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Otto Von Faber Du Faur Otto von Faber du Faur Studien zu den Arbeiten in Öl Von der Historisch-Philosophischen Fakultät der Universität Stuttgart zur Erlangung der Würde eines Doktors der Philosophie (Dr. phil.) genehmigte Abhandlung vorgelegt von Gertrud Seizinger aus Bremen Hauptberichter: Prof. Dr. Steiner Mitberichter: Prof. Dr. Poeschel Tag der mündlichen Prüfung: 20. Mai 2010 Institut für Kunstgeschichte der Universität Stuttgart 2010 I. Einführung ................................................................................. 5 I.1 Quellenlage .................................................................................. 5 I.2 Forschungsstand .......................................................................... 8 I.3 Aufgabenstellung ....................................................................... 10 II. Biografische Daten ................................................................... 12 II.1 Der Offizier Otto von Faber du Faur ......................................... 12 II.2 Förderung der künstlerischen Begabung in Württemberg ........ 15 II.3 Der Unterricht bei Carl Theodor von Piloty in München ......... 20 II.4 Exkurs: Der Freund Carl von Haeberlin .................................... 22 II.5 Erfolg und Scheitern der künstlerischen Arbeit ........................ 24 II.6 Das Haus Arcisstr. 4 .................................................................. 25 II.7 Zum gesellschaftlichen Leben ................................................... 27 II.8 Zur Persönlichkeit Otto von Faber du Faurs ............................. 28 II.9 Tod ............................................................................................. 29 III. Das Werk Ŕ Arbeiten in Öl ..................................................... 30 III.1 Darstellung der Kampfhandlungen des Krieges von 1870/71.. 31 III.1.1 Exkurs: Zum Kriegsverlauf und zu den Waffengattungen ........ 32 III.1.2 Darstellung von Schlachtenepisoden in Erwartung eines Ankaufs .................................................................................................... 34 III.1.3 Kampfhandlungen als freie Arbeiten ......................................... 44 III.1.4 Schlachtenepisoden anderer Maler ............................................ 48 III.1.5 Die Schlachten als Gegenstand patriotischer Literatur ............. 51 III.1.6 Das Panorama „Die Schlacht bei Wörth“ .................................. 54 III.1.7 Panoramen anderer Maler .......................................................... 65 III.1.8 Das Panorama in der Kunstkritik ............................................... 71 III.2 Darstellungen der napoleonischen Kriege ................................. 73 III.3 Zivile Verwendung des Pferdes in Europa ................................ 79 III.4 Orientalische Themen ................................................................ 82 III.4.1 Mann und Pferd ......................................................................... 82 III.4.1 Erotik und Grausamkeit ............................................................. 96 III.4.2 Andere deutsche Orientmaler .................................................... 99 III.5 Andere Gattungen .................................................................... 101 III.5.1 Historienbild ............................................................................ 101 III.5.2 Geschichtliches Ereignisbild ................................................... 104 III.5.3 Genrebild ................................................................................. 107 III.5.4 Landschaft ................................................................................ 109 III.5.5 Porträt ....................................................................................... 114 III.5.6 Stillleben .................................................................................. 117 III.6 Motivverwandtschaften ........................................................... 121 III.6.1 Motivverwandtschaft mit Werken deutscher Maler .............. 121 III.6.2 Motivverwandtschaft mit Werken französischer Maler ......... 132 III.7 Perioden im Werk Otto von Faber du Faurs ............................ 136 III.8 Positionsbestimmung des Œuvres ........................................... 138 III.9 Zum Weiterwirken des Werkes Otto von Faber du Faurs ....... 141 III.10 Exkurs: Aquarelle und Zeichnungen ....................................... 144 IV. Zur finanziellen Situation ..................................................... 151 IV.1 Absatzmöglichkeiten in Stuttgart ........................................... 151 IV.1.1 Die Kunstkommission Ŕ Instanz des offiziellen Gemäldeankaufs in Stuttgart................................................................................ 