Friedrich August Mathias Gauermann, 1830 - Okirikiri ala dị nso na Miesenbach - mbipụta nka mara mma.

a 19th narị afọ ihe omimi Landscape near Miesenbach onye na-ese ihe sere ya Friedrich August Mathias Gauermann n’afọ 1830. The 190 year old version of the masterpiece had the following size: 32 x 45 cm - akụkụ etiti: 47 x 59 x 7 cm. Oil on paper on canvas was used by the painter as the medium of the artwork. Furthermore, the work of art is part of the digital collection of Belvedere na Vienna, Austria. Nke nkà nke oge a artpiece, nke dị na ngalaba ọha is supplied with courtesy of © Belvedere, Vienna, inventory number: 2815. The creditline of the artpiece is: purchase from private ownership in 1928. On top of that, alignment of the digital reproduction is in odida obodo format na a akụkụ ruru nke 1.4: 1, nke pụtara na ogologo bụ 40% ogologo karịa obosara. The painter Friedrich August Mathias Gauermann was an artist, whose artistic style was primarily Realism. The Realist painter lived for 55 afọ, amuru na afo 1807 in Miesbach in Wiener Neustadt and passed away in the year 1862.

Artwork description by the museum's website (© Copyright - by Belvedere - Belvedere)

Raised in Miesbach, a south-western town of Vienna am Schneeberg, Gauermann created under the guidance of his father, the painter Jakob Gauermann, already in early teens views and sketches of his surroundings. After studying where the baroque tradition following Josef Mößmer at the Vienna Academy (1824-1827) Gauermann counted in his early work together with Franz Steinfeld, Friedrich Loos and Ferdinand Georg Waldmüller to the first generation of artists of realistic landscape painting and thus their forerunners. During his studies Gauermann made several trips to the Salzkammergut and the Königsee Berchtesgaden - in an area whose beauty already some time before him by the painters of the Romantic, led by the Dessau brothers Ferdinand (1785-1841) and Friedrich Olivier ( 1791-1859), was discovered and developed for painting. There, he developed as well Steinfeld and Loos, a completely new, "demystified" landscape view, which he transferred to the area of ​​his home nearby. The simplicity in the composition that represents the area in normal daylight without significant need for a production, discloses a purity in the view of nature that is not regain this level in the works of the following years. Our own observations in his home, but certainly also operated during his time at the academy study of paintings by Nicolaes Pietersz Berchem (1620-1683), Paulus Potter (1625-1654), Jakob von Ruisdael (1628 / 1629-1682) and Philips Wouwermann (1619 -1668) in the Imperial collection in the Upper Belvedere and in private collections, it led subsequently to expand its landscape views with tales. Initially treated as an accessory, they are increasingly the defining image content. Animal fights and scenes from rural life were among his favorite themes circle, the direct observation of nature but always served as a starting point. Literature: Paintings Catalog of the Gallery of the nineteenth century in the Upper Belvedere, 2nd edition, Vienna 1937, p 27, No. 152;.. Feuchtmüller, R .: Friedrich Gauermann. From 1807 to 1862. The Tiuer- and landscape painter of the Austrian Biedermeier, Vienna 1962; Frodl, G .: landscape painting, in: citizenship and rebellion. Biedermeier and Vormärz in Vienna. 1815-1848, exh. . Kat Museum Wien 1988, pp 156 et seq [Sabine Grabner in. This .: romanticism, classicism, Biedermeier. In the Austrian Gallery Belvedere, the second verb. Ed. Vienna 1997, p 96-97]

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