Classicism 19th Century Sculpture,Saxe-Weimar,Saxe-Coburg-Gotha,Thüringen

Classicism 19th Century Sculpture,Saxe-Weimar,Saxe-Coburg-Gotha,Thüringen

Heinrich Heinz Hoffmeister – (1851 Saarlouis – 1894 Berlin) ,-sculptor, detail, Kaiser Wilhelm I & II, Angerbrunnen, Erfurt, Thuringia, Germany

The Angerbrunnen monument was begun under emperor Wilhelm I in 1887, and finished under emperor Wilhelm II in 1890. The architect H. Stöckhardt and sculptor H. Hoffmeister together designed the monument. Hoffmeisters Angerbrunnen is a mix of influence from – Neo – High Renaissance / early Baroque ( Mature Adriaen de Vries – Style ) / & / – transitional 18th. / beginning 19th. Hellenistic Greek influenced Academic / Hellenistic Greek Sculpture. This is one of the better sculpture monuments from the German 19th. Century school, a very solid composition. This is not 19th. century academic realism, or influenced from any of the camps of realism. This sculpture is a complete synthesis outside the influence of realism. This integration of content styles is an accomplishment at any period, but especially the later 19th. century. The understanding of the period sculpture content is on a profound level. The success of the sculpture would be lost on most contemporary mindsets as just surface style., – PBP


[portfolio_slideshow include=”268,270,272,275,277,278,280,287,291,295,299,304,308,312,316,320,327,331,335,339,343,346,351,352,357,362,366,370,373,376,392,395,399,404,432,437,440,443,448,451,456,461,464,468,530,536,539,541,545″]

Lindenau Museum, the house-museum of baron and collector Bernhard August von Lindenau (1779-1854). {The building was completed in 1876 under the Director of Antiquities and the Dresden collection of casts Hettner. The building of the Lindenau-Museum is in the architectural tradition of the art gallery as a separate genus of the museum in the 19th Jahrhundert. Century. Their prototype Leo von Klenze had created with the Alte Pinakothek in Munich. Typical of this “museum style” is the reception of the palace construction of the Italian Renaissance in the sense of art historical ideal, which should be expressed in a new, equally representative as appropriate Museumsarchitekur. The immediate model for the Lindenau-Museum was built according to plans by Gottfried Semper, Dresden Art Gallery. Semper had taken over from the Alte Pinakothek, the basic architectural design, gave her but by a central octagonal rotunda a more robust internal symmetry. Altenburger Track Inspector and Semper student Julius Robert Enger was referring to the new wing of the Lindenau Museum significantly to the Dresden model of his teacher. Closely managed a museum, which is in material respects as building constructions simplified and still impresses with its palatial overall efficiency and its compositional balance.}, {Visual Arts in the studio, which is in the tradition founded by Lindenau arts and crafts school, gifted and interested children and teenagers are introduced to the art and taught in various artistic techniques.},

