Gotha, Friedrich W. E. Döll, sculptor, Vielsdorf, Thuringia 1750–1816

Gotha, Friedrich W. E. Döll, sculptor, Vielsdorf, Thuringia 1750–1816 Gotha, Weimar, Jena, Classicism in 18th. and 19th. Century Sculpture

Friedrich Wilhelm Eugen Döll, (1750, Veilsdorf bei Hildurghausen – 1816, Gotha) was a German sculptor. In the sphere of Eugen Doel was Louise Seidler born on 15 May 1786 was the daughter of an academic in the university in Jena. She spent her youth with her grandmother (under whom she learned music and drawing) then on her grandmother’s death was adopted by the wife of a doctor Stieler at Gotha. Her love of art was developed under the sculptor Friedrich Wilhelm Eugen Döll, (Doell) who had returned to Gotha after an eleven-year stay in Rome. Back in Jena she lived in her father’s house, next door to Goethe’s home in Jena’s Schloss, getting to know him – Goethe, in her childhood. In Jena she also became friends with Silvie von Ziegesar and Pauline Gotter, later wife of the Jena professor Friedrich Wilhelm Schelling. Louise Seidler gained full admission to intellectual circles in the city, which then included Friedrich Schiller, Johann Gottlieb Fichte, Friedrich Wilhelm Schelling , Georg Wilhelm Friedrich Hegel, the brothers Alexander and Wilhelm von Humboldt, the brothers Friedrich and August Wilhelm Schlegel, Friedrich Tieck, Clemens Brentano, Voß, Paulus, Friedrich Immanuel Niethammer, Zacharias Werner and others. Goethe met her in the house of the publisher Carl Friedrich Ernst Frommann, and had a lifelong close friendship. The Gothaer Hofbildhauer Eugen Friedrich Wilhelm Doell (1750 – 1816) founded 1786 at the palace Friedenstein of Ernst II, in Gotha, Thuringen, Germany an Academy of Fine Art, and an Abgusssammlung, (plaster cast collection of primarily antique Greek Hellenistic and Greco-Roman copies of the Hellenistic sculpture). Doell created the marble bust of Johan Joachim Winckelmann in Rome in 1779-1780. After he studied initially with Ney, he also studied with Jean Antoine Houdon in Paris from 1770 to 1773. This earlier study of Doell and his Rome venture was supported with a paid stipend to study with Raphael Mengs and Johann Friederich Reiffenstein, and to make copies of Greek sculpture in Italy for eleven years, as well as his achievements after returning to Gotha by Ernest Frederick, Duke of Saxe-Coburg-Saalfeld, Ernest Frederick’s son Francis, Franz Friedrich Anton Duke of Saxe-Coburg-Saalfeld (Francis, Duke of Saxe-Coburg-Saalfeld – Coburg, 15 July 1750 – Coburg, 9 December 1806. He was the eldest son of Ernest Frederick, Duke of Saxe-Coburg-Saalfeld and Sophia Antonia of Brunswick-Wolfenbüttel. He received a private, careful and comprehensive education and became an art connoisseur. Francis initiated a major collection of books and illustrations for the duchy in 1775, this despite his inheriting a near ruined duchy. Franz Frederick Anton collected engravings of significant artists between the 15th and 18th century which eventually expanded to a 300,000 picture collection of copperplate engravings currently housed in the Veste Coburg. He was commissioned into the allied army in 1793 when his country was invaded by the Revolutionary armies of France. The allied forces included Hanoverians, Hessians, and the British. He fought in several actions against the French. Francis succeeded his father as reigning Duke of Saxe-Coburg-Saalfeld in 1800. In the discharge of his father’s debts the Schloss Rosenau had passed out of the family but in 1805 he bought back the property as a summer residence for the ducal family. Emperor Francis II dissolved the Holy Roman Empire on 6 August 1806, after its defeat by Napoleon at the Battle of Austerlitz. Duke Francis died 9 December 1806. On 15 December 1806, Saxe-Coburg-Saalfeld, along with the other Ernestine duchies, entered the Confederation of the Rhine as the Duke and his ministers planned). Doell’s support continued with Duke Ernst Anton Carl Ludwig I of Gotha, and Altenburg, Thuringen (Coburg, 2 January 1784 – Gotha, 29 January 1844) He had previously been Duke of Saxe-Coburg-Saalfeld (as Ernst III) from 1806 until the duchy was reorganized in 1826. When Ernst (Ernst Anton Carl Ludwig) succeeded his father in 1806, Duke Ernst III’s country – Saxe-Coburg-Saalfeld – was under French control. Ernst already had to fight against Napoléon as a general of the Prussians. The peace of Tilsit in 1807 enabled the young duke to get back his territories, having the Russians on his side. His sister Juliane was married to Konstantin, the brother of Alexander I Tsar of Russia. After the Congress of Vienna and its hence resulting gain of territory which Ernst should sell to Prussia years later, he could achieve Gotha that belonged to the territory of his former wife. Now he became Duke of Saxe-Coburg and Gotha. He proved to be a patron of arts and sciences and the first German sovereign to rebuild castles in a romantic neo-Gothic style, embedded in parks of British landscape style. His younger brother Leopold (Georg Christian Friedrich) was later elected the first King of the Belgians. This support in extensive education from the top artists of Doell’s time, as well as an amazing amount of time sculpting directly from the best Greek and Greco-Roman sculpture, achieved a level of sculpture greater than the Germanic school was able to offer at the time. On his return, he was appointed court sculptor in 1784 and received commissions for busts, monuments, and reliefs, particularly for the residences at Gotha, Anhalt-Dessau and Meiningen. In 1786 he became a professor (his own pupils included the painter Louise Seidler) and in 1787 was put in charge of art monuments in Gotha. The program was no doubt influenced by Houdon. The largest collection of Houdon’s sculpture work was in Gotha, Germany, collected by Ernst Duke of Saxony-Gotha, and Altenburg. The collection in Gotha rivals the collection in the Louvre of Houdon’s sculpture. Houdon’s sculpture was collected and commissioned in his lifetime in Gotha, Berlin, Weimar, Eisenach, Altenburg, Rudolstadt, and Schwerin, Germany.

Die Malerin Louise Seidler (1786–1866), porträtiert von Carl Christian Vogel von Vogelstein

Die Malerin Louise Seidler (1786–1866), porträtiert von Carl Christian Vogel von Vogelstein

 

Schillers_Gartenhaus_in_Jena_1797

Schillers Gartenhaus in Jena 1797

Schillers Gartenhaus in Jena 1797

Schiller’s garden house in Jena. 1797; Sitting from left: unknown, Caroline von Beulwitz, Charlotte Schiller with son Karl, Herder, unknown, Caroline von Dachroeden and others, Schiller; Standing from the left: Geothe, Wieland, Wilhelm and Alexander von Humboldt.

After the negative reply, Goethe advised me to buy the garden house of the late court councilor, Schmidt, who, because of its proximity to the city, excellently suited himself. I did not possess the required 1,200 thalers, but I did not want to give up the plan, for the house lay in a charming, beautiful setting with a splendid view, and had every conceivable advantage. So convinced of my plans, I wrote to Cotta and asked him for a corresponding advance, since I could not have lent the money elsewhere. My mother-in-law had laid all the money and could not dispose of it freely.

Cotta helped, and I was able to conclude the purchase contract on 16 March 1797. The spacious house was situated south-west of Jena’s market square, between the Angel Gate and Neutor, on a canyon through which a part of the Leutrabache stretches around the city.

Frederich Wilhelm Eugen Doell, Minerva handing Pegasus over to Bellerophon, marble relief, Gotha, Thüringen, Germany

Frederich Wilhelm Eugen Doell, sculpture portrait bust of Johann Joachim Winckelmann, Friedenstein Castle, Schloss Friedenstein, Gotha, Thüringen

Frederich Wilhelm Eugen Doell, sculpture portrait bust of Johann Joachim Winckelmann, Friedenstein Castle, Schloss Friedenstein, Gotha, Thüringen

Doells marble bust, H 48.2 cms, fas 446

Johann Joachim Winckelmann (1717-1768) lived since 1755 he lived Rome where a scholarship of the Dresden health resort prince allowed to him an independent scholar’s life. Later he became a librarian in the service of the cardinal Archinto and he reached in narrow touch with the Roman scholar’s world. After the death Archintos he began in 1759 as a librarian with the cardinal Alessandro Albani, the biggest antique collector in Rome in whose services he remained up to his death. In April, 1763 nightmare aniseed the office of an upper supervisor of all antiquities in and around Rome was transmitted to him by the mediation. In spring, 1768 he began a long planned trip to Germany which he exited, however, already in Regensburg and returned over Vienna to Italy. In Trieste he fell victim to a murder with robbery. Today Winckelmann becomes as‚ father ’ of the classical archeology designated. On many own preparations falling back he completed in 1764 the ” history of the art of the antiquity “. On this occasion, for the first time he developed a sequence of style epochs of the Greek and Roman art which was won immediately from the view by original plants. The Roman collections and also the discoveries in Pompeji and Herculaneum offered him a fullness of material which he described, sorted and under self-created artistic possible specifications valued.

