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2520

Heinrich BürkelBarge Haulers Pulling a Ship UpstreamOil on canvas (relined). 32 x 46 cm.Signed and

In Kunst des 19. Jahrhunderts

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Heinrich Bürkel
Treidler ziehen ein Schiff stromaufwärts

Öl auf Leinwand (doubliert). 32 x 46 cm.
Signiert und datiert unten links: HBürkel 1830.

Provenienz
Erworben 1966 in der Kunsthandlung Alexander Gebhardt, München. - Seitdem in Familienbesitz.

Ausstellungen
Frühjahrsausstellung auf dem Kapitol in Rom 1931 (L. von Buerkel op. cit), (F. v. Bötticher, op. cit.).

Literatur
L. von Buerkel: Heinrich Bürkel 1802 -1860. Ein Malerleben der Biedermeierzeit, München 1940, S. 103. - F. von Bötticher: Malerwerke des Neuenzehnten Jahrhunderts, Leipzig 1941, Heinrich Bürkel S. 146, Nr. 7. - H. P. Bühler, A. Krückl: Heinrich Bürkel. Mit Werkverzeichnis der Gemälde, München1989, S. 266, Nr. 370.

Heinrich Bürkel malte dieses frühe Bild während seines dreijährigen Aufenthaltes in Rom, was weder thematisch noch stilistisch zu vermuten wäre. Vielmehr scheint er eher unbeeindruckt in Italien seinen bereits begonnenen künstlerischen Weg fortzuführen. So entstanden zwei Bilder mit dem Treidlermotiv 1828 in München, und noch drei weitere 1929 und 1930 in Rom, darunter als letztes das hier vorliegende.
Bürkel gilt als der Vollender der süddeutschen Genremalerei des Biedermeier. In einer Zeit des Stilpluralismus und der Spezialisierung entschied er sich offenbar von Anfang an für das ländliche Genrebild. Weder Josef Anton Kochs und Christian Reinharts Suche nach dem Erhabenen noch die Sehnsüchte der Deutschrömer scheinen ihn im besonderem Maße interessiert zu haben. Stattdessen stand das Leben und Treiben seiner Zeitgenossen im Fokus seiner Aufmerksamkeit und gewiss auch die solide Beherrschung einer Maltechnik, die ihm die Darstellung der Charaktere, der Wetter- und Lichtphänomene, Landschaften, Bauten oder Vegetation erlaubte. Und dort, wo italienische Landschaften mit antiken Bauten die Kulisse seiner Kompositionen bilden, erinnern diese vor allem an die der Bamboccianti. In diesem Sinne liegen seine künstlerischen Wurzeln und Intentionen vor allem bei den niederländischen Malern des 17. und 19. Jahrhunderts.



Heinrich Bürkel
Barge Haulers Pulling a Ship Upstream

Oil on canvas (relined). 32 x 46 cm.
Signed and dated lower left: HBürkel 1830.

Provenance
Acquired in 1966 from Alexander Gebhardt art dealers, Munich. - Subsequently in family ownership.

Exhibitions
Spring exhibition on Capitol in Rome, 1931 (L. von Buerkel op. cit) (F. v. Bötticher, op. Cit.)

Literature
L. von Buerkel: Heinrich Bürkel 1802 -1860. Ein Malerleben der Biedermeierzeit, Munich 1940, p. 103. - F. von Bötticher: Malerwerke des Neuenzehntes Jahrhunderts, Leipzig 1941, Heinrich Bürkel p. 146, no. 7. - H. P. Bühler / A. Krückl: Heinrich Bürkel mit Werkverzeichnis der Gemälde, Munich 1989, p. 266, no. 370.

Heinrich Bürkel painted this early work during a three-year stay in Rome, a fact that neither the style nor the motif of the work would lead one to assume. When in the city, he simply continued the artistic path he had begun previously, seemingly unimpressed by all that Italy had to offer. Bürkel painted two works with the motif of barge haulers when in Munich in 1828 and three others whilst in Rome in 1829 and 1830, of which the present work is the last.

Bürkel's works are considered the epitome of Biedermeier genre painting. In a time of stylistic plurality and specialisation, he decided early in his career that he would concentrate on rural genre scenes. Neither Josef Anton Koch and Christian Reinhart's search for the sublime nor the yearning of the German painters in Italy seem to have interested him. He was more concerned with the daily lives of his contemporaries, and focussed on mastering a painting technique that would help him to depict their personalities, light and weather phenomena, landscapes, buildings, and vegetation. Even those of his works in which Italian landscapes form a backdrop are more reminiscent of the Bamboccianti. In this sense, his artistic roots and intentions are to be found more among the Dutch painters of the 17th century than among his 19th century peers.

Heinrich Bürkel
Treidler ziehen ein Schiff stromaufwärts

Öl auf Leinwand (doubliert). 32 x 46 cm.
Signiert und datiert unten links: HBürkel 1830.

