipp Veit, soon rallied to cook and oriented themselves artistically in him.
Koch devoted himself at the suggestion of the painter Gottlieb Schick, whom he knew from the High Karlsschule time since about 1803 more in oils, where he was based on the French models Nicolas Poussin and Claude Lorrain. From 1803 on Koch began to explore the surroundings of Rome. He was accompanied by his colleague Johann Christian Reinhart. Friedrich Olivier and Franz Horny walked later on the same tracks.
1806 married Cooking the brunette Cassandra Ranaldi. With her he had three children. The famous architect of the 19th century Gaetano Koch is a descendant of Joseph Anton Koch. The painter Johann Michael Wittmer was his son.
Peter von Cornelius gave him part of the decoration of the Casino Massimo, where chef from 1824 to 1829 at a cycle of frescoes for Dante's "Divine Comedy" worked.
By the end of his life painted cook, but remained poor in spite of artistic recognition. Only a few weeks before his death put him Emperor Ferdinand I of Austria a generous pension from. At the age of 71 years, Joseph Anton Koch died on 12 January 1839 Palazzo Galoppi near the Quattro Fontane. His final resting place he found in the Vatican in the Campo Santo Teutonico next to St. Peter's.
Joseph Anton Koch's late work is characterized by the peculiar connection figural composition with large panoramic landscapes. The surfaces are sharply drawn and kept in clear, bright colors. For all the detail, the emphasis rests on the harmonic composition of the Alps and Lazio landscapes, the idealizing and mythisierende intention is unmistakable. The resulting image The 1805-1811 Schmadribachfall ( second version in the Neue Pinakothek, Munich) applies in the professional world as the beginning of the representation of a mountain in itself; the issue of landscape is worthy of depiction and not merely used as a screen background. But it is not yet at the exact, topographically correct adherence of nature, but it is presented a heroic landscape, a conflict-free world, the unity of nature and man. Behind this new picture theme is also a reorientation of society in the 18th century that the mountain was still regarded as something threatening, until the 19th century began the alpine tourism.
- Cartoon on the art practice at the High School Karl ( Stuttgart State Gallery, Graphic Arts Collection ), 1791 teilaquarellierte drawing, 35 cm × 50.1 cm
- Waterfall (Hamburg, Kunsthalle ), 1796, oil on canvas, 100 x 75 cm
- Landscape with the peace offerings of Noah (Frankfurt am Main, Städel Art Institute ), 1803, oil on canvas, 86 × 116 cm
- Landscape with Ruth and Boaz (Copenhagen, Thorvaldsen Museum ), 1803 / 04, oil on canvas, 87.6 × 116.5 cm
- Heroic Landscape with Rainbow, 1804/1815, Munich, Neue Pinakothek
- The ruins of the imperial palaces in Rome (Heidelberg, Palatinate Museum ), 1804, oil on canvas, 56 × 81 cm
- Heroic Landscape with Rainbow (Karlsruhe, Kunsthalle ), 1805, oil on canvas, 118 × 114 cm
- The convent of San Francesco in the Sabine in Rome ( St. Petersburg, Hermitage ), 1812, oil on wood, 34 × 46 cm
- Waterfalls at Subiaco ( Berlin National Gallery ), 1813, oil on canvas, 58 × 68 cm
- Tiberlandschaft at Aqua Acertosa ( privately owned), 1814, oil on panel, 47 × 58,5 cm
- The Bernese Oberland (Vienna, Österreichische Galerie Belvedere), 1815, oil on canvas
- Landscape with Saint Martin (Dresden, Gemäldegalerie ), 1815, oil on wood, 54.5 × 47.5 cm
- Landscape with the scouts from the Promised Land (Cologne, Wallraf -Richartz Museum ), 1816, oil on canvas, 73.5 x 99 cm
- The Haslital at Meiringen (Innsbruck, Provincial Museum ), 1817, oil on canvas, 101 × 134 cm
- Fresco cycle, Casa Massimo in Rome, 1817-27
- The militia in 1809 ( Innsbruck, Provincial Museum ), 1820, oil on wood, 56 × 74 cm
- The Schmadribachfall (Munich, Neue Pinakothek ), 1821/22
- View of Olevano with shepherds and Self-Portrait ( Copenhagen, Thorvaldsen Museum ), 1823, oil on wood, 35.3 × 47.7 cm
- Landscape between Civitella and Olevano ( Hillerød, castle Friedenberg ), 1823/24
- The Serpentara Olevano ( privately owned), 1823/24
- The Wetterhorn from the Rosenlaui from (Winterthur, Oskar Reinhart Museum ), 1824, oil on canvas, 94 × 83 cm
- Landscape after a storm ( Stuttgart State Gallery ), 1830, oil on canvas, 76 × 103 cm
- Landscape with Balaam ( Nuremberg, Germanic National Museum ) to 1832/36, oil on canvas, 77 × 112 cm
- Landscape with Macbeth and the Witches (Innsbruck, Provincial Museum ), 1835, oil on canvas, 81 × 122 cm National Museum
During the devastating fire at the Munich Glass Palace (1931 ) were destroyed:
- Landscape with Balaam
- Landscape with St. George
- The Grimsel Pass
- Recognized Guido da Montefeltro by the devil
- Waterfall at Tivoli
- Landscape near Olevano
- The Casta cellen Tivoli
- Bernese Oberland
- Landscape ( more accurate title unknown)