Johann Joachim Winckelmann (1717-1768)

He was born in Stendal, the son of a poor shoemaker. He studied Greek art and literature. In Nothenitz near Dresden he was the librarian to Count Henry von Bünow, whom he collected materials for the history of the Holy Roman Empire. The familiarity of the Dresden gallery collection initiated his pursuit of his examination into art, and his association with artists, especially the artist A.F. Oeser, who later influenced Goethe. Winckelmann’s study of ancient literature carried him to Rome, where he became librarian to Cardinal Passionei in 1754, where he joined the Roman Catholic Church. Before leaving Rome he published his “Thoughts on the Imatation of Greek Works in Painting and Sculpture”. He was supported by a pension of 200 thaler in 1755, by the king of Poland, elector of Saxony, Augustus III, for his continued study in Rome. He later became a librarian in the service of the Cardinal Archinto. After the death Archintos he began in 1759 as a librarian with the cardinal Alessandro Albani, the biggest antique collector in Rome in whose services he remained up to his death. Anton Raphael Mengs was a close friend of Winckelmann who assited him with the study of Roman antiquities. Mengs also started one of the most important plaster cast collections of Greek antique sculpture in Europe in Dresden, Germany. This was integral to the initiation of the highest level of achievement in the sculpture of the Dresden, German schoolstarting at the end of the 18th. Century. This later 18th. Century Dresden, German school was born under Christian Daniel Rauch, and Ernst Friedrich August Rietschel, and was of great influence with the Berlin school with Johann Gottfried Schadow, as well as the architecture of Friedrich von Batzendorf : Karlsruhe plan, Germany, 1715, completed by Friedrich Weinbrenner with the Marktplaz, 1797; Friedrich Weinbrenner,(1776 Karlsruhe, – 1826 ebenda), was a German Architect, State planner, builder of Classicism, “Weinbrenner-style”, and teacher of the students that designed Baden Baden. Carl Gotthard Langhans, 1732, Landshut, Silesia – 1808 Wroclaw (Breslau) , Lower Silesia, Architect with some of the earliest Classicism in Germany, Brandenburg Gate, Berlin, 1789-94 ; Belvedere, (Charlottenburg, Spree River, Berlin, Germany), Teahouse, and Observation Tower. Hans Christian Genelli (1763–1823). German architect and archaeologist, Neo-Classical, Greek Revival pioneers in Germany. German family of artists, of Danish descent. Johann Franz Joseph Genelli (1724-92) was a draughtsman and embroiderer in the service of Empress Maria-Theresa in Vienna until 1774, when he went to Prussia. Janus Genelli (1761-1813), a landscape painter, Hans Christian Genelli and Friedrich Genelli (1765-93), engraveurs, were sons of Johann Franz Joseph; (Giovanni) Bonaventura Genelli was Janus’s son. (b Berlin, 26 Sept 1798; d Weimar, 13 Nov 1868). Draughtsman and painter, nephew of Hans Christian Genelli. He was educated by his uncle, under the influence of Asmus Carstens, He also studied with the painter Friedrich Bury, in 1814-19 he attended the Berlin Kunstakademie, studying with Johann Erdmann Hummel. David Gilly (1748, Schwedt – 1808, Berlin) was a German architect and architecture-tutor in Prussia. Friedrich David Gilly (1772 Altdamm, Pomerania (Szczecin, Poland) – 1800, was a German architect, the son of the architect David Gilly. he was known as a prodigy and the teacher of the young Karl Friederich Schinkle. In 1788 he enrolled at the Akademie der Bildenden Künste in Berlin. His teachers there included Carl Gotthard Langhans, and the sculptor Johann Gottfried Schadow. Greek Revival mausoleum (1800–02; mostly destr. after 1942) at Dyhernfurth near Breslau (now Brzeg Dolny near Wroklaw, Poland), in the form of a prostyle Greek temple; Karl Friedrich Schinkel,(1781 Neuruppin in the Margraviate of Brandenburg – 1841, Berlin) Prussian Architect and painter. Schinkel was the most prominent German architect and the best example of Neoclassicism;Leo von Klenze (Franz Karl Leopold von Klenze, 1784, – 1864, was a German Neoclassicist Architect, painter and writer. Court architect of Bavarian King Ludwig I, Leo von Klenze was one of the most prominent representatives of Greek Revival style. Von Klenze studied architecture in Berlin and Paris. Between 1808 and 1813 he was a court architect of Jérôme Bonaparte, King of Westphalia. Later he moved to Bavaria and in 1816 began to work as court architect of Ludwig I. The King’s passion for Hellenism shaped the architectural style of von Klenze. He built many neoclassical buildings in Munich, including the Ruhmeshalle and Monopteros temple. On Königsplatz he designed probably the best known modern Hellenistic architectural ensemble. Near Regensburg he built the Walhalla temple, named after Valhalla, the home of gods in Norse mythology. Russian Emperor Nicholas I commissioned von Klenze to design a building for the New Hermitage, a public museum that housed Greek, Roman, and Egyptian antiquities. Von Klenze also designed and arranged museum galleries in Munich, including the Glyptothek and Alte Pinakothek. Von Klenze was not only an architect, but also an accomplished painter and draughtsman. In many of his paintings ancient buildings were depicted. Those served as models for his own architectural projects. Klenze studied ancient architecture during his travels to Italy and Greece. He also participated in excavations of ancient buildings in Athens and submitted projects for the restoration of the Acropolis. Louise Seidler produced a drawing of the friezes of Leo von Klenze’s Apollotempel at the Nymphenburg Palace for Goethe; etc…In April, In spring, 1768 Winckelmann began a long planned trip to Germany, however, when he was in Regensburg, he returned through Vienna to Italy. In Trieste he fell victim to a murder with robbery. Today Winckelmann is designated as the father of Classical archeology. The Roman collections and also the discoveries in Pompeii and Herculaneum offered him a fullness of material which he described, sorted and created an artistic specification for catagorizing type. In 1762 Winckelmann published his “Observations on the Architecture of the Ancients”, including an account of the temples at Paestum, and his writings on Herculaneum, and Pompeii in 1762, as well as his “History of the art of Antiquity” in 1764. On this occasion, for the first time he developed a sequence of style epochs of the Greek and Roman art.

The above text on Winckelmann from online Wikpedia.

1777-78-Louis Valadier's copy in bronze of Frederich Wilhelm Eugen Doell's marble of Johann Joachim Winckelman

1777-78-Louis Valadier’s copy in bronze of Frederich Wilhelm Eugen Doell’s marble of Johann Joachim Winckelman

FW Doell, Johann Joachim Winckelmann

Bronze bust cast, 1777/78 by Louis Valadier after Doells marble bust, H 48.2 cm, F 446

Museum Hessen Kassel (www.museum-kassel.de)

Below text on Bernini, Winckelmann, and Falconet taken from:

On the History of the Appraisal and Use of Plaster Casts of Ancient Sculpture (especially in Germany and in Berlin), By Adolf H. Borbein, English translation by Bernard Frischer

http://www.digitalsculpture.org/casts/borbein/index.html

In 1665 Lorenzo Bernini, who was already very famous, came to Paris in order to make a portrait of the king. On this occasion, he visited the royal academy of art, looked with little enthusiasm at the works of the members of the academy that were displayed there, and recommended to his assembled colleagues that the education of their students would be better served if the academy created a collection of casts of famous ancient statues, busts, and reliefs. Through drawing the classical models students would come to understand Beauty, and this would be useful for the rest of their life as a standard of quality. It would only hurt young people if they were confronted from the start with Nature. Nature is almost always / [p. 31] feeble and ugly. If the artist only followed Nature, then he would never be able to create something truly beautiful and great

What Bernini meant is illustrated by a picture made in 1827 by the Danish painter Wilhelm Bendz (fig. 3). A sculptor works after a living model but at the same time he corrects his model by looking at casts of ancient statues, especially the famous “Borghese ‘Gladiator’” in the Louvre, represented in his studio by a cast in reduced format.

Figure 3. Wilhelm Bendz, “A sculptor works after a living model in his studio” (1827). Copenhagen, Statens Museum for Kunst (from: Kunstmuseets Arsskrift 1977–1980, 42 fig. 3).

Bernini’s words could have been uttered by Johann Joachim Winckelmann—an oddity, because for Winckelmann Bernini embodied the decline of art, a decline which could only be reversed by reviving understanding of Greek art. Winckelmann’s Geschichte der Kunst des Altertums appeared in 1764 and is primarily a history of sculpture. The descriptions which Winckelmann devoted to the Belvedere Apollo and Torso, sound rhetorical to our ears. Nevertheless, in terms of methodology they were a milestone in the history of sculpture. They showed something still valid today, viz. that the interpretation of a statue presumes the precise description of the object; that it must concentrate on the details without ever losing a sense of the whole and its impact on the observer.

