Frederich Wilhelm Eugen Doel - sculptor, Vielsdorf, Thuringia 1750 - Gotha, Thuringia, 1816, Germany, - Minerva handing Pegasus over to Bellerphon, Marble Reief - Gotha

Louis Valadier, Bronze after W. Doell, Marble,of Johann Joachim Winckelmann

Sculpture Works of Friedrich Wilhelm Eugen Döll 

            In Wörlitz are gardens, and buildings that are a UNESCO World Heritage-listed site. The “Dessau-Wörlitz Garden Empire,” were built in the second half of the 18th Century under the reign of Prince Leopold III. Friedrich Franz of Anhalt-Dessau (1740-1817). The park is part of the network Gartenträume Saxony-Anhalt. In the basement of the Pantheon is a cave “unterquerender” that holds a Kanope, which is a symbol of Elbflusses, reliefs of Anubis, of Osiris and the Harpokrates and a statue of Isis. They were developed by Friedrich Wilhelm Eugen Doell (1750-1816) created and belong to the earliest after ancient Egyptian art templates created in Germany.

Sculpture works of Eugen Doell:

Faith, Love and Hopeat the Hauptkirche in Luneburg.

22 stucco high-reliefs at the princely riding-school at Hauptreliefs in Stuck an der fürstlichen Reitbahn in Dessau

lifesize statue of Catherine II of Russia as Minerva

Catherine II, with a maiden before her offering at an altar

Winckelmann’s monument in the Rotonda in Rome

busts of Sappho and Raphael Mengs

The New Muses, Bas-relief, Gustavus Adolphus of Sweden on a horse, crowned by victories, bas-relief , Gustav Adolfs torg (Swedish for “Gustav Adolf’s Square”) is a public square in central Stockholm, Sweden named after King Gustavus Adolphus.

The square is home to the Royal Opera, the Swedish State Department, Arvfurstens palats (housing the Ministry for Foreign Affairs) and the Ministry of Defence. South of the square are the Parliament on Helgeandsholmen and the Royal Palace in Stockholm Old Town.

In the middle of the square there is a statue of Gustav II Adolf, which was erected in 1796.

lifesize figures of Minerva, a Muse and Hygieia;

grave-monument to the Gräfin von Einsiedel at Dresden and duke Karl von Meiningen;

monument to Gotthold Ephraim Lessing at the Wolfenbüttel library

Kepler’s statue at Regensburg.

Johann Joachim Winckelmann (1717-1768)

He was born in Stendal, the son of a poor shoemaker. He studied Greek art and literature. In Nothenitz near Dresden he was the librarian to Count Henry von Bünow, whom he collected materials for the history of the Holy Roman Empire. The familiarity of the Dresden gallery collection initiated his pursuit of his examination into art, and his association with artists, especially the artist A.F. Oeser, who later influenced Goethe. Winckelmann’s study of ancient literature carried him to Rome, where he became librarian to Cardinal Passionei in 1754, where he joined the Roman Catholic Church. Before leaving Rome he published his “Thoughts on the Imatation of Greek Works in Painting and Sculpture”. He was supported by a pension of 200 thaler in 1755, by the king of Poland, elector of Saxony, Augustus III, for his continued study in Rome. He later became a librarian in the service of the Cardinal Archinto. After the death Archintos he began in 1759 as a librarian with the cardinal Alessandro Albani, the biggest antique collector in Rome in whose services he remained up to his death. Anton Raphael Mengs was a close friend of Winckelmann who assited him with the study of Roman antiquities. Mengs also started one of the most important plaster cast collections of Greek antique sculpture in Europe in Dresden, Germany. This was integral to the initiation of the highest level of achievement in the sculpture of the Dresden, German schoolstarting at the end of the 18^th. Century. This later 18^th. Century Dresden, German school was born under Christian

