Hermann   Anschütz

(Koblenz, 12 October 1802 – 30 August 1880, Munich)




German painter and professor at the Royal Academy of Fine Arts in Munich. He is associated with the Düsseldorf school of painting. It is traced, that he lived at Promenade Straße 1 in Munich around 1850. He died in Munich, where he was buried on the Old Southern Cemetery (Alter Südfriedhof).



Historical painter, Born in 1802, there the first lesson, then in 1820 in Dresden at FA Hartmann and Fr. Matthai. After two years, pulled him Cornelius' name to Dusseldorf. Was one of those side convertible stars of the great master, who received from him their light, without radiating through his own power a special glow. As Gehülfe of striker and Cordier, he contributed to the great, the "Last Judgment" fresco in the representational Assis Saale at Coblenz; it was Anschütz 1826. W. Kaulbach and Adam Eberle called to Munich to paint with those mentioned, almost all visitors to the great unknown Odeon hall ceiling. Illustrate the effect of music was the leading thought. During the Kaulbach "Apollo among the Muses" (ie the art in the highest spheres of education) and the fine A. Eberle same God under the shepherd (the art as an educational means unspoiled natures) represented, met A. the Scene of Execution of Marsyas as a delicate allusion to unauthorized or malicious critic of Musicians. Then, A. (1830) with Hiltensperger sent to Naples to there, particularly to Pompeii to study the ancient wall paintings. After her return, she frescotirten with CF Nilson in the dining room of the new Königsbaues sorts of Clemens Zimmermann composed on the scenes to Anacreon's poems; the dancing figures and the choir of the muses painted in encaustic A.. It was dedicated to A. all the oil paintings and the most part of religious art. He provided some Madonnas, a "Magdalena" as Troglodytin, an "Esther" and ventured even to a Cupid: They showed a total of feeble drawing and a meager imagination, as in A. As with all epigones, the gift of one's own creativity was not liquid. However, he sought, by the example of August Riedel causes and JB Lodewijk Maes, for greater strength and depth of color, which soon capsized again in soft candy with him. It hovers a private misfortune to [17], these satellites! Deßungeachtet handed to the then state of things towards the experiment to bring A. the reputation of a "colorist", which is why the same in 1847 (almost simultaneously with Moritz v. Schwind was called) at the Munich Academy for conducting the Malclasse. His technique, he also brought conscientious in the scholars, until he entered the requested retirement. A. died on August 30, 1880. Today, his memory still lives in the posterity gossip; pity that the majority of immediate about his teaching activity anecdotes as ancient "Meidinger" prove! Before and during his academic effectiveness painted A. several large altarpieces: a "Resurrection" by Dinkelsbühl, several oil paintings for the Jesuit-Convict to Feldkirch, an "Assumption of Mary" to Fürth (photographed at Jos Albert.) And on behalf of the then Prince of Prussia, later to become Emperor Wilhelm I. The large altarpiece for the Garrison Church in Coblenz, depicting the Madonna as queen of heaven, surrounded by St. George, Mauritius, Barbara and Joseph, the cartridges of the four branches of service. The same appeared to be even with hospitality to the great historical exhibition of 1858 at Munich. An in-king Ludwig album "Madonna" has stung A. Fleischmann. In recent years, A. tried also in the areas of lithography. He was married to the celebrated pianist of her time Karoline Dulcken; the eldest of his many children, who had devoted himself to the clergy, the father saw in 1864 in the grave.

See. de.wikisource; Raczynski , Gesch. recent art II, 213. - E. Förster, Gesch. the German. Art II, 1860, V, 65. - Nagler-Meyer, Künstlerlexikon 1872, II, 82. - obituary in No. 254 d Allgemeine Zeitung, 10 Septbr... 1880 - Friedrich von Boetticher, painting workshop, 1895, I, 37.




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