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From Biedermeier to the Present the Collection of the Neue Galerie

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From Biedermeier to the Present the Collection of the Neue Galerie Neue Galerie Graz English From Biedermeier to the Present The Collection of the Neue Galerie Neue Galerie Graz, Universalmuseum Joanneum, Joanneumsviertel, 8010 Graz T +43–699/1780-9500, Tuesday–Sunday 10am–5pm [email protected], www.museum-joanneum.at This text is published in conjunction with the permanent exhibition of the Neue Galerie Graz. The Neue Galerie Graz is part of the Universalmuseum Joanneum, founded in 1811 by Archduke Johann. It emerged in 1941 as a result of the division of the Landesbildergalerie into the Alte Galerie and the Neue Galerie. The gallery’s own collection includes artworks from the early 19th century through to the pre- sent. A small selection of works from the extensive collection is on show within the permanent exhibition. On the ground floor of the museum, exhibits range from Classicist paintings through to the pre- decessors of Modernism in Styria in the mid-20th century. On the upper floor, the permanent exhibition continues with a selection of works from the 1960s to the present day. Groundfloor/Level 0: 1794) showing Orpheus, the singer who was reputed to have enchanted man and gods—and Classicism and early Realism even stones—with the magic of his music. Due to the influence of the Vienna Following the end of the Napole- Academy of Fine Arts, classicist onic Wars in 1815, Chancellor art played a prominent role within Metternich introduced an oppres- the Austrian art establishment at sive regime to stifle liberal and the turn of the 19th century. Clas- democratic tendencies and sup- sicist artists sought to emulate port the former pre-revolutionary the art of classical antiquity, an system of power in Austria. At the ideal that was equally important same time, the formation of mid- for visual art, architecture and dle-class society led to a change applied art. Art was to embody in artistic motifs. In the course of the conceptions of rational order the 19th century, specific forms of and universal harmony. visual art such as landscape and Johann Nepomuk Schödlberger’s genre painting that sought to Arcadian landscape (1812) repre- emulate reality—the art of what sents a popular classicist motif is known as the ‘Biedermeier’ and mythical subject of the Hel- period (1815–1848)—began to lenistic period (circa 330–30 BC). boom. Descriptive and frequently According to legend, it was a idealised portrayals of everyday place where humankind would scenes, intimately reflecting forever live in peace and harmony. people’ s lives in as much detail as Classicist painters did not strive possible, became increasingly to transcribe immediate reality, popular. but rather to compose a harmoni- Ferdinand Georg Waldmüller is ous landscape containing classi- probably the most significant cal elements. Mythological motifs artist of the Viennese Biedermeier that one could assume were period. In his painting Scene after familiar to the audience were the Maria zell blaze (1827), the equally popular. A fine example of artist powerfully addresses a this genre is Franz Caucig’s contemporary event (a blaze dev- Orpheus at Eurydice’s grave (circa astated the pilgrimage site in 1827). His intention is to evoke Landscape painting around 1850 compassion in the beholder. He similarly conveys an emotional Following 18th-century enlighten- message in many of his other ment, the conception of sublime, works such as Refuge at the way- unspoiled nature, untouched by side shrine from a thunderstorm man, began to exert growing (1832); An itinerant beggar family influence on art. In addition, rap- receives gifts from poor peasants idly spreading industrialisation in on Christmas Eve (1834) and Joys the 19th century nurtured the of motherhood (1832), in which he desire for relaxation and peace translates the moral conceptions beyond urban areas. The country- of the time into a staged rural side became a synonym for rustic idyll of peasantry. harmony. As a result, landscape With both his caricature-like com- painters gradually turned away positions A comic scene in the from ideally composed land- student’s studio (1828) and A scapes, instead seeking to derive comic scene in the studio (1829), (and to study) their subject mat- Josef Danhauser conveys a ter directly from nature and to humorous impression of his stu- paint as realistically as possible. dent days at the Academy during Friedrich Gauerman n depicts in the 1820s. his painting Boar attacked by Franz Steinfeld’s views of Lake wolves (1844) a dramatic scene Altaussee with Trisselwand (circa which best illustrates the shift in 1825), Lake Hallstatt (circa 1834), landscape painting around 1850 and Dachstein mountain with and the emerging interest in nat- Lake