 Daniel Rauch, and Ernst Friedrich August Rietschel, and was of great influence with the Berlin school with Johann Gottfried Schadow, as well as the architecture of Friedrich von Batzendorf : Karlsruhe plan, Germany, 1715, completed by Friedrich Weinbrenner with the Marktplaz, 1797; Friedrich Weinbrenner, (1776 Karlsruhe, – 1826 ebenda), was a German Architect, State planner, builder of Classicism, “Weinbrenner-style”, and teacher of the students that designed Baden Baden. Carl Gotthard Langhans, 1732, Landshut, Silesia – 1808 Wroclaw (Breslau) , Lower Silesia, Architect with some of the earliest Classicism in Germany, Brandenburg Gate, Berlin, 1789-94 ; Belvedere, (Charlottenburg, Spree River, Berlin, Germany), Teahouse, and Observation Tower. Hans Christian Genelli (1763–1823). German architect and archaeologist, Neo-Classical, Greek Revival pioneers in Germany. German family of artists, of Danish descent. Johann Franz Joseph Genelli (1724-92) was a draughtsman and embroiderer in the service of Empress Maria-Theresa in Vienna until 1774, when he went to Prussia. Janus Genelli (1761-1813), a landscape painter, Hans Christian Genelli and Friedrich Genelli (1765-93), engraveurs, were sons of Johann Franz Joseph; (Giovanni) Bonaventura Genelli was Janus’s son. (b Berlin, 26 Sept 1798; d Weimar, 13 Nov 1868). Draughtsman and painter, nephew of Hans Christian Genelli. He was educated by his uncle, under the influence of Asmus Carstens, He also studied with the painter Friedrich Bury, in 1814-19 he attended the Berlin Kunstakademie, studying with Johann Erdmann Hummel. David Gilly (1748, Schwedt – 1808, Berlin) was a German architect and architecture-tutor in Prussia. Friedrich David Gilly (1772 Altdamm, Pomerania (Szczecin, Poland) – 1800, was a German architect, the son of the architect David Gilly.  he was known as a prodigy and the teacher of the young Karl Friederich Schinkle. In 1788 he enrolled at the Akademie der Bildenden Künste in Berlin. His teachers there included Carl Gotthard Langhans, and the sculptor Johann Gottfried Schadow. Greek Revival mausoleum (1800–02; mostly destr. after 1942) at Dyhernfurth near Breslau (now Brzeg Dolny near Wroklaw, Poland), in the form of a prostyle Greek temple; Karl Friedrich Schinkel, (1781 Neuruppin in the Margraviate of Brandenburg – 1841, Berlin) Prussian Architect and painter. Schinkel was the most prominent German architect and the best example of Neoclassicism; Leo von Klenze (Franz Karl Leopold von Klenze, 1784, – 1864, was a German Neoclassicist Architect, painter and writer. Court architect of Bavarian King Ludwig I, Leo von Klenze was one of the most prominent representatives of Greek Revival style. Von Klenze studied architecture in Berlin and Paris. Between 1808 and 1813 he was a court architect of Jérôme Bonaparte, King of Westphalia. Later he moved to Bavaria and in 1816 began to work as court architect of Ludwig I. The King’s passion for Hellenism shaped the architectural style of von Klenze. He built many neoclassical buildings in Munich, including the Ruhmeshalle and Monopteros temple. On Königsplatz he designed probably the best known modern Hellenistic architectural ensemble. Near Regensburg he built the Walhalla temple, named after Valhalla, the home of gods in Norse mythology. Russian Emperor Nicholas I commissioned von Klenze to design a building for the New Hermitage, a public museum that housed Greek, Roman, and Egyptian antiquities. Von Klenze also designed and arranged museum galleries in Munich, including the Glyptothek and Alte Pinakothek. Von Klenze was not only an architect, but also an accomplished painter and draughtsman. In many of his paintings ancient buildings were depicted. Those served as models for his own architectural projects. Klenze studied ancient architecture during his travels to Italy and Greece. He also participated in excavations of ancient buildings in Athens and submitted projects for the restoration of the Acropolis. Louise Seidler produced a drawing of the friezes of Leo von Klenze’s Apollotempel at the Nymphenburg Palace for Goethe; etc… In April, In spring, 1768 Winckelmann began a long planned trip to Germany, however, when he was in Regensburg, he returned through Vienna to Italy. In Trieste he fell victim to a murder with robbery. Today Winckelmann is designated as the father of Classical archeology. The Roman collections and also the discoveries in Pompeii and Herculaneum offered him a fullness of material which he described, sorted and created an artistic specification for catagorizing type. In 1762 Winckelmann published his “Observations on the Architecture of the Ancients”, including an account of the temples at Paestum, and his writings on Herculaneum, and Pompeii in 1762, as well as his “History of the art of Antiquity” in 1764. On this occasion, for the first time he developed a sequence of style epochs of the Greek and Roman art.