151 IV.1.2 Der Württembergische Kunstverein ........................................ 156 IV.1.3 Die Permanente Kunstausstellung in Stuttgart ........................ 158 IV.1.4 Illustrierte Zeitschriften und Gemäldedrucke ......................... 158 IV.1.5 Gemäldeverkauf an Privatpersonen ......................................... 160 IV.2 Absatzmöglichkeiten in München ........................................... 161 IV.2.1 Der Münchner Kunstverein ..................................................... 162 IV.2.2 Ausstellungen der Künstlergenossenschaft in München ......... 163 IV.2.3 Zurückweisungen der Gemälde zu Münchner Ausstellungen . 164 IV.2.4 Kunsthändler in München........................................................ 166 IV.2.5 Ankauf der Bayerischen Staatsgemäldesammlungen um 1900167 IV.2.6 Atelierverkauf .......................................................................... 168 IV.3 Otto von Faber du Faur als Unternehmer ................................ 168 IV.4 Sonstige Einkünfte ................................................................... 169 IV.5 Das Beispiel Adolf Schreyer .................................................. 170 V. Quellentexte ............................................................................ 172 V.1 Otto von Faber du Faur ............................................................ 172 V.1.1 Briefe an Carl von Haeberlin ................................................... 172 V.1.2 Briefe von der Reise nach Tanger an die Familie ................... 177 V.2 Maria von Zwehl: „Liebe Erinnerungen“ ............................... 179 VI. Katalog .................................................................................... 188 VI.1 Ergänzende Angaben zu Einzelwerken ................................... 188 VI.2 Ergänzende Beispiele zu verschiedenen Bildtypen ................ 206 VII. Zusammenfassung ................................................................. 215 VII.1 Abstract .................................................................................... 221 VIII. Anhang .................................................................................... 224 VIII.1 Literaturverzeichnis ................................................................. 224 VIII.2 Abbildungsverzeichnis ............................................................ 244 5 I. Einführung Otto von Faber du Faur wurde 1828 in Ludwigsburg geboren, 1869 übersiedelte er von Stuttgart nach München, wo er 1901 verstarb. Er wurde zum Offizier ausgebildet, und erst nach Quittierung seines Dienstes 1867 widmete er sich be- ruflich ausschließlich der Malerei. Obgleich auch im Stuttgarter Raum die Wer- ke Otto von Faber du Faurs in den Depots der Museen lagern, ist dort seine Ma- lerei nicht vergessen worden. Das zeigte die Ausstellung des Heimat- und Kunstvereins Backnang im Jahr 2002, dem es gelungen war, ca. 60 Exponate vorwiegend von Privatsammlern aus Stuttgart und Umgebung zusammenzutra- gen. Ferner nahm die Ludwigsburger Kreissparkasse zwei Werke Otto von Fa- ber du Faurs in ihre Jubiläumsausstellung „Kunst aus der Region“ im Jahre 2002 auf.1 Diese Ausstellungen regten mein Interesse an der Malerei Otto von Faber du Faurs an. Themenstellungen meiner Arbeit sind Fragen nach dem Absatz der Gemälde und nach der Lebenssituation Otto von Faber du Faurs. I.1 Quellenlage Die wichtigste Primärquelle, auf die sich diese Arbeit stützt, sind 110 größten- teils unveröffentlichte Briefe, die Otto von Faber du Faur in der Zeit von 1869- 1882 aus München an seinen Freund in Stuttgart, den Historienmaler Carl von Haeberlin, schrieb; dabei ist die Dichte der Brieffolge innerhalb dieser 13 Jahre unterschiedlich.2 Der vorrangige Inhalt der Briefe ist die künstlerische Arbeit 1 Diese Werke sind „Wachtposten vor einem Torbogen“ (1867) Abbildung 52, „Jagdszene“ (1879) (ohne Abb.). 2 Diese Briefe befinden sich im Besitz der Württembergischen Landesbibliothek Stuttgart unter der Signatur Cod. hist. 40 412, Fasz. I. Sie tragen eine in eckige Klammern von unbe- kannter Hand gesetzte Nummerierung. Diese wird in den Zitaten übernommen, ebenso die originale Briefdatierung Otto von Faber du Faurs. Die Mehrzahl der Briefe ist allerdings un- datiert, jedoch ist eine geschätzte Datierung in runden Klammern angefügt. Die Orthografie der damaligen Zeit wurde belassen, ebenso Rechtschreibfehler, Abkürzungen und die Zei- chensetzung. Cod. hist. 40 412, Fasz. I Briefe[1]-[11] (nach 1871). Cod. hist. 40 412, Fasz. I Briefe [12]-[16] (1869). Cod. hist. 40 412, Fasz. I Briefe [17]-[19] (1871). Cod. hist. 40 412, Fasz. I Briefe [20]-[21] (1872). Cod. hist. 40 412, Fasz. I Briefe [23]-[25] (1873). Cod. hist. 40 412, Fasz. I Briefe [26]-[37] (1874). Cod. hist. 40 412, Fasz. I Briefe [38]-[44] (1875). Cod. hist. 40 412, Fasz. I Briefe [45]-[49] (1876). 6 Otto von
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