2543
Anselm FeuerbachPortrait of a Young Roman Woman with a Headscarf, possibly NannaOil on canvas (
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Köln
Beschreibung
Anselm Feuerbach
Bildnis einer jungen Römerin mit Kopftuch, vermutlich Nanna
Öl auf Leinwand (doubliert). 48,5 x 34,5 cm.
Monogrammiert und datiert unten rechts: AF 63.
Provenienz
Auktionshaus Weinmüller, München 1963. - Galerie Dr. Bühler, München. - Dort 1983 erworben, seitdem in westfälischer Privatsammlung.
Literatur
Weltkunst XXXIII, Nr. 4, Februar 1963, S. 25. - Katalog 29. Deutsche Kunst-und Antiquitätenmesse, München 1983, Abb. - J. Ecker: Anselm Feuerbach. Leben und Werk, München 1991, S. 212, Nr. 345.
Unten rechts ist diese Studie neben dem Monogramm 1863 datiert. Vieles spricht jedoch dafür, dass das spontan gemalte Porträt von Anna Risi früher entstanden ist, nämlich schon 1860 und damit unmittelbar nach der ersten Begegnung des Malers mit seinem späteren Modell, seiner Muse und langjährigen Geliebten. Diese Meinung des Feuerbach-Experten Jürgen Ecker ist insofern plausibel, als es sich hier ganz offensichtlich um eine erste Annäherung an die Erscheinung dieser Frau zu handeln scheint, die er bald schon in idealisierter und überhöhter Form als Modell für seine großen weiblichen Darstellerinnen wie etwa Medea, Iphigenie oder Mirjam auf die Leinwand bringen wird.
Feuerbachs Freund Julius Allgeyer berichtet als Zeuge von der ersten Begegnung mit Anna Risi. Auf dem Weg von der Piazza Barberini zum Atelier des Malers Ende Februar 1860, so schreibt er, sahen wir eine Frau "von imponierender Schönheit mit einem Kind im Arm an einem Fenster stehend, wie in einem Bilderrahmen". Anna Risi war die Frau eines römischen Schusters, aber ihre Schönheit hatten bereits andere Künstler, denen sie als Modell gedient hatte, auch schon bemerkt. Sie entsprach mit ihrem klassischen Profil, dem vollen schwarzen Haar und der edlen Gestalt dem Schönheitsideal der Zeit. In den sechs Jahren nach der ersten Begegnung stand sie Modell für 28 Bilder Feuerbachs, darunter so bedeutende Werke wie „Der Mandolinenspieler“ von 1868 (Stuttgart) oder „Lucrezia Borgia“ von 1864/65 (Frankfurt).
Anselm Feuerbach
Portrait of a Young Roman Woman with a Headscarf, possibly Nanna
Oil on canvas (relined). 48.5 x 34.5 cm.
Monogrammed and dated lower right: AF 63..
Provenance
Auctioned by Weinmüller, Munich 1963. - Dr. Bühler gallery, Munich. - Acquired there in 1983,
Literature
Weltkunst XXXIII, issue 4, February 1963. p. 25. - Katalog 29. Deutsche Kunst-und Antiquitätenmesse, Munich 1983, illus. - J. Ecker: Anselm Feuerbach. Leben und Werk, Munich 1991, p. 212, no. 345.
This study is dated 1863 next to the monogram in the lower right-hand corner. There is much to suggest, however, that this spontaneously drawn portrait of Anna Risi was made much earlier, namely as early as 1760 and thus immediately after the painter's first encounter with his later model, muse and long-time lover. This opinion of the Feuerbach expert Jürgen Ecker is plausible in so far as the work appears to capture the artist's initial impression of this woman, whom Feuerbach would later bring to the canvas in an idealized and exaggerated form as a model for his great female protagonists such as Medea, Iphigenie or Mirjam.
Feuerbach's friend Julius Allgeyer recorded their first encounter with Anna Risi. On the way from the Piazza Barberini to the painter's studio in late February 1860, he writes, they saw a woman "of remarkable beauty standing at a window with a child in her arms, as if in a picture frame". Anna Risi was the wife of a Roman cobbler, but her beauty had already caught the attention of other artists whom she had served as a model. With her classic profile, full black hair and noble figure, she corresponded perfectly with the ideal of beauty at the time. In the six years following her first encounter with Feuerbach, she was to sit as model for 28 of his paintings, including such important works as "The Mandolin Player" from 1868 (Stuttgart) or "Lucrezia Borgia" from 1864/65 (Frankfurt).