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 Leopold Doel, sculptor, Gotha,Thuringia, Germany

Leopold Doel, sculptor, Gotha,Thuringia, Germany

Wörlitz park Pantheon

Frederich Wilhelm Eugen Doel - sculptor, Vielsdorf, Thuringia 1750 - Gotha, Thuringia, 1816, Germany, - Minerva handing Pegasus over to Bellerphon, Marble Reief - Gotha

 Friedrich Wilhelm Eugen Döll, (1750, Veilsdorf  bei Hildurghausen – 1816, Gotha) was a German sculptor. In the sphere of Eugen Doel was Louise Seidler born on 15 May 1786 was the daughter of an academic in the university in Jena. She spent her youth with her grandmother (under whom she learned music and drawing) then on her grandmother’s death was adopted by the wife of a doctor Stieler at Gotha. Her love of art was developed under the sculptor Friedrich Wilhelm Eugen Döll, who had returned to Gotha after an eleven year stay in Rome. Back in Jena she lived in her father’s house, next door to Goethe’s home in Jena’s Schloss, getting to know him in her childhood. In Jena she also became friends with Silvie von Ziegesar and Pauline Gotter, later wife of the Jena professor Friedrich Wilhelm Schelling. Louise Seidler gained full admission to intellectual circles in the city, which then included Friedrich Schiller, Johann Gottlieb Fichte, Friedrich Wilhelm Schelling , Georg Wilhelm Friedrich Hegel, the brothers Alexander and Wilhelm von Humboldt, the brothers Friedrich and August Wilhelm Schlegel, Friedrich Tieck, Clemens Brentano, Voß, Paulus, Friedrich Immanuel Niethammer, Zacharias Werner and others. Goethe met her in the house of the publisher Carl Friedrich Ernst Frommann, and had a lifelong close friendship. The Gothaer Hofbildhauer Eugen Friedrich Wilhelm Doell (1771 – 1816) founded 1786 at the palace Friedenstein of Ernst II, in Gotha, Thuringen, Germany an Academy of Fine Art, and an Abgusssammlung, (plaster cast collection of primarily antique Greek Hellenistic sculpture). Doell created the marble bust of Johan Joachim Winckelmann in Rome in 1779-1780. After he studied in Paris with Houdon in Paris, Doell was paid a stipend by the King Ernst II of Saxony – Gotha, and Altenburg, Thuringen to make copies of Greek sculpture in Italy for eleven years. This was to achieve a level of sculpture greater than the Germanic school was able to offer at the time. The program was no doubt influenced by Houdon. The largest collection of Houdon’s sculpture was in Gotha, Germany, collected by Ernst II of Saxony – Gotha, and Altenburg. The collection in Gotha rivals the collection in the Louvre. Houdon’s work collected, and commissioned in his life time is in Gotha, Berlin, Weimar, Eisenach, Altenburg, Rudolstadt, and Schwerin, Germany.  

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{ Various sculptors in the centuries after the Mannerist / High Renaissance, and the Baroque of Italy. The text included mostly from related web sources on the sculptors. }

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Guillaume I COUSTOU – Lyon, 1677 – Paris, 1746, Cheval retenu par un palefrenier dit Cheval de Marly 1739 – 1745

- Guillaume I COUSTOU - Lyon, 1677 – Paris, 1746
Cheval retenu par un palefrenier dit Cheval de Marly
1739 – 1745, Musée du Louvre

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- Guillaume I COUSTOU - Lyon, 1677 – Paris, 1746
Cheval retenu par un palefrenier dit Cheval de Marly
1739 – 1745, Musée du Louvre

