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FRIEDRICH OVERBECK: PLAYING the Rf3le of the MONK-ARTIST

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FRIEDRICH OVERBECK: PLAYING the Rf3le of the MONK-ARTIST FRIEDRICH OVERBECK: PLAYING THE Rf3LE OF THE MONK-ARTIST Mitchell Benjamin Frank A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Graduate Department of the History of Art University of Toronto @ Copyright by Mitchell Benjamin Frank 1997 National Library Bibiiothèque nationale 1-11 of Canada du Canada Acquisitions and Acquisitions et Bibliographie Services services bibliographiques 395 Wellington Street 395. rue Welfington Ottawa ON K1A ON4 OttawaON KIAON4 Canada Canada vaur irre vorre refenmar Our iUe Mme reférBncB The author has granted a non- L'auteur a accordé une licence non exclusive licence dowing the excIwive permettant à la National Library of Canada to Bibliothèque nationale du Canada de reproduce, loan, distribute or sell reproduire, prêter, distribuer ou copies of this thesis in microform, vendre des copies de cette thèse sous paper or electronic formats. la forme de microfiche/film, de reproduction sur papier ou sur fonnat électronique. The author retains ownership of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial extracts fiom it Ni la thèse ni des extraits substantiels may be printed or otherwise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. Abstract FRIEDRICH OVEREECK: PLAYING THE ROLE OF THE MONK-ARTIST Ph.D. Thesis (1997) Mitchell Benjamin Frank Graduate Department of the History of Art University of Toronto This thesis explores the way in which Friedrich Overbeck (1789-1869), the German Romantic painter, constructed his public identity as %aturalIt and "authentic," and how this construction is reinforced in the art-historical literature. The first chapter examines Overbeck's conception of his self as unique and individual, a conception that accords with the modern notion of the sel£ developed in the writings of Rousseau and Herder and accepted in German Enlightenment and Romantic thought. Overbeck constructs an 'authentic" self in the sense that he assumes that his outward presentation of self is coextensive with his inner nature. The second chapter explores two roles that Overbeck plays: the independent man, which he plays in the context of his familial relations; and the monk-artist, which is his public persona. Both roles relate Overbeck to his class context. In his striving for independence, Overbeck desires bourgeois self-sufficiency, while his pure, quasi-monastic existence connects him to cultural concerns of the middle cf ass. In the third chapter, 1 move on to issues of historicism. Overbeck finds his individuality, it seems, through leading a scripted life and painting in an already established style. 1 explore early nineteenth-century concepts of imitation and origins to contextualize Overbeck's concerns. His Triumph of Relision in the Arts and some of his religious works are discussed in order to bring to light both the modern and antiquated aspects of Overbeck's historical style of painting. The final chapter explores the characterization of Overbeck in the art-historical literature £rom approximately 1840 to 1940. Over this period, Overbeck's monk-artist persona is not transformed so much as it is given new value; art historians and critics accept the properties of Overbeck's constructed identity and frequently use them in order to marginalize Overbeck and his art from the canon of German art history. iii ACKNOWLEDGEMENTS 1 owe a debt of gratitude to a number of people at the University of Toronto. First and foremost, 1 would like to thank my Ph.D. advisor, Professor Hacs-Karl Lücke, whose guidance, patience, and support gave me the confidence to complete this project. Professor Robert Siebelhoff provided useful cornrnents and kind encouragement throughout the preparation of the dissertation. Professors Elizabeth Legge and Matt Kavaler were always supportive and offered helpful advice. And Professor Philip Sohm was very efficient in organizing the defence. Further thanks go to the Social Sciences and Humanities Research Council of Canada, the Ontario Graduate Scholarship, the Connaught and Kinghorn Scholarships at the University of Toronto, and the German Acadernic Exchange Service (DAAD) for their financial support. My research in Germany was greatly aided by very helpful librarians and staff at the Zentralinstitut fur Kunstgeschichte in Munich and the Stadtbibliothek in Lübeck. My heartfelt gratitude goes to the Lücke family for their incredibly generous hospitality in Munich. And finally I would like to thank Kathleen McDougall for her preternatural patience and sage advice. TABLE OF CONTENTS PAGE List of Illustrations ................................... vii A Note on Translations and References .....................x Introduction.............................................. 