The French sculptor Étienne Falconet (1716-1791), a contemporary of Winckelmann, was convinced that a cast allows the aesthetic qualities of a statue to be more clearly recognized than does the original itself. White plaster, seen under even light, makes it easier to judge pure form. And it makes the strengths and weaknesses of the artist stand out more clearly.[20] Winckelmann designated white as the most beautiful color. According to him, a white, nude body was not only beautiful but also appeared bigger than one that was painted. In this context Wickelmann expressly mentions freshly created plaster casts, which appeared to have a greater volume than their originals. In another passage Winckelmann combines the cast with Beauty: “The true feeling of the Beautiful approximates a fluid plaster which is poured over the head of Apollo and touches and embraces all its parts.” People liked to view white casts illuminated by torchlight, which made them appear animated. Nighttime visits to cast collections were popular throughout the eighteenth century.

The above text on Bernini, Winckelmann, and Falconet taken from:

On the History of the Appraisal and Use of Plaster Casts of Ancient Sculpture (especially in Germany and in Berlin), By Adolf H. Borbein, English translation by Bernard Frischer

http://www.digitalsculpture.org/casts/borbein/index.html

Frederich Wilhelm Eugen Doell, The Lessing monument at the library in Wolfenbüttel, 1795

Johannes Kepler Büste von Friedrich Döll, Hist. Museum, Regensberg. Fürst-Anselm-Allee. Monument to Johannes Kepler, with Doric Monopteros

Conical roof, bust, marble relief (copies, originals in the museum Hist.) Astronomical symbols, 1806/1808 by Emanuel d’Herigoyen, sculpture bust of Johannes Kepler, by Frederich Wilhelm Eugen Doell, marble relief added later, sculpted by Johann Heinrich von Dannecker, 1859.

 

Corona Schröter (1751-1802), German Singer, drawing a bust of Johann Wolfgang Goethe, 18. Century in company of Goethe from 1794 to 1797, oil painting (Ölgemälde von) by Georg Melchior Kraus, 1785

Corona Schröter (1751-1802), German Singer, drawing a bust of Johann Wolfgang Goethe, 18. Century in company of Goethe from 1794 to 1797, oil painting (Ölgemälde von) by Georg Melchior Kraus, 1785

Corona Schröter (1751-1802), German Singer, drawing a bust of Johann Wolfgang Goethe, 18. Jahrhundert 1794 bis 1797 etwa 1760, oil painting (Ölgemälde von) by Georg Melchior Kraus, 1785

In 1780 Geothe was an apprentice in the Weimar Masonic Anna Amalia zu den drei Rosen aufgenommen (which had to close soon). In April 1782 he finally got the Duke of nobility by the emperor, so that at official occasions he no longer had to sit on the sidelines. In 1783, the recording was followed in the Illuminati as “Abaris”. Besides innumerable odd jobs (masquerades, elevators, redoubts, singing games and occasional poems, mostly for performances in the pleasure palaces of the ducal court) he wrote essentially only “Iphigenia in Tauris”, a play in prose and counterpoint to his life. Government business, the peculiar relationship with Charlotte, simultaneously a half affair with the attractive Corona Schröter – that life was neither noble nor silent. Corona Elisabeth Wilhelmine Schröter also composed songs, setting texts by Frederich Schiller and Johann Wolfgang von Goethe to music. The figures in the Iphigenia, however (even the barbarian prince) are human and calmly. Brought to the great beginnings of Frankfurt (“Egmont“, “Faust“, “Der ewige Jude”), he dared not move. But he started the 1778 Bildungsroman “Wilhelm Meister”, just a quiet chamber piece for five people, “Torquato Tasso”. After its success in the youth Goethe could now do with his work no more sensation. There were two unauthorized “total expenditure” (aka piracy), but otherwise it had depreciated audience and publishers.

 

http://www.goethezeitportal.de/index.php?id=425

Jutta Assel
Goethe-motives on postcards:
Goethe-sculptures

as of June 2015

See point 10.


Other pages to Goethe images on postcards

  • Contemporary Goethe-portraits and their adaptations
    http://www.goethezeitportal.de/index.php?id=433

  • Stielers Goethe-portrait and its adaptations
    http://www.goethezeitportal.de /index.php?id=435

  • Tischbein “Goethe in the Campagna
    http://www.goethezeitportal.de/index.php?id=434

  • Goethe silhouettes
    http://www.goethezeitportal.de/index.php? id = 2556

For picture postcards see:
Contemporary Goethe-portraits and their adaptations ,
Chap 1, with further reading.


  1. Introduction

“Goethe appreciates the portrayal as a necessary and in a certain sense useful art. In the succession of Lessing, he distinguishes the individual art genres according to their inherent laws, from which the artist’s limited possibilities to choose material and to design.” (G. Körner: On the Difficulties of Portrait Art, p. 154) On the sculpture he sums up (cf. ibid.):

The sculpture art is rightly held so high, because it can and must bring the representation to its highest summit, because it expels man from all that is not essential to him …

“The colourlessness of sculpture, the distribution of light and shadows by its own form, further pushes it from reality to symbolism as the coloring of the painting is able to do, but as far as portrait is concerned, the sculptor can only do it – and the antique busts Offer ideals here, but do not elevate them to the ideal. […] From his intentions to promote art in Germany, from pragmatic considerations, Goethe sees himself and other clients in the duty of sculpture through portrait assignments (Ed., P. 154). The Academy, Goethe demanded, “to make important hunts, especially by traveling, to hunt them, to model them, and to put an imprint in a burnt tone” (cf ibid., P 155)

Goethe himself, like painters who “hunted” for him, afforded very different time for their work or refused meetings, if the artist did not like him. Some artists could Goethe in larger intervals win for meetings, other varied her portrait of Goethe (eg JP Melchior, of his relief portrait of Goethe of 1775 [no. 1 , 2 ] a modified replica 1785 [no. 5 ] produced) or changed the (As from about 1778/79 JP Melchior used the colorless, matte, marble-like bisquite instead of the porcelain).

Variations of the poet bust also show up at MG Klauer (Nos. 4 , 9 , 10 ) by using different materials such as limestone or gypsum (busts of 1779/80 et seq.) Or the new Goethe-bust type of approximately 1790 in blackened plaster Or in sound shaping. Later moldings for commercial exploitation existing in the workshop forms were common and are often carried out less carefully (eg by Klauer son Louis, the next his father also Schadows Goethe bust [no. 14 continues ausformte] in plaster and artificial brick).

For the production of postcards, this means that the reproduced (relief) portrait brushes depict different models – from the artist’s original work to workshop-produced replicas in various materials and different shaping qualities. This explains deviations and prevents precise information about the picture template, if it is not noted on the postcard.

Informative and attractive are the different views as well as illuminations of the busts. Any selected photographers-views can be eg the life mask Weisser (no. 11 – 12 ) look very different. Near-sighted placed in the small format of the postcard, the busts can achieve monumental effect.

Ref : Gudrun grains: About the difficulties of portraiture. Goethe’s relationship to portraits. In: Goethe and Art. Hg. By Sabine Schulze. Ostfildern: Publisher Gerd Hatje 1994, S. 150-158.


1.1 Contemporary Goethe sculptures

NOTE:
To zoom in, double-click the pictures.

  1. JP Melchior, 1774-75
    Verso: First relief by Johann Peter Melchior [1742-1825] 1774-1775. Goethe in plastic. Signet. Publisher Alt-Weimar, Weimar.

  1. JP Melchior, 1775
    Verso: GOETHE, modeled in 1775 by JP Melchior (Goethe National Museum, Weimar) FA Ackermanns Kunstverlag, GmbH, Munich, No. 1770

  1. JP Melchior, 1779

Verso: Goethe, modeled in 1779 by JP Melchior. FA Ackermann’s Kunstverlag, Munich. Series 147 (12 cards). No. 1770.  – Payer-Thurn, n. 51. Election, n. 9. Verso: “The author of the sufferings of young Werther by his friend Melchior, 1775.”


  1. MG Klauer, 1780

Verso: Bust by Martin Gottlob Klauer [1742-1801] c. 1780. Goethe in plastic. Signet. Publisher Alt-Weimar, Weimar.  – Election, no. 18. Further Goethe busts of Klauer (around 1780), see Wahl / Kippenberg, p. 77.


  1. JP Melchior, 1785

Verso: Second relief by Johann Peter Melchior 1785. Goethe in plastic. Signet. Publisher Alt-Weimar, Weimar.


  1. A. Trippel, 1787/90

Verso: Weimar, Goethe National Museum. Goethe. Bust of Alexander Trippel [1744-1793]. Rome, 1787, No. 634. L. Held, Hofphotogr. Weimar, Marienstr. 1. Tel. 432.  – Goethe and the Arts, p. 182 Fig. 131. Payer-Thurn, n. 114 (facial mask). Choice, No. 31. Wahl / Kippenberg, p. 126.


  1. A. Trippel, 1787/90

Verso: Alexander Trippel: Goethe (Marble Coast). Signet. Publisher Alt-Weimar, Weimar.


