Carl Philipp Schallhas, 1796 - Odida obodo Arcadian - mbipụta nka mara mma

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Nke a kariri 220 Ihe osise dị afọ bụ ndị na-ese ya nwoke Onye na -ese ihe na Hungary Carl Philipp Schallhas in 1796. The original measures the size - 87 x 135 cm - frame: 108 x 154 x 10 cm and was crafted with the techinque of mmanụ na kwaaji. Signed and dated lower left on the stone: P: Schallhas. 1796 was the painting's inscription. This work of art belongs to the collection of Belvedere. The nka ochie ngalaba ọha A na-enye ihe osise na nkwanye ùgwù nke © Belvedere, Vienna, nọmba ngwa ahịa: 5451. Ọzọkwa, ọrụ nka nwere kreditline: exchange with Hermann Knaus, Vienna in 1961. N'elu nke ahụ, nhazi a na-abanye odida obodo usoro na oke nke 3: 2, which means that the length is 50% longer than the width. The painter Carl Philipp Schallhas was an artist from Hungary, whose style was mainly Classicism. The artist lived for a total of 30 afọ - a mụrụ n'afọ 1767 in Bratislava, Bratislavsky, Slovakia and deceased in the year 1797 in Vienna, Vienna state, Austria.

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During his studies of landscape painting at the Vienna Academy was Carl Philipp Schallhas excited (1722-1795) to illustrate his own observations of nature in the image of his teacher Johann Christian Brand. The young painter specialized in the wake of the Vedute, the sights painted along the Danube in the Wachau and gave 1791 a series of 18 colored etchings from around Vienna out ( "painted and landscape from nature etched" with the subtitle) , Only occasionally can be found in his oeuvre representations of imaginary landscapes, and then only as drawings and prints (Vienna, Albertina Graphic Arts Collection, Budapest, Szépmüvészeti Muzeum). This view is probably the only oil painting of this genre. Ideal landscapes as they were to the 19th century, painted, can be primarily from the works of Nicolas Poussin's (1594 to 1665) and Claude Lorrain (1600 to 1682) derived, with Poussin's Landscape view was an "ideal-heroic" those "classical ideal" of Lorrain in Arcadian shape. The essence of the ideal or Arcadian landscape is any assembly of individual parts of the image into a harmonious whole. Ruins of ancient buildings give an indication of the former size of the tract of land and let wistful reminiscences about. The Schallhas'sche landscape leads us into a wide, bounded by mountains valley. On the right hand side you see dilapidated buildings of different styles of music left, however, only trees that stand out in silhouette against the light of the setting sun. Around the fountain (the source is to be interpreted as a giver of life), people have gathered to feast on the water; in the distance a shepherd playing his flute. The shaded foreground, details of which are finely and precisely worked out is still very committed in his opposition to the delicately lit area behind the baroque image composition in terms Salomon Gessner (1730-1788). However Schallhas achieved in the light guide and into the uniform light color unification of these two areas. H. Aurenhammer saw in the indicated "juxtaposition of idyll and pathos the Human-Small in contrast to the Great Nature" and refers to the moment of transition, from the "ruins, which are almost back to become natural" way to "limiting in the boundlessness of a sunset is losing Tales" enough. Schallhas is with this view but already at the end of a tradition that wants to imagine the realm of gods and myths. His characters do not occur more "idyllic" on, there are people in contemporary dress, which are integrated into a genre-like scene and consistent with the mood of the landscape in harmony. Literature: Wurzbach 29/1875; H. Aurenhammer, A landscape of Goethe's time by Carl Philipp Schallhas in: Releases the Austrian Gallery, the fifth born (1961), No. 49, pp 11ff [Sabine Grabner, in:.. Grabner, Sabine Romantic Classicism Biedermeier (in the Austrian Gallery Belvedere), 2nd revised edition, Vienna 1997, p 40f]