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- Guillaume I COUSTOU – Lyon, 1677 – Paris, 1746, Cheval retenu par un palefrenier dit Cheval de Marly 1739 – 1745

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Guillaume I COUSTOU - Lyon, 1677 – Paris, 1746
Cheval retenu par un palefrenier dit Cheval de Marly
1739 – 1745, Musée du Louvre, Paris, France,
Horses restrained by grooms, known as The Marly Horses 1745
The sculptures were installed at the Château de Marly in 1745. They were moved to Paris in 1794 on the initiative of the painter David, and placed on high pedestals at the bottom of the Champs-Elysées.
Carrara marble
MR 1802: H. 3.40 m; W. 2.84 m; D. 1.27 m
MR 1803: H. 3.40 m; W. 2.84 m; D. 1.27 m
Entered the Louvre on 6 and 13 November 1984.,

{ Horses restrained by grooms, known as The Marly Horses

These two large marble sculptures representing horses restrained by grooms were commissioned in 1739 for the horse pond in the gardens of the Château de Marly. In 1743, the king chose the models exhibited in the Louvre courtyard; the marble sculptures were installed at Marly in 1745. In 1749, they were moved to Paris on the initiative of the painter David, and placed on high pedestals at the bottom of the Champs-Elysées. Description A work of diverse inspiration, commissioned to replace another The statues of Fame and Mercury, commissioned by Louis XIV from Antoine Coysevox for the horse pond at Marly, were taken to the Tuileries in 1719. Louis XV discovered the Château de Marly in 1739 and, to fill the gap left by the removal of the sculptures, commissioned two groups from Guillaume I Coustou (Coysevox’s nephew). Coustou’s achievement rivaled that of his deceased uncle with its technical prowess: two colossal works, sculpted from a monolithic block of Carrara marble in the record time of two years (1743-45). Many details, such as the bridle (now broken), the tousled mane, the light and floating tail, and the bearskin on the horse’s back, required delicate carving. The artist was probably inspired by the antique statues of the Dioscuri with their rearing horses in front of the Quirinal Palace in Rome, and prestigious examples of such horses from French sculpture of the 18th century, such as the Horses of the Sun by the Marsy brothers (a model of which is in the Louvre). He was no doubt sensitive to the recent masterpiece by Robert Le Lorrain (c. 1737), a high-relief for the stable at the Hôtel de Rohan. Above all, he drew his inspiration from nature, studying the movements of men and horses from live models. Emulation and innovation The novelty of this work lies in the absence of any mythological or allegorical reference. It represents primitive nature, a struggle between two wild forces: an untamed horse and a naked man, athletic muscles straining. Coysevox’s military trophies have been replaced here by reeds and rocks on an uneven ground. The powerful, thick-necked horse shows every sign of panic and anger: rearing up, tossing its head and whinnying, with dilated eyes and nostrils, and a tousled mane. The almost invincible force of nature seems about to break free again. Wherever the spectator stands, the impression of movement, strength, and violent struggle is perceptible. A moment in time has been captured, heralding something of the Romantic works of Géricault. Indeed, Victor Hugo admired “those neighing marbles [...] prancing in a cloud of gold“. Coustou claimed to have sculpted (American) Indian slaves, which explains the quiver and feathered headdress that have fallen to the ground in the struggle. The reference is approximate (one groom appears to be from the West, the other African), but the sculpture prefigures Rousseau’s idea of the “noble savage” – an idea already propagated by the accounts of travelers and missionaries. Protective transfers From the outset, Coustou’s horses were considered to be masterpieces of French sculpture and were spared the fate of the Château de Marly (destroyed during the Revolution). In 1795, on the orders of the painter David, they were taken to the Place de la Révolution (now the Place de la Concorde) at the bottom of the Champs-Elysées, to join the sculptures of Coysevox. The Marly Horses were moved to the Louvre in 1984 to be conserved, and were replaced by copies on the Place de la Concorde and at Marly } Text from the Louvre

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Pierre PUGET, Milo of Crotona, Produced from 1671-82
Musée du Louvre

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Pierre PUGET - Marseille, 1620 – Marseille, 1694
Milon de Crotone
Musée du Louvre,