  1. A. Trippel, 1787/90

Wolfgang von Goethe. Triple bust Verso: Postcard.


  1. MG Klauer, around 1790

GOETHE, 1790. After the fragment of the Tonbüste by Martin Gottlob Klauer. Verso: Published by Berger, German Book and Art Publishers, Dresden. Published with the permission of the Goethe National Museum, Weimar. Produced by F. Bruckmann AG Munich.  Election, nos. 33 and 34. Further Goethe busts of Klauer (c. 1780), see Wahl / Kippenberg, p. 77.


  1. MG Klauer, around 1790

Verso: Fragment of the bust of Martin Gottlob Klauer about 1790. Goethe in plastic. Signet. Publisher Alt-Weimar, Weimar.


  1. KG White, 1807

GOETHE 1807. According to the mask of Karl Gottlob Weißer [1779-1815]. Verso: Published by Berger, German Book and Art Publishers, Dresden. Manufactured by F. Bruckmann AG Munich. Not running. “The mask is the only facial cast ever taken from Goethe.neither Schadow [cf. No. 14] has made a new facial print in 1816, The sculptor Weisser, Schadow, Rauch, and Tieck have, in a very different manner, laid the mask upon their busts. “” The mask is the only one that is beyond the subjectivity of the fine artist. ” (P. 280) Repeated reflections, p. 479: “The literary, much-attested asymmetry of the facial features and the specific shape of the skull bones are so clearly reproduced as scars and folds as traces of the long, fulfilled life.”


11a. Goethe. From Weisser mouldable facemask 1807.
Louis Held, court photographer, Weimar.


  1. Living mask of Goethe, 1807

Verso: face mask of Goethe. 1807 manufactured by Weißer. Goethe National Museum, Weimar.


  1. KG White, 1807/08

Verso: Bust by Karl Gottlob Weisser 1807-1808. Goethe in plastic. Signet. Publisher Alt-Weimar, Weimar.  –  no. 44.


  1. JG Schadow, 1816

GOETHE. Mask of [Johann Gottfried] Schadow [1764-1850] 1816. Prepress temple: Goethe National Museum Weimar. Verso: From the Goethe House in Weimar. Ph. Louis Hero, Weimar.  – Payer-Thurn, no. 149.


15th c. D. Rauch, 1820

Verso: FA Ackermann’s Kunstverlag, Munich. Series 115: 12 Goethe Portraits. No. 1450: The Goethe bust of C [hristian] D [aniel] Rauch [1777-1857] (1820). Not running. Goethe, and the art, p. 184. “The similarity of this portrait,” writes Heinrich Meyer, “hardly leaves anything else But he also succeeded in satisfying the demands of the higher art, and not only did the artist achieve a very lively, lively turn of the head, but he also knew how to enlighten the features of the face and bring to the whole the most praiseworthy agreement. Election / Kippenberg, p. 206.


16th century, D. Rauch, 1820

Verso: Leipziger Museum, No. 248. Christian Daniel Rauch: Portrait of Goethe. Publisher of Fischer & Ludwig Leipzig.  A comparison of nos. 15 and 16 shows deviations of the replicas.


17th century, D. Rauch, 1820

Verso: Bust by Christian Daniel Rauch 1820. Goethe in plastic. Signet. Publisher Alt-Weimar, Weimar.


18th century, C. Rauch, 1820

Verso: Goethe. Bust of Rauch, Jena 1820. Weimar, Goethe National Museum. 642 L. Held, Hofphotogr. Weimar, Marienstr. 1, tel. 432.


19th c. D. Rauch, 1828

Verso: Statuette by Christian Daniel Rauch 1828. Goethe in the plastic. Signet. Publisher Alt-Weimar, Weimar. Postmark: 9.5.37. – Election, No. 71. Election / Kippenberg, p. 206.


  1. PJD D’Angers, 1829

GOETHE 1829. After the bust of Pierre Jean David D’Angers [1788-1856]. Verso: Published by Berger, German Book and Art Publishers, Dresden. Published with the permission of the Goethe National Museum, Weimar. Manufactured by F. Bruckmann AG Munich.  – Goethe and Art, p. 187 Fig. 136. Payer-Thurn, no. 175. Election, no. 72 (with base). Wahl / Kippenberg, p. 227 (with base).


20a. PJ David d’Angers, 1829

Verso: Goethe in plastic. Relief from Pierre Jean David d’Angers, 1829. Publisher Alt-Weimar, Weimar.


20b. A. Facius, 1825-1830

Verso: Goethe in plastic. Relief from Angelica Facius between 1825 and 1830. Publisher Alt-Weimar, Weimar.


1.2 Posthumous Goethe sculptures

NOTE:
To zoom in, double-click the pictures.

  1. Goethe, when looking at Schiller’s skull, 1897

Socket row: Secret vessel! Spelling oracles. / How am I going to hold you in my hands? / Goethe by looking at Schiller’s skull. Weimar, Goethehaus “Goethe when looking at Schiller’s skull”. Verso: 1801 Publisher of Zedler & Vogel, Darmstadt.

The 1.10 m high bust was created by Gustav Eberlein [1847-1926] 1897 without order, the Gipsoriginal is owned by the Museum Weimar classic. “The bust was shown in 1898 as a gypsum model in the Grand Berlin Art Exhibition and in the Munich International Art Exhibition and in 1905 as a marble exhibition in Berlin.” Rolf Grimm: Eberlein, a glowing admirer of Goethe. URL: http://www.hann-muenden.net/spontan/eb_goet2.htm .

“Schiller’s body was first set up in a vault of the Jacobskirchhof in Weimar, which had to be cleared in March 1826. The mayor was summoned to find Schwabe Schiller’s bones among the mass of the remaining buried there, the skull was provisionally on the 17th September 1826 on the Grand Ducal In the solemn act, in which he himself did not participate, Goethe composed the wonderful Terzines, “Considering Schiller’s Skull.” Payer-Thurn, Explanation to No. 183. For six months Goethe preserved Schiller’s skull. Cf. Albrecht Schöne: Schiller’s skull. Munich: CH Beck 2002.

In serious ossuary was it where I gazed,
fit Like Skulls skulls arranged;
The old time I thought, the gray.

They stand in line clamped, the otherwise hated each other,
and rough bone, the fatal beating each other,
you are crosswise, tame to rest all hier.

Entrenched shoulder blades! what they wore,
nobody asks, and dainty-tät’ge members,
the hand, the foot, scattered from life joints.

Your tired so lagt down in vain,
not repose in the grave was allowed to drive you,
you come up to the light of day again,

and no one can love the dry shell,
Welch splendidly fine core kept them well.
But me adepts was written Scripture,

the sacred sense undisclosed anyone
When I midst of such rigid amount
Invaluable gorgeous saw a Gebild,

That in the room Moderkält ‘and Enge
I freely and heat feeling refreshed me,
as if a fountain of life to death sprang,

as me mysteriously delighted the form!
The god-inspired trail, which is preserved!
A look that carried me to that sea,

The flutend flows increased figures.
Secret vessel! Oracles donating
How am I worth to keep you in hand,

you most treasure from Moder pious entwendend
And in the open air to free the senses,
to sunlight reverently turning towards me.

What can man in life attract more,
as that God-nature manifest him?
How it can trickle to spirit the celebrations
as they keep the spirit generated fixed.


  1. Goethe, when looking at Schiller’s skull, 1897

Goethe looking at Schiller’s skull. Pedestal: Secret vessel! Spelling oracles. / How am I going to hold you in my hands? Verso: Publisher: F. Feuerstein Nachflg., Weimar.


22a. Goethe looking at Schiller’s skull

Goethe looking at Schiller’s skull. Dr. Trenkler Co., Leipzig. 1905. Wei. 23.


  1. Epple

Verso: Goethe. According to the sculptor [Emil] Epples [1877-?] Hermen im Kgl. Court Theater in Stuttgart. Artist Postcard. Folder 206/2 poets and composers. L. Schaller, Kunstverlag, Stuttgart (founded in 1860). Signet. Ran.


  1. G. Mueller

P12. Verso: Prof. Georg Müller-Munich [1880-1952] “Goethe”. Real dog photo. Publisher Fotostöckel, Hanover.


  1. literature

Goethe and art. Hg. By Sabine Schulze. Ostfildern: Publisher Gerd Hatje 1994 (exhibition catalog Schirn Kunsthalle Frankfurt and Kunstsammlungen zu Weimar).

Payer-Thurn, Rudolf: Goethe. A picture book. His life and work in 444 pictures. Leipzig: Günther Schulz oJ

Pechel, Rud (olf): Goethe and Goethe. 88 pictures (Schaubücher, 32) Zürich, Leipzig: Orell Füssli 1932.

Election, Hans: Goethe in the Portrait. Leipzig: Island of 1925.

Election, Hans / Kippenberg, Anton: Goethe and his world. With the cooperation of Ernst Beutler. 580 pictures. Leipzig: Im Insel publishing house 1932.

