Susanne Maria von Sandrart
Susanna Maria von Sandrart (* August 10, 1658 in Nuremberg, † December 20, 1716 ibid ) was an artist and engraver in Nuremberg, integrated into a artistically active, economically successful and well-respected family unit.
Biography
Susanna's father Jacob of Sandrart (1630-1708), draftsman and engraver, married in 1654 in Regensburg Regina Christina Eimmart ( 1636-1708 ), from which no artistic activity is known, although she came from a well known family of engravers. The couple moved to Nuremberg in 1656, in 1674 it was he became a citizen. Both had nine children, three of whom were active as an artist: Johann Jacob (born 1655), Susanna Maria ( 1658 born the third child ) and Joachim (b. 1668). The residence of the family was " On the New Building", now Maxplatz, there Sandrart Jacob also had his workshop, he sold books and engravings. The house was also temporarily meeting place of Sandrart 1662 co-founded " Nürnbergischen painting Academie ", the oldest art academy in Germany.
About the life of Susanna Maria von Sandrart outside of their professional activities and the associated environment, few details are known. This information comes mainly from the so-called " folio ", a compilation of their graphic work, which provided them with some texts. Through its education and training they actually wrote in the preface that she had been taught by her mother from a young age in the housework and similar activities, but eventually also get pleasure for drawing and started of his own accord " to etch something on the Kupffer. Now, as my soul. Vatter saw that bey me a natural inclination to this art sey, He has me mehrers Darzu occasioned, and to me radiren given into the hands of copper; finally also those which can he use in his art dealer. " It developed into a recognized, by contemporaries often praised Reproduction graphic designer and presented to the family's publishing numerous copperplate series here, but in addition also illustrations for other publications in Nuremberg and elsewhere.
1683 she married the twenty years older than Johann Paul Auer, painter and member of the Nuremberg Academy of Painting. Thus, although both had very similar career interests, Susanna pulled all the way back to their role as housewife and mother. One son died in 1684 soon after birth, a second -year as a toddler 1687th After a short marriage then died and her husband. In the " folio " she described that she fortunately was able to support her father and brother at work and eat in this way even after a marriage of just four years and 10 weeks to be a burden to someone without. All work contained in the book were caused by her own hand, and most of it during her widowhood, " I bit through God's destiny and to my soul. Parents einrathen me in the other marriage issued Ao [ Anno ] 1695 Wolfgang Moritz Endter as a widower. "
Endter (1653-1723) was a grandson of the Nuremberg book printer, bookseller and publisher Wolf Endter the Elder. and even a successful, very wealthy businessman in these areas. His first wife was died the year before. Susanna was. Marriage by the step-mother of six daughters between ten and twenty years from his first marriage Endters Previously, in their many years of widowhood, she had been artistically very productive. This changed radically now, " because I then have to stop altogether because of large Haußhaltung this work ." In any case, from the time after the second marriage only a few graphic works from her known. From passages in the " folio " suggests a very compromised state of mind in her last years. A drawing was made "in the 56th year of my age, with almost dunckeln eyes ", in other places they wrote of " suffered anguish " and " gloomy times" without explaining this in more detail .. Susanna Maria von Sandrart died in Nuremberg at the age of 58 years.
The widower prompted the publication of a letter of consolation to the sick and dying, had Susanna still compiled and provided with an etching. He put the arrangement of the texts found provided a preface and let the brochure entitled " Exquisite Manual / For God blessed the sick and dying ... " still print in Susanna's death in 1716. The proportion that his wife had at the pub, was not mentioned - possible but in accordance with the customs of the time; Women could, if ever, publish almost exclusively among male pseudonym.
Professional Development
The main background for the development of Susanna Maria Sandrart as a graphic artist, was the fact that many people were working on this or similar areas in their environment. Artists appeared not isolated here, but lived many family members of the art production and the trade in art. Marriages were often concluded with men or women from related professions. With Susanna and her brothers, the third generation of the family was already active as an artist, beginning with Joachim von Sandrart, Susanna's great-uncle, a prominent German artists and writers of the 17th century, who lived and worked for many years in Nuremberg. All this established reputation and influence of the family and supported Susanna in their inclination and their ambition.
The specific nature of family activities - Graphics, book publishing and book sales - was adapted to directly involve many members. Steps of reproduction graphic as the tracing of templates or partly simple handles printing technology also allowed the employees of adolescents, which in any case saved costs and in cases of special aptitude and interest as Susanna almost inevitably led to higher professional qualifications. The favorable conditions, it was also that graphics and book illustrations were as inspiration and imitation in large numbers always available.
Despite generally favorable conditions the formation Susanna went on gender restricted way. She learned drawing and the techniques of engraving and etching exclusively in the workshops of her father and her great uncle. Unlike her little elder brother Johann Jacob could not receive training on the road to stay outside Nuremberg are not known of her. The course offerings at schools and colleges remained closed to her as a woman. Even the " painter - Academie " in her parents' house she had no access. Joachim von Sandrart emphasized in a publication, the importance of the studies of such academies for aspiring artists would have said they were " thoroughly to get the allerbaeste way to the science of external anatomy, size and proportion of the people. " In Susanna von Sandrart's oeuvre, there are also examples for all learning steps that were part of the usual curriculum of such academies (drawings after antique statues, landscapes, nudes, etc.), but these were only copies of existing templates. She had traced in this way an education that they themselves could not be completed.
The " folio "
In a large folio volume all the works of Susanna Maria von Sandrart are included to the extent they can be assigned uniquely - up to two more of her signed etchings. The final compilation must have been 1713-1716. In the preface she writes: "Under which I have for the most part all of my towels verfertigte directed along to the Endings, so you can see what I brought not only my young Great lichen than in special feature of my Seven Years Wittibstand in current book. This book now I want my wedding loved Wolfgang Moritz Endter to a friendly Angedencken worship me, with at Wünschung everything good in body and soul. " This volume contains charcoal, pencil and ink drawings, engravings, etchings and woodcuts to numerous themes and motifs - pictorial representations of well-known proverbs, the four elements, the four seasons, the five senses; Anatomy and costume studies, portraits, cityscapes, religious motifs, studies after Raphael (whose works were widely used as reproductions in Europe), book illustrations and designs for book decoration. Susanna's second husband was bind the collection in their lifetime as a gift to the city of Nuremberg consuming. There, the magnificent band is still in the library of the Germanic National Museum.