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Carl SpitzwegDas Quartett

In 19. Jahrhundert / 19th Century

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Carl SpitzwegDas Quartett
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Carl Spitzweg
Das Quartett

Öl auf Leinwand (doubliert). 39 x 22 cm.
Monogrammiert unten links: S im Rhombus.

Provenienz
Bis 1917 Sammlung Otto Spitzweg. - Galerie Caspari, München. - Auktion Christie’s, London, 11.10.1995, Lot 62. - Süddeutsche Privatsammlung.

Literatur
Günther Roennefahrt: Carl Spitzweg. Beschreibendes Verzeichnis seiner Gemälde, Ölstudien und Aquarelle, München 1960, S. 256, Nr. 1086. - Siegfried Wichmann: Carl Spitzweg. Ständchen-, Serenaden- und Straßensänger-Bilder. Ein Beitrag zum musikalischen Spitzweg, München 1975, Nr. 27. - Siegfried Wichmann: Carl Spitzweg. Verzeichnis der Werke. Gemälde und Aquarelle, Stuttgart 2002, S. 563, Nr. 1559.

Carl Spitzweg hat die Musik geliebt. Er war ein begeisterter Musikkenner und durchaus versierter Klavierspieler. Sein jüngerer Bruder Eduard handelte mit Musikalien und heiratete nacheinander zwei Töchter des Münchener Hofviolinisten Johann Baptist Moralt. In den Skizzenbüchern Spitzwegs finden sich immer wieder detaillierte Zeichnungen von Musikern oder Instrumenten. Darüber hinaus widmen sich zahlreiche Gemälde des Künstlers musikalischen Themen, von denen das vorliegende Werk eines der charmantesten sein dürfte. Es zeigt ein Männerquartett zu nächtlicher Stunde in einem vom Mondlicht teils hell erleuchteten Innenhof. Drei frontal und ein im Profil wiedergegebener Sänger schmettern aus voller Kehle ihr Ständchen unter dem Erkerfenster einer angebeteten Dame. Eine laut Wichmann nach unserem um 1865-70 zu datierenden Gemälde angefertigte zweite Version in Privatbesitz ist breiter angelegt und weist nicht das von Spitzweg so oft gewählte extrem schmale Hochformat auf, das für unser Bild so charakteristisch ist. Daneben zeigt unser Gemälde auch die Ambiguität vieler Werke von Spitzweg, die Verbindung von Gegensätzen und Spannungen, von biedermeierlicher Beschaulichkeit und deren humorvoller Ironisierung. Spitzweg, einer der bekanntesten und beliebtesten Maler des 19. Jahrhunderts, steht damit einerseits in der Tradition des Biedermeiers und weist dabei zugleich auf die Moderne voraus.





Carl Spitzweg
The Quartet

Oil on canvas (relined). 39 x 22 cm.
Monogrammed lower left: S in a rhombus..

Provenance
In the collection of Otto Spitzweg until 1917. - Galerie Caspari, Munich. - Auctioned by Christie’s, London, 11.10.1995, lot 62. - South German private collection.

Literature
Günther Roennefahrt: Carl Spitzweg. Beschreibendes Verzeichnis seiner Gemälde, Ölstudien und Aquarelle, Munich 1960, p. 256, no. 1086. - Siegfried Wichmann: Carl Spitzweg. Ständchen-, Serenaden- und Straßensänger-Bilder. Ein Beitrag zum musikalischen Spitzweg, Munich 1975, no. 27. - Siegfried Wichmann: Carl Spitzweg. Verzeichnis der Werke. Gemälde und Aquarelle, Stuttgart 2002, p. 563, no. 1559.

Carl Spitzweg loved music. He was an enthusiastic music connoisseur and an experienced piano player. His younger brother Eduard was a music supply merchant and married two daughters of the Munich court violinist Johann Baptist Moralt one after the other. Detailed drawings of musicians or instruments are often found in Spitzweg's sketchbooks, and he dedicated several paintings to musical themes, of which the present painting is probably one of its most charming. The painting shows a male quartet at night in a courtyard partly brightly lit by moonlight. The singers, three viewed from the front and one in profile, enthusiastically serenade a revered lady from beneath her bay window. According to Wichmann, a second, privately owned version made after our painting of 1865-70, is broader in scale and does not have the extremely narrow portrait format so often chosen by Spitzweg that is so characteristic of our painting. In addition, our painting also shows the ambiguity of many of Spitzweg's works, the combination of opposites and tensions, of Biedermeier tranquillity and its humorous irony. Spitzweg, one of the best known and most popular German painters of the 19th century, thus stands on the one hand in the tradition of the Biedermeier whilst simultaneously pointing the way forward to modernity.