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Anselm Feuerbach
Bildnis einer jungen Römerin mit Kopftuch, vermutlich Nanna
Öl auf Leinwand (doubliert). 48,5 x 34,5 cm.
Monogrammiert und datiert unten rechts: AF 63.
Provenienz
Auktionshaus Weinmüller, München 1963. - Galerie Dr. Bühler, München. - Dort 1983 erworben, seitdem in westfälischer Privatsammlung.
Literatur
Weltkunst XXXIII, Nr. 4, Februar 1963, S. 25. - Katalog 29. Deutsche Kunst-und Antiquitätenmesse, München 1983, Abb. - J. Ecker: Anselm Feuerbach. Leben und Werk, München 1991, S. 212, Nr. 345.
Unten rechts ist diese Studie neben dem Monogramm 1863 datiert. Vieles spricht jedoch dafür, dass das spontan gemalte Porträt von Anna Risi früher entstanden ist, nämlich schon 1860 und damit unmittelbar nach der ersten Begegnung des Malers mit seinem späteren Modell, seiner Muse und langjährigen Geliebten. Diese Meinung des Feuerbach-Experten Jürgen Ecker ist insofern plausibel, als es sich hier ganz offensichtlich um eine erste Annäherung an die Erscheinung dieser Frau zu handeln scheint, die er bald schon in idealisierter und überhöhter Form als Modell für seine großen weiblichen Darstellerinnen wie etwa Medea, Iphigenie oder Mirjam auf die Leinwand bringen wird.
Feuerbachs Freund Julius Allgeyer berichtet als Zeuge von der ersten Begegnung mit Anna Risi. Auf dem Weg von der Piazza Barberini zum Atelier des Malers Ende Februar 1860, so schreibt er, sahen wir eine Frau "von imponierender Schönheit mit einem Kind im Arm an einem Fenster stehend, wie in einem Bilderrahmen". Anna Risi war die Frau eines römischen Schusters, aber ihre Schönheit hatten bereits andere Künstler, denen sie als Modell gedient hatte, auch schon bemerkt. Sie entsprach mit ihrem klassischen Profil, dem vollen schwarzen Haar und der edlen Gestalt dem Schönheitsideal der Zeit. In den sechs Jahren nach der ersten Begegnung stand sie Modell für 28 Bilder Feuerbachs, darunter so bedeutende Werke wie „Der Mandolinenspieler“ von 1868 (Stuttgart) oder „Lucrezia Borgia“ von 1864/65 (Frankfurt).
Anselm Feuerbach
Portrait of a Young Roman Woman with a Headscarf, possibly Nanna
Oil on canvas (relined). 48.5 x 34.5 cm.
Monogrammed and dated lower right: AF 63..
Provenance
Auctioned by Weinmüller, Munich 1963. - Dr. Bühler gallery, Munich. - Acquired there in 1983,
Literature
Weltkunst XXXIII, issue 4, February 1963. p. 25. - Katalog 29. Deutsche Kunst-und Antiquitätenmesse, Munich 1983, illus. - J. Ecker: Anselm Feuerbach. Leben und Werk, Munich 1991, p. 212, no. 345.
This study is dated 1863 next to the monogram in the lower right-hand corner. There is much to suggest, however, that this spontaneously drawn portrait of Anna Risi was made much earlier, namely as early as 1760 and thus immediately after the painter's first encounter with his later model, muse and long-time lover. This opinion of the Feuerbach expert Jürgen Ecker is plausible in so far as the work appears to capture the artist's initial impression of this woman, whom Feuerbach would later bring to the canvas in an idealized and exaggerated form as a model for his great female protagonists such as Medea, Iphigenie or Mirjam.
Feuerbach's friend Julius Allgeyer recorded their first encounter with Anna Risi. On the way from the Piazza Barberini to the painter's studio in late February 1860, he writes, they saw a woman "of remarkable beauty standing at a window with a child in her arms, as if in a picture frame". Anna Risi was the wife of a Roman cobbler, but her beauty had already caught the attention of other artists whom she had served as a model. With her classic profile, full black hair and noble figure, she corresponded perfectly with the ideal of beauty at the time. In the six years following her first encounter with Feuerbach, she was to sit as model for 28 of his paintings, including such important works as "The Mandolin Player" from 1868 (Stuttgart) or "Lucrezia Borgia" from 1864/65 (Frankfurt).
Kunst des 19. Jahrhunderts
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Germany
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