Gosausee (circa 1855) reflect ural phenomena. Prior to execut- growing endeavour to paint real- ing paintings such as this, it was istic landscapes rather than ren- essential to study the subject der idealistic compositions, as matter thoroughly. Gauermann, was typical of Classicism. for instance, often visited Schön- brunn Zoo or observed the ani- mals on his own estate (which included deer, foxes and eagles). His technique was to execute pencil sketches and oil studies en plein air, which then served as a Portraying the South between basis for his work in the studio. idyll and reality Gauermann’s Homecoming in the thunderstorm at Lake Attersee Foreign countries and cultures (1856) depicts a lively scene. It fascinated many 19th-century shows peasant folk and their herd European artists. They either heading for the sheltering farm- journeyed themselves or drew house, which despite its evident their inspiration from travel narra- shabbiness nevertheless conveys tives, which were becoming highly an air of tranquillity. Poverty here fashionable. However, the Orien- is part of a staged idyll of rural talists’ view of the foreign was life. largely uncritical and exalted, Portrayals of stormy weather, which is why their depicted such as Ignaz Raffalt’s Land- impressions do not necessarily scape with thunderstorm (1843), reflect reality. enjoyed increasing popularity Everyday southern life (especially around 1850. Alongside their in Hungary, Italy and the Orient) attempts to depict a variety of was set amidst the hustle and weather conditions, artists also bustle of streets and markets. strove for a faithful account of Accordingly, Alois Schönn’s Fish nature. market in front of the Porticus Alpine motifs also served to Octaviae in Rome (circa 1878) inspire landscape painting, for describes a typical 19th-century instance in Markus Pernhart’s Italian scene in which ancient The Großglockner mountain (circa monuments, such as the Portico 1850), or Anton Schiffer’s View of of Octavia in this composition, Berchtes gaden (circa 1850). play an equally important role Mountaineering and hiking had alongside the assumed cheerful- become fashionable middle-class ness of day-to-day southern life. leisure activities, and hence also The bustling market place in served as popular motifs. which young and old meet con- veys a happy, convivial atmos- phere. Leopold Karl Müller is probably Austria’s most signifi- cant Orientalist painter. In a let- ter, he describes The caravan adopted this approach for their (1876) as ‘by far the best picture I own work, especially to depict have ever painted’. His artistic various times of day and seasons, homeland was Egypt, which he harmony between man and nature visited nine times in all. The pre- and everyday rural life. sent composition attests to Emil Jakob Schindler (Farmhouse Müller’ s love of multi-figural in Themenau, circa 1882; Dutch scenes and careful attention to landscape, circa 1875) is regarded detail. today as the most significant representative of Austrian Atmos- pheric Realism. Since the 1880s, Atmospheric Realism Schindler had given private tui- tion to Marie Egner (River Thames Established around 1830 not far at Putney Bridge, circa 1888), from Paris, the ‘Barbizon School’ Olga Wisinger-Florian and Carl not only paved the way for Moll. From the 1860s on, he and Impressionism, but also exerted his student colleagues from the considerable influence on Aus- Academy, Eugen Jettel (At the trian painters of what is known as Seine and French farmhouse, both Atmospheric Realism. The artists 1895) and Rudolf Ribarz (Houses who came together in Barbizon by the wayside, 1882) increas- (e. g. Rousseau, Corot, Daubigny ingly turned towards the painters and Diaz de la Peña) introduced a of the Barbizon School for inspira- radical change to 19th-century tion, developing further their landscape painting. Turning away approach to landscape painting. from arranged landscapes and One of the first successful female favouring nature studies instead, Austrian painters, Tina Blau, also they made their first attempts at belonged to Schindler’s circle. ‘plein air’ (outdoor) painting. The However, she went her own way, Barbizon School developed the distinguishing herself from intimate landscape genre (pay- Schindle r’s art in a quite prosaic sage intime) that would set the fashion. In Szolnok (circa 1873), scene for the expression of per- she depicts a view of the hamlet sonal nature experiences. Aus- south of Budapest that became trian Atmospheric Realists home to an influential painter colony during the second half of interest in the subject of sunlight. the 19th century. Enthralled by the His favourite motif was the Italian special light conditions and exotic coastline and its ever-changing atmosphere of the Hungarian atmosphere. lowlands, the Szolnok artists Friederike Koch-Langentreu’s
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