Johann Heinrich I Tischbein

JOHANN HEINRICH TISCHBEIN D. Ä. 1722 Haina - 1789 Kassel MUSENBILDNIS Signiert und datiert unten Mitte: JH Tischbein Pinx. 1759 Öl auf Leinwand (doubliert). 54 x 44 cm. Privatbesitz Österreich. Johann Heinrich Tischbein hat mit diesem 1759 entstandenen Gemälde eine ungewöhnliche Musendarstellung geschaffen. Wahrscheinlich handelt es sich um Terpsichore, der sechsten Muse der Tanzkunst und Chorlyrik. Ihr Attribut, die Lyra, ist rechts unten dargestellt, es fehlt jedoch der Blumenkranz auf ihrem Haupte. Nach Ansicht einiger antiker Schriftsteller hat Terpsichore ihren Namen allerdings daher, dass sie ihre Liebhaber mit den Verführungen vergnügte, die der Gelehrsamkeit entstammen. Sie soll zuerst das Tanzen und nach anderen schönen Künsten auch die Wissenschaften erfunden haben. Tischbeins zusätzliche Attribute wie Lorbeerkranz und Schreibutensilien sprechen für diese komplexere Deutung der Terpsichore. Die Komposition knüpft aber auch an die in dieser Zeit beliebten Porträt-Allegorien an, wie etwa jenes der lorbeerbekrönten Sängerin Faustina Bordoni von Rosalba Carriera. Es ist nicht ausgeschlossen, dass Tischbein hier ein solches Bildnis geschaffen hat. Kompositorisch zeigt das Gemälde den Einfluss venezianischer Maler wie Giovanni Battista Piazzetta und Rosalba auf Tischbein, der sich 1749 und 1751 für jeweils mehrere Monate in der Lagunenstadt aufgehalten und in der Werkstatt Piazzettas gearbeitet hat. Das weibliche Brustbild mit den unten ausgebreiteten Attributen geht unmittelbar auf Piazzettas sogenannte „Teste“ (Köpfe) zurück. 1759, im Jahr der Entstehung des Gemäldes, hielt sich Tischbein zeitweise in Eutin auf, wo er das Porträt der herzoglichen Familie zu Schleswig-Holstein-Sonderburg-Plön schuf (freundliche Auskunft von Herrn Dr. Justus Lange, Gemäldegalerie Alte Meister, Kassel). Schöner geschnitzter Rahmen von W. Cribb. Johann Heinrich Tischbein created an unusual depiction of a Muse in this painting from 1759. Probably, it is Terpsichore, the sixth Muse of the art of dance and Choral lyric. Her attribute, the lyre, is seen at lower right, however, the flower wreath is missing from her head. According to several writers of the antiquity, Terpsichore1s name derives from the fact that she entertained her lovers by seduction through knowledge. She is believed to have invented first the dance and other fine arts, and the sciences later. Tischbein's additional attributes like the laurel wreath and writing Utensils speak for this more complex Interpretation of Terpsichore. The composition also relates to portrait allegories populär at that time, like that of the laurel- crowned singer Faustina Bordoni by Rosalba Carriera. It cannot be excluded that Tischbein here created such a painting. The work's composition shows the influence of Venetian painters such as Giovanni Battista Piazzetta and Rosalba on Tischbein who in 1749 and 1751 stayed in Venice for several months working in Piazzetta's Workshop. The female portrait with the attributes displayed at bottom is immediately related to Piazzetta's so-called "Teste" (heads). In 1759, the year this painting was created, Tischbein spent time in Eutin where he was working on the portrait of the ducal family of Schleswig-Holstein-Sonderburg-Plön (Kind Information received from Dr. Justus Lange, Gemäldegalerie Alte Meister, Kassel). Beautiful, carved frame by W. Cribb.

