2518
Michael NeherItalian street view with fishermenoil on metal. 31.5 x 43 cm.Monogrammed and dated
1/2
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Beschreibung
Michael Neher
Eine italienische Häusergruppe mit einer Fischerfamilie
Öl auf Metall. 31,5 x 43 cm.
Monogrammiert und datiert unten rechts: MN (ligiert) 1830 (auf dem Sockel des Vordachs).
Gutachten
Günther Meier, Oberding 14.4.2020.
Provenienz
Kunstverein München, 1830. - Auktion Karl & Faber, München, 7./8.12.1956, Lot 413. – Deutsche Privatsammlung. - Auktion Koller, Zürich, 17.9.2010, Lot 3247. - Privatbesitz, Belgien.
Ausstellungen
Kunstverein München, 1830.
Michael Neher entstammt einer Biberacher Künstlerdynastie, aus der mehrere Maler hervorgingen. Sein Vater Joseph Neher (1756-1830), selbst Maler, übersiedelte nach München und wurde gemäß der Einbürgerungsurkunde 1795 Bürger dieser Stadt. In der Literatur zu Michael Neher wird fälschlicherweise Karl Joseph Bernhard d. Ä. Neher (1743-1801) als Vater genannt, jedoch belegt die Bürgerrechtsakte der Stadt München die Vaterschaft des genannten Joseph Neher.
Michael Neher erbte das künstlerische Talent seines Vaters und erhielt bereits 1812 Zeichenunterricht bei Professor Mitterer. Ein Jahr später besuchte er die Akademie der bildenden Künste in München. Zu seinen Lehrern gehörten der durch seine klassische Farbenlehre seinerzeit berühmte bayrische Hofmaler und Porträtist Mathias Klotz, der Architekturmaler Angelo I. Quaglio sowie bis 1818 Domenico Quaglio.
1819 brach Neher nach Trient auf, wo er bedeutende Aufträge erhielt und sich zunächst mit der Porträtmalerei beschäftigte. Er bereiste Oberitalien und schließlich auch Rom und Neapel. Von 1823 bis 1825 lebte Neher fortwährend in Rom, wo er Kontakt hatte zu E. Fries, E. F. Oehme und A. L. Richter sowie anderen deutschen Künstlern im Umkreis des bayrischen Kronprinzen Ludwig. In diesem Kreis kam es auch zu ersten Verbindungen mit der Künstlergruppe der "Nazarener". Eine Wende im künstlerischen Werdegang Nehers bildete der Kontakt zu dem Maler Heinrich Maria von Hess, der sich seit 1821 in Rom aufhielt und dort dem Kreis der Nazarener um Friedrich Overbeck und Peter von Cornelius anschloss. Er war es, der den 23jährigen Neher zur Architekturmalerei hinführte, so dass Neher, wenn auch anfänglich widerstrebend, sich dieser Bildgattung zuwandte.
Nach seiner 1825 erfolgten Rückkehr nach München gründete Neher eine Zeichenschule und bekleidete von 1827 bis 1833 die Stelle eines Konservators am Münchner Kunstverein.
In dieser Zeit entstand unsere 1830 datierte Ansicht einer italienischen Stadt mit Fischern, die ein brillantes Ergebnis seines früheren Italienaufenthalts darstellt. Fünf Jahre nach seiner Rückkehr zeigt Neher im Vordergrund eine Gruppe von drei Personen: rechts neben einem Mann mit einem geschulterten großen Fangnetz und einem umgehängten Tongefäß dürfte dessen Ehefrau stehen, während links von ihm eine knieende Frau Fische in einem Weidenkorb anbietet. Eine weitere Frau hat sich mit einer Spindel unter dem Vordach des Hauses in der rechten Bildhälfte niedergelassen. Im Mittelgrund wird die Staffage des Bildes von drei Männer komplettiert, von denen zwei auf einer Mauer sitzen und schlafen. Diese fein beobachteten und malerisch minutiös ausgeführten Figuren des italienischen Alltagslebens sind eingebunden in eine idyllische Stadt- und Flusslandschaft, die von einer Architekturruine mit einem Brunnen auf der linken und einem großen Haus auf der rechten Seite gerahmt wird. Der Blick geht an Pinien vorbei über einen Fluss, in dessen Wasser sich das Ufer spiegelt, bis zu einer dicht bebauten Stadt am gegenüberliegend
Michael Neher
Italian street view with fishermen
oil on metal. 31.5 x 43 cm.