1 Chapter One: Overbeck and the Modern Bourgeois Self ...... Il Chapter Two: Overbeck: Independent Man and Monk-Artist... 37 1 . The Independent Man ..............................40 2 . The Monk-Artist.................................. 53 2.1 The Pure Monk-Artist .......................60 2.2 Overbeck's Pure Style ......................71 2.3 The Ferninine Monk-Artist ...................81 Chapter Three: Overbeck and Historicism .................100 1. Imitation .......................................108 2 . Romantic Origins ................................119 3 . Overbeck's Triumph of Reliqion in the Arts ......133 4 . Overbeck's Marriaqe of the Virsin and Lamentation .............................. 145 Chapter Four: Overbeck's Characterization in the Literature ......................................... 152 1 . Overbeck Criticism during his Lifetime ..........154 1.1 Raczynski .................................157 1.2 Forster ................................... 164 1.3 Kugler .................................... 168 1.4 Vischer ...................................172 2 . Overbeck Criticism after his Death (18694920).. 179 2.1 Overbeck's Champions ...................... 179 2.2 The Art Historians ........................183 2.2.1 Overbeck the schwarmerisch Painter . ............................ 184 2.2.2 Overbeck vs . Cornelius ............-191 2.2.3 Overbeck the Idealist Painter ......203 2.2.4 The Anachronistic Overbeck .........214 2.2.5 The Exiled Overbeck ................220 3 . Overbeck Criticism in the 1920s and 1930s .......224 3.1 Kuhn ..............*.......................225 3.2 Eberlein .................................. 231 3.3 Lehr ...................................... 236 3.4 Benz ...................................... 244 3.5 Defense of the Early Work .................247 Conclusion ............................................... 257 Appendix: A Biographical Sketch of Friedrich Overbeck ...263 Illustrations ........................................... 269 Bibliography ............................................ 310 LIST OF ILLUSTRATIONS Al1 illustrations are of oil paintings on canvas by Friedrich Overbeck unless otherwise indicated. 1.Wilhelm von Kaulbach, Modern German Artists in Rome, sketch for the fresco, 80 x 160 cm, 1848-54, Neue Pinakothek, Munich. 2.Self-Portrait with the Bible, 55,5 x 455 cm, 1808-09, Museum für Kunst und Kulturgeschichte der Hansestadt Lübeck, Behnhaus . 3.Self-Portrait, 22 x 20,5 cm, oil on paper, 1807, Museum für Kunst und Kulturgeschichte der Hansestadt Lübeck. $.Self-Portrait, black and coloured chalk, 35,2 x 30,6 cm, c.1807, Hessisches Landesmuseum Darmstadt. 5.self-Portrait with the Bible, etching, 187 x 163 mm, 1809, Museum fur Kunst ünd Kulturgeschichte der Hansestadt Lübeck. 6.Adoration of the Masi, oil on wood, 1811-13, Kunsthalle Hamburg . 7.Adoration of the Masi, pen and pencil on parchment, 16,7 x 22 cm, 1811, Museum für Kunst und Kulturgeschichte der Hansestadt Lubeck. 8 .Adoration of the Masi, pencil, 52 x 66 cm, 1807/10, Staatliche Museen zu Berlin, Kupferstichkabinett und Sammlung der Zeichnungen. 9,Device for the Brotherhood of St. Luke, 1809. 10.Kneelins Monk Pravinq, pencil, gone over in pen, 125 x 85 cm, 1826, Museum für Kunst und Kulturgeschichte der Hansestadt Lübeck. Schnorr von Carolsfeld, Friedrich Overbeck, pencil, cm, 1819, Staatliche Kunstsamrnlungen, Dresden. l2.Joseph Sutter, Overbeck takins Communion, pencil and chalk, 48,8 x 36,8 cm, c.1825, Bibliothek und Kupferstichkabinett der Akademie der bildenden Künste, Vienna. 13.Wilhelm von Kaulbach, The Fisht Aaainst Antiavated Tradition, sketch for the fresco, 81 x 178 cm, 1848-54, Neue Pinakothek, Munich. vii 14Jortrait of Franz Pforr, 62 x 47 cm, 1810/1865, Staatliche Museen PeuSischer Kulturbesitz, Nationalgalerie, Berlin. 15,Heinrich Füger, Portrait of Fürstin Gallizin, 202 x 134 cm, 1792, Berlin, Staatliche Museen, Nationalgalerie. 16.Vittori.a Caldoni, 89 x 65,8 cm 1821, Bayerische Staatsgem~ldesammlungen, Neue Pinakothek, Munich. 17.Vittoria Caldoni, black and white chalk, 25,l x 23,l cm, 1820-21, Staatliche Graphische Sammlung, Munich. 18. Italia and Gemania, 94 x 104,3 cm, 1811-1828, Neue Pinakothek, Munich. 19.Franz Pforr, Sulamith and Maria, oil on wood, 35 x 32 cm, 1811, Sammlung Georg Schafer, Schweinfurt. 20.Sulamith and Maria, black chalk and charcoal, 91,7 x 102,2 cm, 1812, Museum für Kunst und Kulturgeschichte der Hansestadt Lübeck, Behnhaus. 2ï.Sularnich and Maria, 22 x 26 cm, 1812, Sammlung Georg Schafer, Schweinfurt. 22.0verbeck and Peter Cornelius, Double Portrait, pencil, 4S,4 x 37 cm, 1812, Private Collection, Munich. 23.Alciati1 Embltm of Friendship 24.Franz
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