Milo of Crotona
Produced from 1671-82
Set in the grounds of Versailles in 1683
Carrara marble
H. 2.7 m; W. 1.4 m; D. 0.8 m

{ A meditation on the human condition

Colbert having granted Pierre Puget the right to carve three blocks of Carrara marble that had been left unused in the port of Toulon, the sculptor – born in Marseilles and trained in baroque Italy – began his Milo of Crotona in 1671, completing it only in 1682.
The theme, foreign to sculpture until then, is not only a meditation on the victory of time over strength, but also on man’s pride. Milo is vanquished above all by his vanity and his denial of the weakness attendant to his age. His pain is as much moral as physical. Human glory is ephemeral, as signified by the symbol of the cup won at the Games and now lying on the ground, a worthless object.
It is rather puzzling that Puget selected such a subject for a work destined to the king. He was to manifest the same audacity again with his bas-relief of Alexander and Diogenes, also in the Louvre.

A fascinating composition

Although each side of the sculpture was treated with equal virtuosity, Puget did nevertheless favor the frontal angle. The work is meant to be seen either facing the spectator or in a three-quarter view. Milo’s writhing, aching body is an immense zigzag: a succession of three diagonals decreasing in size, culminating with his head thrown back in a cry of agony.
The body is arched against the tree trunk that forms the axis around which the composition pivots. In the center, two large openings were cut into the marble in order to detach the athlete’s silhouette from the background. This hollowing-out of the base is a rare occurrence in sculpture and represents a technical feat.

Puget and Antiquity

Puget certainly had in mind the Hellenistic group of Laokoon, a sculpture in the pope’s collections, which to the artists of the time epitomized the image of heroic pain. In this piece, the Great Priest of Troy, a very old man, dies a stoic death, strangled by the snake sent by the gods. Puget, however, decided to create a modern piece. He did not idealize the representation of the hero and substituted the violent expression of suffering for the serenity of the Ancients. The body here is arched with pain and the face reduced to a grimace, while the tensed toes seem to claw the ground. When the sculpture was unveiled at Versailles in 1683, Queen Maria Theresa is said to have exclaimed: “Poor man! ” The beautiful cuts of Puget’s chisel make us forget that we are looking at marble. The lion’s claws appear to plunge into real flesh. The muscles seem to stretch and the veins to bulge under our eyes. The modulations of the surface render the impression of shuddering flesh.
The sculptor opposed the extremely smooth finish of the body and the rougher aspect of the other elements. The lion’s fur is carved with a burin; the trunk and ground are streaked with a point. Puget thus distinguished the story’s three actors – man, beast, and nature – through variations in the treatment of the surface. } from the Louvre text

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Étienne-Maurice FALCONET (1716-1791)
Milo of Croton
1754

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Étienne-Maurice FALCONET – Paris, 1716 – Paris, 1791 Milon de Crotone
Musée du Louvre, M.R. 1847
Sculptures

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Étienne-Maurice FALCONET – Paris, 1716 – Paris, 1791
Louvre Museum, Paris, France, (1716-1791) Milo of Croton, 1754, Reception piece for the Academy, 1754, Marble, H. 66.8 cm; W. 64.9 cm; D. 51.2 cm,