Provenienz
Erworben 1966 in der Kunsthandlung Alexander Gebhardt, München. - Seitdem in Familienbesitz.

Ausstellungen
Frühjahrsausstellung auf dem Kapitol in Rom 1931 (L. von Buerkel op. cit), (F. v. Bötticher, op. cit.).

Literatur
L. von Buerkel: Heinrich Bürkel 1802 -1860. Ein Malerleben der Biedermeierzeit, München 1940, S. 103. - F. von Bötticher: Malerwerke des Neuenzehnten Jahrhunderts, Leipzig 1941, Heinrich Bürkel S. 146, Nr. 7. - H. P. Bühler, A. Krückl: Heinrich Bürkel. Mit Werkverzeichnis der Gemälde, München1989, S. 266, Nr. 370.

Heinrich Bürkel malte dieses frühe Bild während seines dreijährigen Aufenthaltes in Rom, was weder thematisch noch stilistisch zu vermuten wäre. Vielmehr scheint er eher unbeeindruckt in Italien seinen bereits begonnenen künstlerischen Weg fortzuführen. So entstanden zwei Bilder mit dem Treidlermotiv 1828 in München, und noch drei weitere 1929 und 1930 in Rom, darunter als letztes das hier vorliegende.
Bürkel gilt als der Vollender der süddeutschen Genremalerei des Biedermeier. In einer Zeit des Stilpluralismus und der Spezialisierung entschied er sich offenbar von Anfang an für das ländliche Genrebild. Weder Josef Anton Kochs und Christian Reinharts Suche nach dem Erhabenen noch die Sehnsüchte der Deutschrömer scheinen ihn im besonderem Maße interessiert zu haben. Stattdessen stand das Leben und Treiben seiner Zeitgenossen im Fokus seiner Aufmerksamkeit und gewiss auch die solide Beherrschung einer Maltechnik, die ihm die Darstellung der Charaktere, der Wetter- und Lichtphänomene, Landschaften, Bauten oder Vegetation erlaubte. Und dort, wo italienische Landschaften mit antiken Bauten die Kulisse seiner Kompositionen bilden, erinnern diese vor allem an die der Bamboccianti. In diesem Sinne liegen seine künstlerischen Wurzeln und Intentionen vor allem bei den niederländischen Malern des 17. und 19. Jahrhunderts.



Heinrich Bürkel
Barge Haulers Pulling a Ship Upstream

Oil on canvas (relined). 32 x 46 cm.
Signed and dated lower left: HBürkel 1830.

Provenance
Acquired in 1966 from Alexander Gebhardt art dealers, Munich. - Subsequently in family ownership.

Exhibitions
Spring exhibition on Capitol in Rome, 1931 (L. von Buerkel op. cit) (F. v. Bötticher, op. Cit.)

Literature
L. von Buerkel: Heinrich Bürkel 1802 -1860. Ein Malerleben der Biedermeierzeit, Munich 1940, p. 103. - F. von Bötticher: Malerwerke des Neuenzehntes Jahrhunderts, Leipzig 1941, Heinrich Bürkel p. 146, no. 7. - H. P. Bühler / A. Krückl: Heinrich Bürkel mit Werkverzeichnis der Gemälde, Munich 1989, p. 266, no. 370.

Heinrich Bürkel painted this early work during a three-year stay in Rome, a fact that neither the style nor the motif of the work would lead one to assume. When in the city, he simply continued the artistic path he had begun previously, seemingly unimpressed by all that Italy had to offer. Bürkel painted two works with the motif of barge haulers when in Munich in 1828 and three others whilst in Rome in 1829 and 1830, of which the present work is the last.

Bürkel's works are considered the epitome of Biedermeier genre painting. In a time of stylistic plurality and specialisation, he decided early in his career that he would concentrate on rural genre scenes. Neither Josef Anton Koch and Christian Reinhart's search for the sublime nor the yearning of the German painters in Italy seem to have interested him. He was more concerned with the daily lives of his contemporaries, and focussed on mastering a painting technique that would help him to depict their personalities, light and weather phenomena, landscapes, buildings, and vegetation. Even those of his works in which Italian landscapes form a backdrop are more reminiscent of the Bamboccianti. In this sense, his artistic roots and intentions are to be found more among the Dutch painters of the 17th century than among his 19th century peers.

Kunst des 19. Jahrhunderts

Auktionsdatum
Ort der Versteigerung
Neumarkt 3
Köln
50667
Germany

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Wichtige Informationen

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Conditions of Sale

1. The art auction house, Kunsthaus Lempertz KG (henceforth referred to as Lempertz), conducts public auctions in terms of § 383 paragraph 3 sentence 1 of the Civil Code as commissioning agent on behalf of the accounts of submitters, who remain anonymous. With regard to its auctioneering terms and conditions drawn up in other languages, the German version remains the official one.

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Henrik Hanstein, sworn public auctioneer
Takuro Ito, Kilian Jay von Seldeneck, auctioneers

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Stichworte: Genre Painting,