Carl Spitzweg
Das Quartett

Öl auf Leinwand (doubliert). 39 x 22 cm.
Monogrammiert unten links: S im Rhombus.

Provenienz
Bis 1917 Sammlung Otto Spitzweg. - Galerie Caspari, München. - Auktion Christie’s, London, 11.10.1995, Lot 62. - Süddeutsche Privatsammlung.

Literatur
Günther Roennefahrt: Carl Spitzweg. Beschreibendes Verzeichnis seiner Gemälde, Ölstudien und Aquarelle, München 1960, S. 256, Nr. 1086. - Siegfried Wichmann: Carl Spitzweg. Ständchen-, Serenaden- und Straßensänger-Bilder. Ein Beitrag zum musikalischen Spitzweg, München 1975, Nr. 27. - Siegfried Wichmann: Carl Spitzweg. Verzeichnis der Werke. Gemälde und Aquarelle, Stuttgart 2002, S. 563, Nr. 1559.

Carl Spitzweg hat die Musik geliebt. Er war ein begeisterter Musikkenner und durchaus versierter Klavierspieler. Sein jüngerer Bruder Eduard handelte mit Musikalien und heiratete nacheinander zwei Töchter des Münchener Hofviolinisten Johann Baptist Moralt. In den Skizzenbüchern Spitzwegs finden sich immer wieder detaillierte Zeichnungen von Musikern oder Instrumenten. Darüber hinaus widmen sich zahlreiche Gemälde des Künstlers musikalischen Themen, von denen das vorliegende Werk eines der charmantesten sein dürfte. Es zeigt ein Männerquartett zu nächtlicher Stunde in einem vom Mondlicht teils hell erleuchteten Innenhof. Drei frontal und ein im Profil wiedergegebener Sänger schmettern aus voller Kehle ihr Ständchen unter dem Erkerfenster einer angebeteten Dame. Eine laut Wichmann nach unserem um 1865-70 zu datierenden Gemälde angefertigte zweite Version in Privatbesitz ist breiter angelegt und weist nicht das von Spitzweg so oft gewählte extrem schmale Hochformat auf, das für unser Bild so charakteristisch ist. Daneben zeigt unser Gemälde auch die Ambiguität vieler Werke von Spitzweg, die Verbindung von Gegensätzen und Spannungen, von biedermeierlicher Beschaulichkeit und deren humorvoller Ironisierung. Spitzweg, einer der bekanntesten und beliebtesten Maler des 19. Jahrhunderts, steht damit einerseits in der Tradition des Biedermeiers und weist dabei zugleich auf die Moderne voraus.





Carl Spitzweg
The Quartet

Oil on canvas (relined). 39 x 22 cm.
Monogrammed lower left: S in a rhombus..

Provenance
In the collection of Otto Spitzweg until 1917. - Galerie Caspari, Munich. - Auctioned by Christie’s, London, 11.10.1995, lot 62. - South German private collection.

Literature
Günther Roennefahrt: Carl Spitzweg. Beschreibendes Verzeichnis seiner Gemälde, Ölstudien und Aquarelle, Munich 1960, p. 256, no. 1086. - Siegfried Wichmann: Carl Spitzweg. Ständchen-, Serenaden- und Straßensänger-Bilder. Ein Beitrag zum musikalischen Spitzweg, Munich 1975, no. 27. - Siegfried Wichmann: Carl Spitzweg. Verzeichnis der Werke. Gemälde und Aquarelle, Stuttgart 2002, p. 563, no. 1559.

Carl Spitzweg loved music. He was an enthusiastic music connoisseur and an experienced piano player. His younger brother Eduard was a music supply merchant and married two daughters of the Munich court violinist Johann Baptist Moralt one after the other. Detailed drawings of musicians or instruments are often found in Spitzweg's sketchbooks, and he dedicated several paintings to musical themes, of which the present painting is probably one of its most charming. The painting shows a male quartet at night in a courtyard partly brightly lit by moonlight. The singers, three viewed from the front and one in profile, enthusiastically serenade a revered lady from beneath her bay window. According to Wichmann, a second, privately owned version made after our painting of 1865-70, is broader in scale and does not have the extremely narrow portrait format so often chosen by Spitzweg that is so characteristic of our painting. In addition, our painting also shows the ambiguity of many of Spitzweg's works, the combination of opposites and tensions, of Biedermeier tranquillity and its humorous irony. Spitzweg, one of the best known and most popular German painters of the 19th century, thus stands on the one hand in the tradition of the Biedermeier whilst simultaneously pointing the way forward to modernity.




19. Jahrhundert / 19th Century

Auktionsdatum
Lose: 2200 - 2309
Ort der Versteigerung
Neumarkt 3
Köln
50667
Germany

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