Josef Danhauser, 1829 - Ihe nkiri na-atọ ọchị na studio - ọmarịcha nka

Ozi gbasara mbipụta nka aha ya bụ "Funny scene in the studio"

Funny scene in the studio is a painting made by the realist painter Josef Danhauser in 1829. Ihe osise a nwere nha: 40,3 x 52 cm - akụkụ etiti: 59 x 72 x 8 cm. Oil on canvas was applied by the European artist as the medium of the artpiece. The original artpiece has the following inscription: signed and dated lower left: Danhauser / 829. This artpiece is part of the digital collection of Belvedere in Vienna, Austria. We are delighted to reference that the public domain work of art is provided with courtesy of © Belvedere, Vienna, nọmba ngwa ahịa: 2552. Na mgbakwunye, ọrụ nka nwere akara kredit: nyefee site na Kunsthistorisches Museum, Vienna na 1926. N'elu nke ahụ, nhazi a na-abanye odida obodo format ma nwee oke nke 4: 3, nke pụtara na ogologo bụ 33% ogologo karịa obosara. Josef Danhauser was a artist, painter of Austrian nationality, whose artistic style can mainly be classified as Realism. The Realist painter was born in 1805 in Vienna, Vienna state, Austria and passed away at the age of 40 na 1845.

Nkọwapụta izugbe nke Belvedere (© Copyright - nke Belvedere - Belvedere)

One year after the "Schola Renz Always" (Inv 2109) discussed Danhauser once more his metier. Another art world is full of life - this time by a large dog in his hunt for the cat lifts the painter along with his stool and pushes with both legs through the image. The joke of the presentation revealed that the head of the artist ends up in the mouth of painted hippopotamus and the Africans in the picture by the Thrust the spear gives the impression that he would save the painter. The "Art structure" on the easel that has nothing to do with the culture of the master and is made on the basis of several graphical templates (to see the stapled to the canvas sheet and the open book next to the easel), is thus used content-expanding and by the realistic described hunting instinctual dog absurdity. Danhauser could not with this scene, even with the "Schola Renz Always" on a common image form to fall back, because representations of painters were previously limited to self-portraits. In contrast to these, which are based solely on one's own person and the professional dignity, clinging Danhauser himself out, brought own situation knowledge and described the events as an observer from the outside. By intertwining of real and fictive level, he has continued spun in the present painting, which he had criticized in "Schola Renz Always": he wanted the budding artists were, "vormalen" like what coming toward him, he should set his progress academic bids accordingly. This inherent criticism of the education system is reminiscent of the claims Waldmüller, because like this it appealed in numerous writings, not to let besides copying the study of nature aside, put Danhauser with his two studio scenes to mind copying and the importance of history painting in its conventional form in question. In order to give his concern emphasis, he picked up the most extreme, namely the destruction of the image - clear rejection of the tradition can not be expressed. [Sabine Grabner 8/2009] Literature: Sabine Grabner, in: self-image. The artist and his portrait, ed. v. Renate Trnek, exh. . Kat Academy of Fine Arts Vienna, Ostfildern-Ruit 2004; This .: The painter Josef Danhauser - Biedermeier period in the image. Monograph and catalog raisonné, Vienna, Cologne, Weimar 2011 (Belvedere of Works, 1), pp 37-45, 204, WV-No. 46

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