Monogrammed and dated lower right: MN (ligated) 1830 (on the base of the canopy).
Certificate
Günther Meier, Oberding, 14.4.2020
Provenance
Kunstverein München, 1830 - Auction Karl & Faber, Munich, 7/8.12.1956, Lot 413 - German private collection. - Auction Koller, Zurich, 17.9.2010, Lot 3247. - Private collection, Belgium.
Exhibitions
Kunstverein München, 1830.
Michael Neher came from a long line of artists from Biberach that had produced several painters before him. His father Joseph Neher (1756-1830) was a painter himself who relocated to Munich and, according to his certificate of naturalisation, he became a citizen of that city in 1795. In the literature, Michael Neher's father is erroneously stated to be Karl Joseph Bernhard Neher the Elder (1743-1801), but the Munich citizenship document proves that his father was in fact Joseph Neher.
Michael Neher inherited his father's artistic talent and already began taking drawing lessons with Professor Mitterer in 1812. One year later he began his studies at the Academy in Munich. His tutors included the Bavarian court painter and portraitist Mathias Klotz, who was famous at the time for his theory of colours, the architectural painter Angelo I. Quaglio, and - until 1818 - Domenico Quaglio.
In 1819, Neher left Munich for Trent, where he received various important commissions, initially working as a portraitist. He travelled throughout northern Italy and then to Rome and Naples. He lived in Rome from 1823 to 1825, where he had contact to E. Fries, E. F. Oehme and A. L. Richter, as well as many other German artists from the circle of the Bavarian crown prince Ludwig. It was among them that he also had his first encounter with the Nazarene group. One great turning point in Neher's career came from his acquaintance with the painter Heinrich Maria von Hess, who had been living in Rome since 1821 and had there joined the Nazarene circle around Friedrich Overbeck and Peter von Cornelius. It was Hess who first encouraged the then 23 year old Neher to take up architectural painting and, although initially reluctant, the artist was to pursue this genre throughout his career.
Neher returned to Munich in 1825, where he founded a drawing school and took the position of conservator of the Munich Academy from 1827 to 1833.
It was during this time that he painted the present view of fishermen in an Italian town - a glittering testament to his former stay in Italy. Painted five years after his return, the work shows a group of three figures in the foreground: In the middle a man shouldering a large net and right-hand beside him a woman - presumably his wife - whilst on the left-hand side we see a second woman offering fish from a wicker basket. In the right half of the image another woman has settled down beneath the awning of her house with a spindle. The lively scene is completed by three men in the middle ground, two of whom are shown sitting on a wall and sleeping. This finely observed and minutely rendered depiction of Italian daily life is set within an idyllic landscape with a town and a river, framed on the left by ruins and a well and on the right by a large house. The viewer's gaze is led over a group of pines to a river with the shore reflected in its waters, a built up area on its opposite bank, and a mountain range in the distance.
Neher's Italian paintings are as much testimonies to everyday Italian life at the time as they are to central European art collectors' longing for Italy. They reflect in an almost idealistic way the contemporary notions of life in rural Italy as a simple but happy existence beneath the southern sun. Since in the late 1830s Neher increasingly began to turn to central European cities and Medieval architecture for his motifs, his Italian scenes appear relatively seldom on the market.
Günther Meier in Oberding has examined this work first hand and will be including it in his forthcoming catalogue raisonné of the works of Michael Neher. He has identified the piece with a painting that was purchased and exhibited by the Kunstverein München in 1830, the same year it was made.