Johann Heinrich Tischbein the Elder (Haina 1722–1789 Kassel) Portrait of a Lady in a Turquoise Garment with a Young Moor Serving Coffee, oil on canvas, 70.5 x 53.5 cm, framed We are grateful to Dr. Anna Charlotte Flohr, author of the catalogue raissonnée of Tischbein’’’’s portraits, for confirming its authenticity after examining the present painting in the original. The painting is accompanied by a certificate. The “Kasseler Tischbein” numbers among the most gifted and influential members of this prolific family of artists. His patron, Count Stadion, enabled him to study in Paris for a period of five years, where he worked in the studio of Charles Vanloo from 1743 on. Together with Johann Christian Fiedler, Christian Bernhard Rode, and Januarius Zick, Tischbein was one of the first German artists to travel to Paris for their further development. Between 1748 and 1751, Tischbein was in Italy, where he sojourned in Venice for several months, briefly visited Bologna and Florence, and lived in Rome for two years. In Venice he met Giovanni Battista Piazzetta, who became his friend. After his return from Italy, Count Stadion recommended the artist to Landgrave William VIII of Hesse-Kassel, who appointed him court painter in April 1753. After William’’’’s death, Tischbein continued to be senior court painter to his successor, Frederick II. The artist started teaching drawing and painting at the Collegium Carolinum in 1762. In 1776, he became professor for painting at the Kassel Academy and simultaneously held the position of director. In 1779, he was appointed honorary member of the Accademia Clementina in Bologna. Tischbein is the author of important history paintings, yet today is primarily known for his courtly and elegant portraits. It has not been possible to definitely clarify whether the sitter in the present painting represents one of the daughters of the landgrave of Hesse-Kassel. Besides striking physiognomic resemblances, this would be suggested by her ermine-trimmed robe, which may well indicate that she was a member of the higher aristocracy; on the other hand, the ermine-lined blue coat was a standard component of a ‘Turkish attire’’’’, and there are numerous examples of lower-ranking personalities who had themselves portrayed in a costume à la turque. There are also similarities with Tischbein’’’’s second wife. The Turkish fashion prevalent at 18th-century European courts (turquerie) represented a social and historical phenomenon accounted for by the fascination for an alien culture that was no longer regarded as a threat. It gave expression to a theatrical fancy for the luxury and sensuality of an oriental lifestyle and in this respect was related to the contemporary trend of chinoiserie. The present painting depicts a lady in a dress that was apparently felt to be typical of that fashion and which also recurs in Liotard’’’’s portrait of Empress Maria Theresa: it consists of an ermine-trimmed coat made of blue velvet and a bodiced dress. Since Liotard, feathers and pearls constituted an indispensable addition to this costume à la turque. The drop-shaped earrings can be found in another portrait by Tischbein, showing the likeness of Princess Marie Amalia in Wilhelmsthal Palace near Kassel.

DescEN Tischbein d.Ä., Johann Heinrich 1722 Haina - 1789 Kassel Portrait of Ernst Christoph Dreßler with the Manuscript of a Spring Song, on the occasion of the marriage of David August von Apell to Wilhelmine Caroline Amalie Tischbein in 1778. Denoted on the verso: Gemahld (?) von J:H:Tischbein, an(no) 1780. Oil on canvas. 60.5 x 48.5cm. Framed. In the hand of the depicted is a script with the following inscription: "Frühlings-Lied/dem/Apell- und Tischbeinischen/Hochzeitfeste/ im Namen nachstehender guten Freunde/gesungen/von/ Ernst Cristoph Dreßler/(C)assel, den 10.May 1778/Gedruck(t...)eysenhaus Buchelnicke(?)" Dreßler was a singer and music composer, born in 1734 in Greußen near Sondershausen (Thüringen) and died April 6th, 1779 in Kassel. As far as we know, this painting is the only portrait of the famous musician, its completion dating after the artist's death. Dreßler became famous after Beethoven, who was 12 years old at the time, composed a variation based on one of his marches. In the 2nd half of the 18th century, Dreßler's theoretical texts attempted to distinguish the German opera as being separate from the Italian operas. As a prerequisite, Dreßler suggested the creation of permanent opera theaters, of which there were previously only two in Germany - in Mannheim and Gotha. His "theater school" became a seminal work for the aspirations of the German opera of the time, from a theoretical and practical performance point of view. Dreßler saw the genre of opera as an excellent means of education in the sense of Plato's harmonious development of all faculties of the soul. Similar to that of Johann Mattheson's in Hamburg 50 years earlier. We would like to thank Dr. Heinz, Kassel for her kind support.