Lindenau Museum History, 1843 to 1854, {1843/44 Bernhard August von Lindenau purchased on an extended concert tour through Italy and France, a significant part of his collection of early Italian painting, a large number of ancient pottery and art history books and architectural models and plaster casts. His chief adviser and mediator was Emil Brown, First Secretary of the Instituto di Corrispondenza Archeologica, the later German Archaeological Institute in Rome.
1845 Lindenau was at his residence, the Pohlhof in Altenburg, built according to plans of the Leipzig architect Albert Geutebrück a museum building. In addition to the collections here should also be a “Centre for youths from Altenburg country to free education in free-hand drawing, in architectural drawing, in modeling and in architecture” can be accommodated. In 1847 the Dresden art historian Johann Gottlob von Quandt and Heinrich Wilhelm Schulz came to Pohlhof to organize together with the collections and set up the Lindenau Museum. am 1. January 1848 began the teaching of arts and crafts school, on 1 April 1848, the museum was opened. That same year, the first catalog of the collections, which appeared “in the description of the new building of the Central Pohlhofs art objects located by Messrs. v. Quandt and Councilor Schulz with a preface of the collector.”
Until 1854, met constantly on the Pohlhof a new art, the Lindenau had acquired for the expansion and completion of its collections. Already in 1851, the addition of two wings was necessary. The museum’s founding came in the German public eye. Sun KB Stark reported the “German Art Journal” and Eduard Gerhard in the “Archaeological Gazette” about the Altenburger collections. May 1854 Bernhard August von Lindenau died on the Pohlhof. His will decreed the foundation of its collections to the Duchy of Saxe-Altenburg. A legacy of 60 000 crowns should ensure the maintenance of the museum and the art school, the further acquisition of new works as well as the awarding of scholarships. In memory of astronomers to Franz Xaver von Zach, whose had to Lindenau inherited assets contributed significantly to establishing the museum, got the foundation called “Lindenau Zachsche Foundation”.} , Lindenau Museum Collections, Cast Collection, { Nearly seventy casts of sculptures, reliefs and relief friezes today includes the Gipsabgußsammlung in the left wing of the first floor of the museum. It reflects in its configuration against “their own fondness for old-Greek mediceisch-Italian art,” the collector Bernhard August von Lindenau, and his conviction that “the achievements of those two eras are now the highest and most beautiful are what we have for art and that can only succeed on the basis of an intimate acquaintance with those models a higher art form can.} excerpts from the history page of Lindenau-Museum Altenburg.

Above text on the Lindenau Museum from the site,

[portfolio_slideshow include=”474,478,479,481,491,494,498,500,502,504,506,508,510,512,514,516,518,520,522,524,526,528″]


The Barberini Faun is a Hellenistic sculpture of a reclining satyr, created around 220 BC. It was probably by Praxiteles (ca 390 BC – ca 320 BC).   The marble, 2.15 meter high was found in the 17th Century in the Castel Sant’Angelo. It lacked the right leg, left arm, parts of the hands and head. Cardinal Maffeo Barberini commissioned Gian Lorenzo Bernini (1598-1680) to fabricate the missing parts. Bernini also changed the character in the direction of a baroque style and a more sexual orientation. The additions pictured here on this plaster cast are even more numerous. The very uneven quality of sculptural shape content, and questionable relevence to the pose are the outcome of Bernini’s additions. The sculpture was part of the collection of the Barberini Palace. In 1810 the statue moved from Rome to Munich purchased by Ludwig I, King of Bavaria. The Barberini Faun is part of the Glyptotek in Munich (Inv. 218). The French sculptor Edme Bouchardon (1698-1762) created his version of the Barberini Faun statue, which is in the Louvre since 1892.

The importance of plaster cast of Greek Classical, and Hellenistic were critical to the development of “High Art” training, a more sophisticated development concerning content of form as the primary defining value of an artwork, as opposed to the narrative, stylistic tendencies, and optical realism. The German school progressed greatly during the period after the influence of Johann Joachim Winckelmann, Anton Raphael Mengs, with Goethe in the court of Karl August, Duke of Saxe-Weimar-Eisenach, Weimar, and the Weimar Classicism influence. The Lindenau plaster cast collection was in response to the development taking place in Dresden, Berlin, Leipzig, etc., the previously matured Vienna Academy of Fine Art development in training, and the broader incorporation of the Prussian Kaiser Wilhelm I, establishing a Germanic interpretation of ancient Greece in art. This was happening throughout the Germanic regions. The selection of more contemporary European sculptors work such as Thorvaldson with plaster casts included of his sculpture, fit with the circle of artists influence from associations through Goethe’s time in Rome studying art. The framework was not just a recasting of the French Academy of Fine Art system started under Jean-Baptiste Colbert, though much is dependent on the system created by Cardinal Mazarin, and then Colbert. The involvement of Goethe as an influence in the region was significant. The art work of the late eighteenth and early nineteenth Century in the Thüringen, and Sachsen regions was significantly influenced with Greek antique sculpture like the one established in 1783 of Anton Raphael Mengs collection of 833 plaster casts used for the early formation of an fine art academy training.


[contact-form-7 id=”1819″ title=”Contact form 1″]

Parker Studio of Structural Sculpture
Enter content here...

Comments are closed.