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Michael Neher
Eine italienische Häusergruppe mit einer Fischerfamilie
Öl auf Metall. 31,5 x 43 cm.
Monogrammiert und datiert unten rechts: MN (ligiert) 1830 (auf dem Sockel des Vordachs).
Gutachten
Günther Meier, Oberding 14.4.2020.
Provenienz
Kunstverein München, 1830. - Auktion Karl & Faber, München, 7./8.12.1956, Lot 413. – Deutsche Privatsammlung. - Auktion Koller, Zürich, 17.9.2010, Lot 3247. - Privatbesitz, Belgien.
Ausstellungen
Kunstverein München, 1830.
Michael Neher entstammt einer Biberacher Künstlerdynastie, aus der mehrere Maler hervorgingen. Sein Vater Joseph Neher (1756-1830), selbst Maler, übersiedelte nach München und wurde gemäß der Einbürgerungsurkunde 1795 Bürger dieser Stadt. In der Literatur zu Michael Neher wird fälschlicherweise Karl Joseph Bernhard d. Ä. Neher (1743-1801) als Vater genannt, jedoch belegt die Bürgerrechtsakte der Stadt München die Vaterschaft des genannten Joseph Neher.
Michael Neher erbte das künstlerische Talent seines Vaters und erhielt bereits 1812 Zeichenunterricht bei Professor Mitterer. Ein Jahr später besuchte er die Akademie der bildenden Künste in München. Zu seinen Lehrern gehörten der durch seine klassische Farbenlehre seinerzeit berühmte bayrische Hofmaler und Porträtist Mathias Klotz, der Architekturmaler Angelo I. Quaglio sowie bis 1818 Domenico Quaglio.
1819 brach Neher nach Trient auf, wo er bedeutende Aufträge erhielt und sich zunächst mit der Porträtmalerei beschäftigte. Er bereiste Oberitalien und schließlich auch Rom und Neapel. Von 1823 bis 1825 lebte Neher fortwährend in Rom, wo er Kontakt hatte zu E. Fries, E. F. Oehme und A. L. Richter sowie anderen deutschen Künstlern im Umkreis des bayrischen Kronprinzen Ludwig. In diesem Kreis kam es auch zu ersten Verbindungen mit der Künstlergruppe der "Nazarener". Eine Wende im künstlerischen Werdegang Nehers bildete der Kontakt zu dem Maler Heinrich Maria von Hess, der sich seit 1821 in Rom aufhielt und dort dem Kreis der Nazarener um Friedrich Overbeck und Peter von Cornelius anschloss. Er war es, der den 23jährigen Neher zur Architekturmalerei hinführte, so dass Neher, wenn auch anfänglich widerstrebend, sich dieser Bildgattung zuwandte.
Nach seiner 1825 erfolgten Rückkehr nach München gründete Neher eine Zeichenschule und bekleidete von 1827 bis 1833 die Stelle eines Konservators am Münchner Kunstverein.
In dieser Zeit entstand unsere 1830 datierte Ansicht einer italienischen Stadt mit Fischern, die ein brillantes Ergebnis seines früheren Italienaufenthalts darstellt. Fünf Jahre nach seiner Rückkehr zeigt Neher im Vordergrund eine Gruppe von drei Personen: rechts neben einem Mann mit einem geschulterten großen Fangnetz und einem umgehängten Tongefäß dürfte dessen Ehefrau stehen, während links von ihm eine knieende Frau Fische in einem Weidenkorb anbietet. Eine weitere Frau hat sich mit einer Spindel unter dem Vordach des Hauses in der rechten Bildhälfte niedergelassen. Im Mittelgrund wird die Staffage des Bildes von drei Männer komplettiert, von denen zwei auf einer Mauer sitzen und schlafen. Diese fein beobachteten und malerisch minutiös ausgeführten Figuren des italienischen Alltagslebens sind eingebunden in eine idyllische Stadt- und Flusslandschaft, die von einer Architekturruine mit einem Brunnen auf der linken und einem großen Haus auf der rechten Seite gerahmt wird. Der Blick geht an Pinien vorbei über einen Fluss, in dessen Wasser sich das Ufer spiegelt, bis zu einer dicht bebauten Stadt am gegenüberliegend
Michael Neher
Italian street view with fishermen
oil on metal. 31.5 x 43 cm.