Repeated reflections. Weimar Classic, 1759-1832. Permanent exhibition of the Goethe National Museum. Hg. By Gerhard Schuster and Caroline Gille. 2 Bde (with side count). Stiftung Weimarer Klassik at Hanser. Munich, Weimar: Carl Hanser 1999.


  1. Legal Notice and Contact

All templates originate from a private collection. The private use and non-commercial use to educational, artistic, cultural and scientific purposes is permitted provided that the source (Goethe time portal) and URL ( www.goethezeitportal.de/index.php?id=425 ) are indicated. Commercial use or use for commercial purposes (eg for illustration or advertising) is only permitted with the express written permission of the author. Contact:

Prof. Dr. Georg Jäger
Ludwig Maximilian University of Munich
Institute of German Philology
Schellingstr. 3
80799 München

Email: georg.jaeger07@googlemail.com

Schwanteich, Gotha, Thüringen, 1805, Frederick William Eugen Döll, 1885 Photo

Schwanteich, Gotha, Thüringen, 1805, Frederick William Eugen Döll, 1885 Photo

The monument at the swan pond in Gotha (Thüringen) was a water feature in the park on the former base now the main post

Gotha Altenburg Lodges Certificate Gotha Freemasonry Shown are the Sphinx, and the Anubis referring to Frederich Wilhelm Eugen Döll’s sculpture in Gotha, and Wörlitz

Gotha Altenburg Lodges Certificate Gotha Freemasonry Shown are the Sphinx, and the Anubis referring to Frederich Wilhelm Eugen Döll’s sculpture in Gotha, and Wörlitz

(Gotha-Altenburg lodges certificate) for the Gotha Freemasonry

Shown are the Sphinx, and the Anubis referring to Frederich Wilhelm Eugen Döll’s sculpture in Gotha, and Wörlitz

August Geutebrück was born in 1758 and came to a doctrine on agriculture at the age of 24 years at the service of the ducal family Gotha-Altenburg. Already in the year 1770, he came into contact with Grand Master Ernst II,  in 1774 founded Masonic Lodge “to compass”.  At least since 1783 August Geutebrück was a member of the lodge, to which also his friend Frederick IV later joined. In 1793, the activities of the Order of Gotha were hired, in 1801 it came to the final resolution of the Gotha Lodge. In 1806, after the death of Ernst II, the lodge was under the name “SERIOUS FOR COMPASS” and reopened. Until shortly before the turn of the century, the Gotha Lodge was in the house Neumarkt No.6. In 1882 the Masonic Lodge was moved to a newly built site, which was next to the Post Office Square. On 15.07. In 1935 the lodge was dissolved by the Gotha THIRD REICH, and all their records were seized.

Schwanteich Gotha, Thüringen, 1805, Frederick William Eugen Döll, Sphinx, Gotha-Altenburg Freemason Group

Schwanteich Gotha, Thüringen, 1805, Frederick William Eugen Döll, Sphinx, Gotha-Altenburg Freemason Group

The Schwanteich (swan pond) was at the point where there is now the rear of the main post office mail. The monument was located on the site of today’s rear building of the community center. It was designed in 1805 by sculptor Frederick William Eugen Döll. A cascade filled the pond with water, the monument stood 25 feet high, was in the form of a portal, consisting of two stones carved with hieroglyphs, each 17 feet high, 6 feet wide, 2 feet deep and over 200 hundred pounds. Within the portal, was a a pool, formed from the ibises, up a fountain, whose jet proceeded to the ceiling and spread a fine rain. The frieze monument was decorated with a winged shield base relief of Isis, and the fluted cornice, a Sphinx resting on the roof of the monument.

After the pond drained and the Imperial Post Office as well as the building of a new lodge was built, the monument disappeared. Only the Sphinx remained on the steps of the garden entrance of the lodge, but was incorporated by disputes over the ownership of the Sphinx from the demolition company Gebr Eisser. The sphinx was placed in 1937 first in the garden of the district court of the city, and then in 1948, at the request of older surviving Masons, on the island in the park pond, where seven dead members are buried. The Sphinx is still preserved in its original state.

The monument at the swan pond in Gotha (Thüringen) was a water feature in the park, the former base for the monument is now the main post site.

Schwanteich Gotha Thüringen 1805 Frederick William Eugen Döll

https://sites.google.com/site/geutebrueckdenkmalpark/home

Reconstruction in Gotha digital reconstruction pictures

https://sites.google.com/site/geutebrueckdenkmalpark/bilder/restauration

That was the front of the GEUTEBRÜCK MONUMENT.

Only in a single element description of the monument is in question, of the butterfly image. Detail on a photograph from 1902 – on which only the butterfly could be seen – it is still preserved as above. The top image is a montage, but is 100% original condition. The butterfly was a common symbol in that time – it is a sign of resurrection, hope (larva – pupa – butterfly) and thus also the Metarmophose. The butterfly is like character of the liberated soul from matter.

The inverted flare on the left side of the monument. The torch has not been preserved. The inverted torch is to point out the dying light of life.

There is a palm branch and a laurel wreath on the right side of the monument. The only relief is that the monument is still preserved very well. Symbols of well-deserved fame and finally found peace

The Egyptian Sphinx is predominantly a statue of a male lion with a human head. In the era of classicism sphinxes of more or less Egyptian coinage were a popular motif in art. The Sphinx was in the 18th Century a symbol of eternity, immortality, and the enigmatic. There were 6 sphinxes in Gotha, as far as what is known today. There were probably 2-3 more, but this is no longer recorded.

At the entrance of the Friedhof I was the “old cemetery”, and these two sphinxes standing on the Erbgräbern of Rosenberg and Purgold. The sphinxes were penned by the sculptor Rathgeber.

Rathgeber column on Friedhof II

In 1838, a smaller Sphinx was seated next to the pillar at the grave of Caroline Rathgeber. The Sphinx is also sculpted by  Friederich Wilhelm Eugen Döll. The grave site was part of the pyramidal Rathgeber – family grave.

 

Lüderitz – Fountain

The sphinxes of medium size, made by Rathgeber, were set in 1840 at the Lüderitz wells (mountain garden), but in 1962 they were removed, because hooligans destroyed the sphinxes beyond recognition.

Monument at the swan pond

Schwanteich Gotha Thüringen 1805 Frederick William Eugen Döll

Ruinenberg on Swan Pond

A small hill was near the swan lake until 1820, at the position which today is at the Arnoldi monument. Positioned at the top of the hill were openings for both an external as well as a hidden underground passage. There you could enjoy the most beautiful view under a magnificent tree. At the summit of the hill a sphinx rested, which seemed to want to follow on to the swan pond the monument. The lower part of the hill has been hiding in the ruins of an ancient temple.

The Loge of Gotha made an attempt to reform German Freemasonry, which was known as the “Association of German Masons,” but historical reform remained unfinished. In 1793, the duke arranged the lodge activity. In the years 1804 to 1810, he was also the financial manager for Frederick IV, working during the time Frederick IV was in Rome. Frederick IV wrote that the Lord Geutebrück ran the business with perfect order and loyalty. Immediately before his death in 1817 he donated 200 dollars for the Frankenberg `sche hospital. August Geutebrück died on 29.04.1817 in Gotha. The Gotha city archives states: The monument was in the southern part of the English garden of Gotha, five statues, that were probably the most artistic. Duke Frederick IV had the archive secretary and later government Rath August Geutebrück erect the monument in 1820. Frederick IV for the third time in 1814 went to Rome in order to recover from a cramp. When he returned in 1820 to Gotha his friend August Geutebrück, who took care of his finances and business, had been dead for three years. Since he no could not attend his funeral at the old cemetery, he had constructed the last great monument as a proof of his friendship. A year later, at the request of the Freemasons a sphinx on the stone was placed, as a sign of the faithful and close ties with the council of the Lodge “to Ernst compass”, suggesting “Hereafter will solve the dark mystery of life.”. Below the inscription is a butterfly as a symbol of resurrection and metamorphosis. The inverted torch to extinguish, indicating the dying light of life. Laurel wreath and palm, and as symbols of the well-earned fame finally found peace of view. The almost completely weathered inscription on the back reads: “The memory of a brave Biedermanns, on April 29, 1817 the deceased Herzögl.Sächs.Rates August Geutebrück, dedicated by his grateful friend F.”

The oldest preserved photograph of the monument in 1885

The court sculptor Frederick William Doell (1750-1816) was the creator of the sophisticated Sphinx sculpture resting on a base made from Seeberger sandstone. The Sphinx was not made specifically for the base of the monument Geutebrück. It was made already years ago by Doell and after his death in an estate inventory remained in his workshop at Steinmetz. The base was made to match the already existing Sphinx.