Milo of Croton

When the Greek athlete Milo grew old, he decided to test his legendary strength by trying to split open a cleft tree trunk; his hand remained trapped in the trunk, and he was devoured by wild animals. In this sculpture, he screams his helplessness, his eyes fixed on the lion, his muscles taut with strain. Falconet chose to treat this subject in order to pit himself against the sculptor Pierre Puget, an inescapable reference. Description Ten years between the plaster model and the marble sculpture The Royal Academy of Painting and Sculpture approved Falconet’s plaster model on 29 August 1744, while reproaching him for the work’s resemblance to that of Pierre Puget (in the Louvre). He was asked to create a different work for his reception piece: a Genius of Sculpture, the model for which was approved in 1745. However, the Academy then decided otherwise, instructing Falconet to make the marble of Milo. After a ten-year wait, Falconet was accepted into the Academy on 31 August 1754. Falconet and Puget: two versions of Milo Falconet’s choice and energetic treatment of his subject obviously stemmed from a desire to pit himself against his distinguished elder, for whom he had always professed great admiration. The Academy’s suspicion of plagiary was clearly unjust, however. Puget’s Milo is standing, pushing away the head of the lion that is biting him; if his other hand were not trapped, he would surely triumph. In Falconet’s version, Milo is defeated, knocked to the ground, his right leg flailing in the air, his left straining in vain. The cleft in the tree is essential to Puget’s composition, but secondary here. Puget concentrated on the suffering man, relegating the lion to the background; Falconet focused on the confrontation between man and wild animal, positioning their heads at almost the same level, setting savagery against pain. The lion’s anatomy and expression are rendered with naturalistic vigor, whereas Puget’s lion is almost heraldic. Baroque naturalism The theatricality and virtuosity of this work are of baroque inspiration: the sweeping diagonals, the twisting of the bodies, the lifelike flesh, the opposition of light and shade, the paroxysmal expression (Milo’s face was inspired by Bernini’s Damned Soul, in Santa Maria di Monserrato, Rome). Falconet demonstrated his technical and compositional skill, his anatomical knowledge, and his mastery of foreshortening (with the figure of the lion). However, when he presented his marble sculpture at the Salon of 1755, its style clashed with the contemporary taste for antiquity: despite its generally favorable reception, it was soon criticized for lack of nobility. The naturalism of the sculpture offended: Falconet had idealized neither the body (he portrayed the folds of the abdomen and the hairs on the chest) nor the face (a self-portrait with snub nose). His vigorous portrayal of Milo also clashed with the classical ideal that required a dying hero to express stoic restraint. } Text from the Louvre

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Johann Nepomuk Schaller, ( 1777 Wein – 1842 Wein ) 

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Johann Nepomuk Schaller (* 30. März 1777 in Wien; † 16. Februar 1842 in Wien) war ein österreichischer Bildhauer, (was an Austrian sculptor)

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Johann Nepomuk SCHALLER
1777 Wien – 1842 Wien

Venus nach dem Bade ( 1816 )

Genre: Mythologische Darstellung, Statuette
Typ: Skulptur , Technik: Carraramarmor
Signatur: in der Kanne: JS, Maße: H: 53 cm Rahmenmaße: 51 x x cm

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Johann Nepomuk Schaller, ( 1777 Wein – 1842 Wein ) 

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Johann Nepomuk Schaller, ( 1777 Wein – 1842 Wein ) 

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Johann Nepomuk Schaller, ( 1777 Wein – 1842 Wein ) 

Venus zeigt Mars ihre von Diomedes verwundete Hand ( 1810 ) , Genre: Mythologische Darstellung, Typ: Relief, Technik: Tiroler Marmor Signatur: unbezeichnet , Maße: 72 x 105 cm –

In 1812-In 1823 if Schaller stayed as a scholarship holder in Rome. There he had contact with him Nazarenern and to the significant sculptors Antonio Canova and Bertel Thorvaldsen. King Ludwig I. if Schaller wanted to appeal to Munich what kicked this, however. However, nevertheless, he made busts for that Valhalla in.

In 1823

In 1907 Schallergasse was named in Wien-Meidling according to the sculptor.

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In the memorial Walhalla in Donaustauf (Upper Palatinate) if become since 1842 signifying ones German as well as with the history Of Germany and of her To Germanic people linked personalities by marble büsten and commemorative tables honored.

The architect Leo von Klenze built the construction thought as a “fame stamp” from 1830 to 1842 by order King Ludwigs I. of Bavaria high over the Danube with Regensburg. The Walhalla originated in the classicistic style and received the figure of a marmornen Greek temple according to the model Parthenon in Athens. It is named after Whale sound, the Wohnstatt of the liked warriors in that Germanic mythology.