Monogrammed and dated lower right: MN (ligated) 1830 (on the base of the canopy).
Certificate
Günther Meier, Oberding, 14.4.2020
Provenance
Kunstverein München, 1830 - Auction Karl & Faber, Munich, 7/8.12.1956, Lot 413 - German private collection. - Auction Koller, Zurich, 17.9.2010, Lot 3247. - Private collection, Belgium.
Exhibitions
Kunstverein München, 1830.
Michael Neher came from a long line of artists from Biberach that had produced several painters before him. His father Joseph Neher (1756-1830) was a painter himself who relocated to Munich and, according to his certificate of naturalisation, he became a citizen of that city in 1795. In the literature, Michael Neher's father is erroneously stated to be Karl Joseph Bernhard Neher the Elder (1743-1801), but the Munich citizenship document proves that his father was in fact Joseph Neher.
Michael Neher inherited his father's artistic talent and already began taking drawing lessons with Professor Mitterer in 1812. One year later he began his studies at the Academy in Munich. His tutors included the Bavarian court painter and portraitist Mathias Klotz, who was famous at the time for his theory of colours, the architectural painter Angelo I. Quaglio, and - until 1818 - Domenico Quaglio.
In 1819, Neher left Munich for Trent, where he received various important commissions, initially working as a portraitist. He travelled throughout northern Italy and then to Rome and Naples. He lived in Rome from 1823 to 1825, where he had contact to E. Fries, E. F. Oehme and A. L. Richter, as well as many other German artists from the circle of the Bavarian crown prince Ludwig. It was among them that he also had his first encounter with the Nazarene group. One great turning point in Neher's career came from his acquaintance with the painter Heinrich Maria von Hess, who had been living in Rome since 1821 and had there joined the Nazarene circle around Friedrich Overbeck and Peter von Cornelius. It was Hess who first encouraged the then 23 year old Neher to take up architectural painting and, although initially reluctant, the artist was to pursue this genre throughout his career.
Neher returned to Munich in 1825, where he founded a drawing school and took the position of conservator of the Munich Academy from 1827 to 1833.
It was during this time that he painted the present view of fishermen in an Italian town - a glittering testament to his former stay in Italy. Painted five years after his return, the work shows a group of three figures in the foreground: In the middle a man shouldering a large net and right-hand beside him a woman - presumably his wife - whilst on the left-hand side we see a second woman offering fish from a wicker basket. In the right half of the image another woman has settled down beneath the awning of her house with a spindle. The lively scene is completed by three men in the middle ground, two of whom are shown sitting on a wall and sleeping. This finely observed and minutely rendered depiction of Italian daily life is set within an idyllic landscape with a town and a river, framed on the left by ruins and a well and on the right by a large house. The viewer's gaze is led over a group of pines to a river with the shore reflected in its waters, a built up area on its opposite bank, and a mountain range in the distance.
Neher's Italian paintings are as much testimonies to everyday Italian life at the time as they are to central European art collectors' longing for Italy. They reflect in an almost idealistic way the contemporary notions of life in rural Italy as a simple but happy existence beneath the southern sun. Since in the late 1830s Neher increasingly began to turn to central European cities and Medieval architecture for his motifs, his Italian scenes appear relatively seldom on the market.
Günther Meier in Oberding has examined this work first hand and will be including it in his forthcoming catalogue raisonné of the works of Michael Neher. He has identified the piece with a painting that was purchased and exhibited by the Kunstverein München in 1830, the same year it was made.
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