By the early 20th. Century, the almost completely weathered inscription and the monument condition in desecration, after  violent storm damage in 1928, the Sphinx was erected again properly, but had altogether lost by falling the stone headscarf. The four rear hornbeam were uprooted. A bomb explosion in 1945, not far from the monument damaged the Sphinx’s head and damaged the base so that corners were missing completely at the lower end. The other white houses were damaged by the hit and after the war ended were used as firewood. Witnesses of the badly battered sphinx still remember it in the 1950-ies. The Sphinx was highly damaged during a storm by a falling tree, and the Sphinx was removed in 1963.

It was not known until just recently what happened to the Sphinx until it was found in a garbage dump where it was placed under tons of rubble in the 1960s, which was filled in again and again, only half a meter below the ground. Excavations were not allowed, according to a document from the city archives in Gotha. The Sphinx got there in the dump spring of the 1963rd.

All the text above for the Gotha Altenburg Freemason Lodge is from the web site below:

https://sites.google.com/site/geutebrueckdenkmalpark/home

Schwanteich Gotha Thüringen 1805 Frederick William Eugen Döll

Isis holding sistrum and oinochoe (Roman marble, reign of Hadrian) Capitolini Marble Life size with restorations

Fortuna-Isis restored as Faustina the Younger as Demeter. The head, hands and legs are modern restorations, 2nd century A.D.. Naples National Archaeology Museum, Farnese Collection

Bust of Isis-Sothis-Demeter. White marble, Roman artwork, second part of Hadrian’s reign, ca. 131–138 CE. From the gymnasium in the Villa Adriana, near Tivoli, 1736, Museo Gregoriano Egiziano

Antikenportal (ägyptisch) an der Orangerie im Neuen Garten in Potsdam, Johann Gottfried Schadow (traditionelle Zuschreibung), Ägyptischer Wächter (Kopie nach antikem Original eines ägyptisierenden Antinous in Rom, Vatikan), Sandstein, schwarz gefaßt, ca. 1791–93, Potsdam, Neuer Garten, Portal der Orangerie

(Stiftung Preußische Schlösser und Gärten Berlin-Brandenburg)

Ancient portal (Egyptian) at the Orangerie in the New Gardens in Potsdam, Johann Gottfried Schadow (traditional ascription), Egyptian guards (one original copy after antique Egyptianising Antinous in Rome, Vatican City), sandstone, combined black, ca 1791-93, Potsdam, new garden, porch of the Orangery

(Foundation for Prussian Palaces and Gardens Foundation Berlin-Brandenburg)

 

Wörlitzer “Osiris”-Relief (KAt. 127) hat der Gothaer Hofbildhauer Friedrich Wilhelm Eugen Doell (1750 – 1816) diese Büste dann mit dem Körper der Münchener Statue eines falkenköpfigen Gottes (Kat. 104) kombiniert.

 

Wörlitzer “Osiris”- Friedrich Wilhelm Eugen Doell

Pantheon, Iris, Osiris, Horus, Anubis

Marble Palace, Isis

Orangery, Sphinx

Museum of Egyptian Art in Munich

http://aegyptisches-museum.de/index.php?id=170

Theatrum Hieroglyphicum Theatrum Hieroglyphicum

Ägyptisierende Bildwerke im Geiste des Barock Ägyptisierende image works in the spirit of the Baroque                        

  1. 11th März 2011 bis 22. March 2011 to 22 Januar 2012 January 2012

Knauf-Museum Knauf Museum

97343 Iphofen, Am Marktplatz 97343 Iphofen, Am Marktplatz

Das Interesse der Ägyptenrezeption des 18. The interest of Egypt reception of the 18th Jahrhunderts spiegelt sich nicht nur in der beginnenden Sammlungstätigkeit einzelner Fürsten wider, sondern führte auch zur Schaffung ägyptisierender Bildwerke. Century reflected not only in the beginning collection activity of individual rulers, but also led to the creation of Egyptian style statues. In der Ausstellung werden Architektur und Skulpturen des ägyptischen Teils aus dem Pantheon in Wörlitz (Sachsen) rekonstruiert und das Münchner Ensemble ägyptisierender Götterbilder vorgestellt, das im 18. In the exhibition, architecture and sculpture of the Egyptian part of the pantheon in Wörlitz (Saxony) reconstructed and presented to the Munich Company Egyptian style idols, in the 18th Jahrhundert in Italien entstanden und von Kurfürst Karl Theodor erworben worden war. Century had been originated in Italy and acquired by Elector Karl Theodor.

Theatrum Hieroglyphicum: Die Hauptdarsteller dieses barocken Hieroglyphischen Theaters sind Osiris, Isis und Horus – die klassischen Gottheiten Altägyptens. Theatrum Hieroglyphicum: The protagonist of this hieroglyphic baroque theater are Osiris, Isis and Horus – the classic gods of ancient Egypt. Im Hieroglyphischen Theater treten sie auf als dunkle, geheimnisvolle Gestalten, und ihre Farbe ist demzufolge meist auch schwarz, zur deutlichen Unterscheidung von den hellen, strahlend weißen Göttergestalten Griechenlands und Roms, also des Pantheons der klassischen Kulturen Europas. In hieroglyphic theater do they appear as dark, mysterious figures, and their color is therefore usually black, to clearly distinguish them from the bright, crisp white gods of Greece and Rome, so the pantheon of classical cultures of Europe. Der farbliche Kontrast symbolisiert den typischen Gegensatz zwischen Lichtsphäre und Unterwelt, zwischen Bewußtem und Unbewußtem, zwischen Leben und Tod. The color contrast symbolizes the typical contrast between light sphere and the underworld, between conscious and unconscious, between life and death. Diese in der mythologischen Tradition des Humanismus und der Kunst der Renaissance stehende Wiedergeburt der antiken Götterwelt ist charakteristisch für die Ägyptenrezeption der Barockzeit. Current standing in the mythological tradition of humanism and the Renaissance art revival of the ancient gods of Egypt is characteristic of the reception of the Baroque period.

Die im Geiste des Barock geschaffenen ägyptisierenden Bildwerke aus dem Pantheon in Wörlitz und aus dem Königlichen Antiquarium der Münchener Residenz stellen die beiden einzigen bekannten Götterensembles dieser Art aus der Zeit des Klassizismus dar. Es handelt sich dabei um nicht nur nachweisbar und deutlich sichtbar an antiquarischen Vorlagen orientierte, sondern davon auch inspirierte Neuschöpfungen im ägyptischen Stil aus der 2. In the spirit of the baroque created Egyptianising sculptures from the Pantheon, Worlitz and from the Royal Antiquarium in the Munich Residenz, the two only known gods ensembles of its kind in the Classicist period represents This is to not only demonstrably and clearly visible on antique originals oriented, but it also inspired creations in the Egyptian style from the 2nd Hälfte des 18. Half of the 18th Jahrhunderts, die, hergestellt in fürstlichem Auftrag, im Medium der Kunst die als Mysterium empfundene altägyptische Kultur repräsentieren sollten. Century, which should made in princely order, the medium of art, perceived as representing mystery ancient Egyptian culture.

Photo: 2011″‘ type=”#_x0000_t75″ alt=”http://www.aegyptisches-museum-muenchen.de/assets/components/phpthumbof/cache/bba15da458f32dfb90ad0f98e86cf64c.56aaaf2b40dc2d9f2b05e0d2aa3de54c.jpg” href=”http://www.aegyptisches-museum-muenchen.de/assets/components/phpthumbof/cache/bba15da458f32dfb90ad0f98e86cf64c.0a06639280bc493d8b3f39ee5af11488.jpg” o:button=”t” o:spid=”_x0000_i1027″>

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Photo: 2011″‘ type=”#_x0000_t75″ alt=”http://www.aegyptisches-museum-muenchen.de/assets/components/phpthumbof/cache/071aaa6a7b23377e8ba5bbf72f143571.56aaaf2b40dc2d9f2b05e0d2aa3de54c.jpg” href=”http://www.aegyptisches-museum-muenchen.de/assets/components/phpthumbof/cache/071aaa6a7b23377e8ba5bbf72f143571.0a06639280bc493d8b3f39ee5af11488.jpg” o:button=”t” o:spid=”_x0000_i1025″>

Der geistesgeschichtliche Hintergrund dieses in barocker Manier inszenierten Theatrum Hieroglyphicum ist somit die für das späte 18. The historical background of this staged in baroque style Theatrum Hieroglyphicum is thus the 18th for the late Jahrhundert symptomatische fürstliche Sammeltätigkeit – und die Enträtselung dieser ägyptisierenden Bildwerke gibt deshalb nicht nur Einblick in die kunsthistorische Dimension, sondern vor allem auch in den ideengeschichtlichen Prozess der in Europa bereits im Mittelalter einsetzenden Ägyptenmode. Symptomatic century princely collecting – and the unraveling of this Egyptianising sculptures are therefore not only an insight into the art-historical dimension, but also in the intellectual history of the process in Europe in the Middle Ages onset Egypt fashion.

