Masteful children group portrait (brothers and sisters) created in the first part of 19 century and attributed by german expert for paintings of 19 century Mr. Peter Krübel /Hamburg due to style , time and composition of painting to world-known german romanticist Friedrich Wilhelm von Schadow ( 1788 Berlin - 1862 Duesseldorf).
SCHADOW, Friedrich Wilhelm von, German painter of 19. Century, actively on that areas of the religious painting and portraits , born in 1789 in Berlin as a son of the sculptor and director of academy Johann Gottfried Schadow. , died 19.3. 1862 in Duesseldorf. - studied by the father and then in the Academy in Berlin, where he was trained with F.G. Weitsch and W. Wach. To 1810 important portraits, which were affected by the art collectors in Berlin , portrait tradition since Chodowiecki and Antonie Pesne: portrait of the Queen Luise as a pair to portrait of her husband Friedrich William III. (both 1810). 1811 to 1819 he held himself . in company of his brother, the sculptor Rudolf Schadow (1786 to 1822), in Italy up. Into the first months of his Rome stay the intensive meeting with the Danish sculptor Bertel Thorvaldsen fell, in whose studio Schadow some time in and went out. Under the influence of the Nazarener, which he followed 1813 in Rome, the artist converted 1814 to the catholicism. In Rome S. beside Cornelius, Overbeck and Veit took part 1816-1818 in painting the Casa Bartholdy with the two pictures "Joseph in the prison" and "The delivery of the bloody skirt in Jacob". 1818 developed the three portraits of Caroline, the Gabriele and Adelheid von Humboldt, who applied up to their destruction 1945 as masterpieces of the nazarene portrait art. Also in a the twenties and thirties portrait advises a preferential topic S.s. Returning to Berlin he was professor at the academy, until he began 1826 the follow-up of Peter von Cornelius as a director of the Duesseldorfer academy of arts. S. arranged the most talented his pupils, like Julius Huebner, Eduard Bendemann or Carl Friedrich Lessing to follow ihim to the Rhine. The following years were considered as a bloom time of the so-called Duesseldorfer painter school. He manifasted in 1831 the new organisation of the academy of arts. Equally value put on learning practical abilities as on the transport of the "plant for the invention of own Compositionen". If S.s predecessor Peter von Cornelius had particularly informed the Freskotechnique, then S. put the emphasis now on the oil painting. Considerably he took part in establishment of the Duesseldorfer art associationin 1829 . Impulses for his own activity he got himself on further Rome journeys 1830/31 and 1839/40. In the Duesseldorfer time S. turned in particular from ihis catholic confession carried church equipments and paintings (e.g. the intelligent and the toerichten virgins, 1842; Pietas and Vanitas, 1840/42) with religious topic too. Also in his art-theoretical writings he lent again and again expression to hope for the uniting strength of the religion. Thereby he came into opposition to reflected members of the academy opposition to too politically progressively, particularly in connection with the political events of the revolution yearly 1848. In 1850-1854 can be developed three-part wall painting "sky, purgatory and hell" after Dantes "Divina commedia." for the regional court in Duesseldorf also as attempt of an artistic summary to be understood. Since that time S. was ennobled 1845 for his earnings/services and led the surnames Godenhaus. For health reasons he gave up to 1859 his director posts. S. died three years later 1862 in Duesseldorf
Provenance: north german private estate.
Literature : Thieme/Becker "Allgemeines Künstlerlexikon", Leiptig, 1999.
Technique: oil on canvas. Luxuriousy original period gold-plated frame.
Inscription: unsigned .
Measurements: unframed w 27 1/4" x 23 2/3" (69 x 60 cm); framed 36 1/4" x 32 3/4" (92 x 83 cm)
Condition: in good condition, no paintlosses, original canvas.