Johann Heinrich Tischbein the Elder (Haina 1722–1789 Kassel) The Rape of Europa, oil on canvas, 26 x 33 cm, framed We are grateful to Dr. Petra Tiegel-Hertfelder, author of the catalogue raisonné of Tischbein’’’’s history paintings, who has identified the present painting as an autograph work by the artist (written communication July 2011). We are also grateful to Prof. Harald Marx (Dresden), for independently suggesting the attribution (oral communication). The present painting is an important addition to the oeuvre of the so-called “Kasseler Tischbein” and was previously unknown to the author of the artist’’’’s catalogue raisonné. She points out an entry in the artist´s order book referring to the subject of “Europa”, which she has been able to identify as the present painting in her certificate. Its small format and bright palette make it a cabinet piece par excellence. The elegantly and delicately composed work is typical of Tischbein’’’’s early paintings dating from the 1750s and 1760s. One of their characteristic features are their “amorous subjects deriving from myth and history in which the plot’’’’s easy-going treatment is combined with a fascinating virtuosity in terms of execution…” (H. Börsch-Suppan). Both the choice of erotically coquettish themes and the charming description and bright, serene colours are still committed to the tradition of French Rococo painting. The present painting illustrates a well-known scene from Ovid’’’’s Metamorphoses, according to which Zeus, in the guise of a bull, abdicates the beautiful Europa to Crete. The figures are embedded in a stage-like natural scenery framed by trees and shrubbery. An impact of French painting is revealed in the light that gently caresses the bodies and in the nuanced rendering of the complexion that lends Europa’’’’s naked upper body a tender, enamelled glaze. As is testified by the extensive collection of prints that was found in Tischbein’’’’s estate, the artist had the habit of intensively studying the art of senior masters. The figures’’’’ delicate corporeality attests to Tischbein’’’’s borrowing from Charles de La Fosse and Jacopo Amigoni, engravings after whose works the artist possessed. The “Kasseler Tischbein” numbers among the most talented and influential members of the Tischbein family of painters. His patron, Count Stadion, made it possible for the artist to study in Paris for five years from 1743 onwards, where he worked in the studio of Charles van Loo. Besides Johann Christian Fiedler, Christian Bernhard Rode, and Januarius Zick, Tischbein thus belonged to the first generation of German artists who completed their training in Paris. Between 1748 and 1751 Tischbein travelled through Italy, staying several months in Venice, briefly sojourning in Bologna and Florence, and living in Rome for two years. After the painter’’’’s return from Italy, Count Stadion recommended him to Landgrave William VIII of Hesse-Kassel, who appointed him court painter in April 1753. Tischbein continued to hold his position as first court painter under his patron’’’’s successor, Landgrave Frederick II. In 1762 he started teaching drawing and painting at the Collegium Carolinum. In 1776 he was appointed professor of painting and director of the Kassel Art Academy. In 1779 he became an honorary member of the Accademia Clementina in Bologna. Through his activities as a teacher and his long career, Tischbein established a painting style in Kassel that was to influence several generations of artists until well into the 19th Century.

Johann Heinrich Tischbein the Elder, called „Kasseler Tischbein“ (Haina 1722-1789 Kassel) Two portraits of Amalie Tischbein, the artist’’’’’’’’s daughter, signed and monogrammedrespectively and dated on the reverse H. Tischbein/ Pinx 1759 andHT Pinx/1764, pastel on paper, each 41 x 34cm, framed, Provenance: exBarons Wolff von Gudenberg; Southern German privatecollection. Specialist: Dr. Alexander Strasoldo