Dabei stehen die hieroglyphenkundlichen Münchener Götterfiguren stellvertretend für die allgemeine Ägyptophilie bzw. Ägyptosophie im Geiste des Barock, die ägyptisierenden Wörlitzer Bildwerke dagegen für die Ägyptomanie bzw. Ägyptenromantik der Goethezeit. Here, the hieroglyphics known union Munich idols are representative of the general Ägyptophilie Ägyptosophie or in the spirit of the Baroque, the Egyptianising Wörlitzer sculptures contrast to Egypt and Egyptomania Romantic Age of Goethe.

National Museum of Egyptian Art in Munich, Arcisstraße 16, 80333 Munich

Kegeldach, Büste, Marmorrelief (Kopien, Originale im Hist. Museum) und astronomischen Symbolen, 1806/1808 von Emanuel d`Herigoyen, Büste von Friedrich Döll, Marmorrelief von Johann Heinrich von Dannecker; bis 1859 weiter westlich

Friedrich Wilhelm Eugen Döll, Portrait Bust, Schloss Friedenstein, Gotha, Thüringen

Friedrich Wilhelm Eugen Döll, Portrait Bust, Schloss Friedenstein, Gotha, Thüringen

Friedrich Wilhelm Eugen Döll, sculpture plaster, Schloss Friedenstein, Gotha, Thüringen

Friedrich Wilhelm Eugen Döll, sculpture plaster, Schloss Friedenstein, Gotha, Thüringen

Friedrich Wilhelm Eugen Döll, Female Portrait Bust, Schloss Friedenstein, Gotha, Thüringen

Friedrich Wilhelm Eugen Döll, Female Portrait Bust, Schloss Friedenstein, Gotha, Thüringen

Büste des Johannes Kepler von Friedrich Döll im 1806/08 von Emanuel d’Herigoyen errichteten Denkmal an der Fürst-Anselm Allee in Regensburg, nahe der Grabstätte im alten Petersfriedhof.

English: Bust of Johannes Kepler by Friedrich Döll. It is placed within the Kepler memorial that was erected by Emanuel d’Herigoyen at the Fürst-Anselm Allee in Regensburg, near Kepler’s burial.

 

Sculpture Works of Friedrich Wilhelm Eugen Döll

In Wörlitz are gardens, and buildings that are a UNESCO World Heritage-listed site. The “Dessau-Wörlitz Garden Empire,” were built in the second half of the 18th Century under the reign of Prince Leopold III. Friedrich Franz of Anhalt-Dessau (1740-1817). The park is part of the network Gartenträume Saxony-Anhalt. In the basement of the Pantheon is a cave “unterquerender” that holds a Kanope, which is a symbol of Elbflusses, reliefs of Anubis, of Osiris and the Harpokrates and a statue of Isis. They were developed by Friedrich Wilhelm Eugen Doell (1750-1816) created and belong to the earliest after ancient Egyptian art templates created in Germany.

 

Sculpture works of Eugen Doell:

Faith, Love and Hopeat the Hauptkirche in Luneburg.

22 stucco high-reliefs at the princely riding-school at Hauptreliefs in Stuck an der fürstlichen Reitbahn in Dessau

lifesize statue of Catherine II of Russia as Minerva

Catherine II, with a maiden before her offering at an altar

Winckelmann’s monument in the Rotonda in Rome

busts of Sappho and Raphael Mengs

The New Muses, Bas-relief, Gustavus Adolphus of Sweden on a horse, crowned by victories, bas-relief , Gustav Adolfs torg (Swedish for “Gustav Adolf’s Square”) is a public square in central Stockholm, Sweden named after King Gustavus Adolphus.

The square is home to the Royal Opera, the Swedish State Department, Arvfurstens palats (housing the Ministry for Foreign Affairs) and the Ministry of Defence. South of the square are the Parliament on Helgeandsholmen and the Royal Palace in Stockholm Old Town. In the middle of the square there is a statue of Gustav II Adolf, which was erected in 1796.

lifesize figures of Minerva, a Muse and Hygieia;

grave-monument to the Gräfin von Einsiedel at Dresden and duke Karl von Meiningen;

monument to Gotthold Ephraim Lessing at the Wolfenbüttel library

Kepler’s statue at Regensburg.

Friedrich Wilhelm Eugen Döll, Schloss Friedenstein, Gotha, Thüringen, Portrait Bust

Friedrich Wilhelm Eugen Döll, Schloss Friedenstein, Gotha, Thüringen, Portrait Bust

Friedrich Wilhelm Eugen Döll, Portrait Bust, Plaster, Schloss Friedenstein, Gotha, Thüringen

Friedrich Wilhelm Eugen Döll, Portrait Bust, Plaster, Schloss Friedenstein, Gotha, Thüringen

Fiederich Wilhelm Eugen Döll, Portrait Bust, Schloss Friedenstein, Gotha, Thüringen

 

Leopold Döll, Knealing Venus, Schloss Friedenstein, Gotha, Thüringen

Leopold Döll, Knealing Venus, Schloss Friedenstein, Gotha, Thüringen

Leopold Doel, – “Crouching Athena Figure”

APHRODITE “CROUCHING APHRODITE”, Musée du Louvre, Paris, France, “Aphrodite accroupie”, Material: Marble, Height: 0.71 metres, Copy by Greek sculptors of an earlier Greek statue C3rd BC, during Roman Imperial period, Style: Hellenistic, Aphrodite crouching, bathing herself with upraised arm. The goddess is raising her left hand towards her neck whereas the protype used to cross her arms on her breast., H. 71 cm, Collections of Louis XIV of France; seized during the French Revolution (27 ¾ in.), Department of Greek, Etruscan and Roman Antiquities, Sully, ground floor, room 17, Louvre Museum, Paris France

APHRODITE “CROUCHING APHRODITE”, Musée du Louvre, Paris, France, “Aphrodite accroupie”, Material: Marble, Height: 0.71 metres, Copy by Greek sculptors of an earlier Greek statue C3rd BC, during Roman Imperial period, Style: Hellenistic, Aphrodite crouching, bathing herself with upraised arm. The goddess is raising her left hand towards her neck whereas the protype used to cross her arms on her breast., H. 71 cm, Collections of Louis XIV of France; seized during the French Revolution (27 ¾ in.), Department of Greek, Etruscan and Roman Antiquities, Sully, ground floor, room 17, Louvre Museum, Paris France

 

APHRODITE “CROUCHING APHRODITE”, Musée du Louvre, Paris, France, “Aphrodite accroupie”, Material: Marble, Height: 0.71 metres, Copy by Greek sculptors of an earlier Greek statue C3rd BC, during Roman Imperial period, Style: Hellenistic, Aphrodite crouching, bathing herself with upraised arm. The goddess is raising her left hand towards her neck whereas the protype used to cross her arms on her breast., H. 71 cm, Collections of Louis XIV of France; seized during the French Revolution (27 ¾ in.), Department of Greek, Etruscan and Roman Antiquities, Sully, ground floor, room 17, Louvre Museum, Paris France

APHRODITE “CROUCHING APHRODITE”, Musée du Louvre, Paris, France, “Aphrodite accroupie”, Material: Marble, Height: 0.71 metres, Copy by Greek sculptors of an earlier Greek statue C3rd BC, during Roman Imperial period, Style: Hellenistic, Aphrodite crouching, bathing herself with upraised arm. The goddess is raising her left hand towards her neck whereas the protype used to cross her arms on her breast., H. 71 cm, Collections of Louis XIV of France; seized during the French Revolution (27 ¾ in.), Department of Greek, Etruscan and Roman Antiquities, Sully, ground floor, room 17, Louvre Museum, Paris France

Crouching Venus, Aphrodite, sculpted by Leopold Döll, Schloss Friedenstein, Gotha, Thüringen

Crouching Venus, Aphrodite, sculpted by Leopold Döll, Schloss Friedenstein, Gotha, Thüringen

APHRODITE “CROUCHING APHRODITE”, Musée du Louvre, Paris, France, “Aphrodite accroupie”, Material: Marble, Height: 0.71 metres, Copy by Greek sculptors of an earlier Greek statue C3rd BC, during Roman Imperial period, Style: Hellenistic, Aphrodite crouching, bathing herself with upraised arm. The goddess is raising her left hand towards her neck whereas the protype used to cross her arms on her breast., H. 71 cm, Collections of Louis XIV of France; seized during the French Revolution (27 ¾ in.), Department of Greek, Etruscan and Roman Antiquities, Sully, ground floor, room 17, Louvre Museum, Paris France

APHRODITE “CROUCHING APHRODITE”, Musée du Louvre, Paris, France, “Aphrodite accroupie”, Material: Marble, Height: 0.71 metres, Copy by Greek sculptors of an earlier Greek statue C3rd BC, during Roman Imperial period, Style: Hellenistic, Aphrodite crouching, bathing herself with upraised arm. The goddess is raising her left hand towards her neck whereas the protype used to cross her arms on her breast., H. 71 cm, Collections of Louis XIV of France; seized during the French Revolution (27 ¾ in.), Department of Greek, Etruscan and Roman Antiquities, Sully, ground floor, room 17, Louvre Museum, Paris France

The painter son of the sculptor Friedrich W. E. Döll

Ludwig (Friedrich Ludwig Theodor) Doell

– born in 1789 in Gotha in the family of the sculptor Friedrich Wilhelm Eugen Doell. Initially trained by his father and by the royal painter Kuehner in Gotha, in 1805, he became a pupil of Goethe’s friend Heinrich Meyer in Weimar. From 1806, he was a pupil of the famous Neoclassical portraitist Joseph Grassi at the Academy of Dresden. Together with Grassi, Doell made two long study trips to Italy: in 1809-1811 and in 1817-1821. 

During these stays, he was mainly copying Old Masters, but also painted his own compositions. Between 1807 and 1822, Doell was sponsored by Duke August of Saxe-Gotha-Altenburg, who regularly gave him numerous portrait commissions. In 1812, Doell was appointed the director of drawing school in Altenburg, and along with this occupation had a close connection to Gotha court during the following years.

His painting “Die Albanerin”, created in 1818 and depicting an Italian woman from Albano in South Italy (in reality a portrait of Barbaruccia Pizzicaria, currently in Lindenau museum, Altenburg) brought him great success. This work was so popular that Doell made nine (!) replicas of it. One of those replicas is exactly the third above mentioned LD-painting from Hannover. It was acquired by “Alte Kunst” gallery in Vienna.
The success of “Die Albanerin” brought Doell many portrait commissions from the members of high society. Very soon he became the leading portraitist of his region. In 1824 he was appointed a professor and in 1826 finally settled down in Altenburg. In this town, just chosen as royal residence, he has risen to the leading painter of late classicism and biedermeier. His house became a meeting place for friends of art and a training place for young artists. In 1830-1834 Doell was a director of Kunst- und Handwerksverein (Society of Arts and Crafts) in Altenburg. In 1838, after the death of his teacher Grassi, he inherited the latter’s unfinished paintings and studies, a part of which he then brought to completed compositions.
Works of this artist, especially portraits, are part of private collections in Altenburg and Gotha. Many of them are displayed in museums of Altenburg, Gotha, Halle, Weimar, etc.

Further research led us to the magazine “Am häuslichen Herd. Sonntagsblatt der Altenburger Zeitung” , in its issue n° 18 of Sunday, 28th April 1895 a detailed biography of our painter was published. In this biography was discovered the “Pandora” was painted in Autumn 1817 in Rome.

Hellenistic crouching Venus, plaster cast in the Munich university archaeology department.

Ernst Friedrich August Rietschel, born 15 December 1804 in Pulsnitz, died 21 February 1861 in Dresden, sculptor of the Goethe-Schiller Monument Weimar Casting by Ferdinand von Miller the casting works in Munich

The Dresden sculptor Ernst Rietschel was a student of Franz Seraph Johann Nepomuk Pettrich (Pettrich was a student of Bertel Thorvaldsen in Rome) at the Royal Saxon Academy of Art, Dresden, (Hochschule für Bildende Künste Dresden), and later under Christian Daniel Rauch in Berlin. From Rauch in the line of influence from Goethe, Winckelmann, and the Classicism of the Thüringen Weimar group. Rietschal visited the elder Goethe on several occasions. Rietschel worked along with the important architect Gottfried Semper. Ferdinand von Miller was an important sculptor in Munich apart from his foundry works.

 

Ernst Friedrich August Rietschel Goethe Schiller Monument Weimar Thüringen

 

Julius Caesar Thaeter (January 7, 1804 in Dresden, 14 November 1870 in Munich) was a German engraver reproduction.

Thaeter studied at the Dresden Academy (Academy of Fine Arts in Dresden) and in Nuremberg, from 1826 to 1834 his residence was then in Munich (1834-41), Weimar (1841-43) and Dresden (1843-49), where he was an art teacher since 1846 at the Academy. In 1849 he was appointed to the Academy of Fine Arts in Munich, as a professor, but abandoned the position in 1868, and took over the management of the print room.

Thaeter underwent training as an artist, and became a self-taught graphic artist, original, and reproduction. In Munich, he found access to the circle of the Nazarenes (Art), and became the ” Kartonstecher.” Noteworthy are the Stiche (stitch (printing)) by Peter von Cornelius, Wilhelm von Kaulbach, Julius Schnorr von Carolsfeld, Asmus Carstens and Moritz von Schwind.

 

Jean
Antoine Houdon, – France, b. 1741 Versailles – d. 1828 Paris, sculptor, Diana, Plaster, (LifeSize sculpture), Gotha, Thuringia, Germany Jean-Antoine HOUDON – Versailles, 1741 – Paris, 1828,

Diana,

Plaster, (LifeSize sculpture), Gotha, Thuringia, Germany

Jean-Antoine HOUDON – Versailles, 1741 – Paris, 1828,

Diane chasseresse, 1790 Diana

 

Houdon presented a life-size plaster of Diana in his studio during the 1777 Salon. The finished sculpture was to be executed in marble (Gulbenkian Foundation, Lisbon) for Duke Ernst II of Saxe-Gotha, as compensation for a commission lost by the sculptor. The bronze version is now in the Louvre. The sculpture was acclaimed for its beauty worthy of classical statuary. The impression of swiftness is accentuated by Diana’s slim figure. Yet her unabashed beauty caused a scandal. Diana was habitually portrayed in a short tunic belted at the waist, in the manner of the often-copied Artemis the Huntress (Louvre), a classical marble acquired by Francis I. The goddess’s nudity was deemed acceptable only when she was depicted bathing. The same year as Houdon, Christophe Allegrain showed – also outside the Salon – his buxom Diana, surpised by the huntsman Actaeon while bathing (Louvre). Yet during the Renaissance, the goddess of hunting was often represented in the nude. The Diana the Huntress of the School of Fontainebleau (Louvre) and the large marble group from the Château d’Anet (Louvre) – in which the nude Diana, accompanied by her dogs, reclines, her arms around a stag – are two well-known examples.
Antiquity revisited
Houdon’s wonderfully reconciles the aesthetics of antiquity and the Renaissance. From antiquity, Diana has retained her triumphant nudity, whose elegance and distinction inspires respect rather than temerity. The goddess’s noble, even haughty bearing; serene, idealized face reflecting no emotion; and distant gaze render her impersonal and inaccessible. The elongation of the female body, firm anatomy, and linear purity belong to the Renaissance of the School of Fontainebleau. Her slender body, leaning slightly forward on one foot, gives the statue an ethereal and dynamic allure and affords multiple points of view. It evokes the daring balance of the flying Mercury by Giovanni da Bologna (1529-1608), a Florentine sculptor of Flemish origin who exercized considerable influence on European sculptors. But Houdon’s Diana is also a full-bodied creature of the flesh. Her naked pubis, considered too realistic, was filled in and flattened in 1829.
A technical tour-de-force ‘
The glory of the great masters of French sculpture (Girardon, Coysevox, Lemoyne, Bouchardon, Pigalle) rests on their bronze statuary, but they seem to have known little about the technical aspects of casting. Houdon, who had a passion for the art of casting, cast two large bronzes of Diana himself at the Roule foundry in Paris: an eight-piece one in 1782 (San Marino, California) and a five-piece one in 1790 (the statue now in the Louvre was purchased at auction by Charles X after the sculptor’s death in 1828). – Jean-Antoine Houdon studied in Paris under such sculptors as Jean-Baptiste Lemoyne and Jean-Baptiste Pigalle. As a winner of the Prix de Rome, he worked in Rome from 1764 to 1768. There he was influenced by ancient artifacts, including those recently unearthed in Herculaneum and Pompeii, and works of Renaissance masters, especially Michelangelo. He created his important anatomical study of a standing man, known as the Écorché, or “flayed” figure, which later was replicated and used in most art schools. The Écorché displays a continuing characteristic of his art: classicism combined with a merciless realism. Skilled in marble, bronze, plaster, and clay, Houdon became a member of the Académie Royale in 1771 and a professor in 1778. He made his reputation with his portraits, producing a veritable “Who’s Who” of his era’s royalty, artists, and philosophers. Patrons appreciated his ability to give marble the effect of living flesh as well as his knack for capturing his sitter’s personality. In 1785, at the request of Thomas Jefferson and Benjamin Franklin, Houdon crossed the Atlantic. He spent fourteen days at Mount Vernon executing a statue of George Washington. After narrowly escaping imprisonment during the French Revolution, Houdon returned to favor under Napoleon Bonaparte and finally retired in 1814. Jean Antoine Houdon, – France, b. 1741 Versailles – d. 1828 Paris, sculptor, Diana, Plaster, (LifeSize sculpture), Gotha, Thuringia, Germany Jean-Antoine HOUDON – Versailles, 1741 – Paris, 1828 Diane chasseresse 1790Diana, Plaster, (LifeSize sculpture), Gotha, Thuringia, Germany
“All the text above here on this Post of J. A. Houdon is from the Getty Museum exhibition”
Stuttgart Schillerplatz Schiller von Bertel Thorvaldsen 1839
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Parker Studio of Structural Sculpture
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