By the opening 160 persons were honored with 96 busts and in the cases of missing authentic pictures with 64 commemorative tables. Today it is reminded with 127 busts and 65 commemorative tables of 192 persons and groups. Only eleven of the honored are women, although these were expressly included by Ludwig I.: „ No state not, also the female gender not, is excluded. Equality exists in the Valhalla; if the death lifts, nevertheless, every earthly difference. “ As the bust last for the time being became in 22nd February In 2003 from Sophie Scholl taken up in the Walhalla, on behalf for the members of the opposition in the third empire for which an additional commemorative table was appropriated.

The Walhalla is a property Free state Bavaria. Every German and every German interest group can suggest a honorary personality from the Germanic family of languages at the earliest 20 years after their death and then carries if necessary the costs for the manufacture and installation of the bust. On the new admissions decides to her Bavarian council of ministers

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The establishment of the Walhalla is to be seen before the background of the German political situation of the 19-th century. Under the impression of the defeats against the French and the political disunity of Germany one began increasingly to search the national identity in the Germanic past. The establishment of national monuments, as for example Hermannsdenkmals im Teutoburger Wald , Of Hermann’s monument in Teutoburger wood, the indeed mostly classicistic style were, however, Germanic subjects took up, is a result of this identity search.

Already when crown prince came Ludwig I. In 1807 on the idea, for all big Germans („ to establish an honorary temple of teutscher tongue ”), and the first busts already became during the years In 1807 to In 1812 provides. With his government beginning In 1825 if 60 busts were already completed. From the works contract up to completion of the Valhalla there passed 26 years. The laying of the foundation stone for the fame stamp occurred on the 18th October, 1830.

In 18th October In 1842, to the 29-th anniversary of her Völkerschlacht bei Leipzig, open Ludwig I. the construction with the following words:

„ If Walhalla might f seyn of the Erstarkung and the increase of teutschen sense! If liked to feel all Teutschen which of trunk they also have seyen, always, that they common native country. And everybody contributes, so much he is capable, to glorification! “

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Jacques Prou (Paris, 1655-1706)
Amphitrite
Executed 1705-6
Installed in the park of the Château de Marly, initially in the middle of the Bassin des Carpes, then in the Fontaine d’Amphitrite, which was modified several times.
Marble
H. 0.97 m; W. 1.73 m; D. 0.65 m

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Jacques Prou (Paris, 1655-1706)
Amphitrite, Executed 1705-6, Musée du Louvre

Amphitrite was the wife of the Greek god of the sea, Poseidon (the Roman Neptune). She is portrayed as a Nereid, a sea-nymph, as in classical representations of marine triumphs such as Raphael’s Triumph of Galatea (Galleria Farnese, Rome). Semi-reclined on drapery, she is leaning against a dolphin that she is restraining with a cord. Prou gave her a generous, supple, curvaceous body. The drapery accompanies her curves, emphasizing the small of the back, climbs delicately over her shoulder to accentuate her breasts, and wraps itself around her left leg. Long strands of hair have come loose from her coiffure, one descending her right shoulder to her breast, another wedding the curve of the left shoulder. Her left foot is resting on an aquatic plant. The extreme delicacy of the highly idealized facial features, apparently a characteristic of the artist’s work, can also be seen in his admission piece for the Académie, Sculpture Presenting the King’s Medallion to the King (1662, Musée du Louvre). There is a slight smile on her impishly graceful face. The sculpture’s elegance owes much to the care the artist lavished on its details: the nymph’s laurel-crowned hair, the braid border of the drapery, the plaiting of the dolphin’s cord, and the aquatic vegetation

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Weyr Rudolf Ritter von (Tankred),

Peterskirche, Outside view, relief, The tallness shows ” emperor Karl the relief of Rudolf Weyr from the year 1906 the Peter’s church ” founds., Außenansicht, Relief

Das Relief von Rudolf Weyr aus dem Jahr 1906 zeigt “Kaiser Karl der Große gründet die Peterskirche”.

Weyr, Rudolf, * 22.3.1847 Vienna, † 30.10.1914 ibid., sculptor; uncle of Siegfried Weyr. Studied in the Viennese academy, was active in the studio of sculptor J. Cesar and cooperated in the skulpturalen arrangement of the art-historical and the physical-historical museum as well as the Hermes’s villa in Vienna; among the rest, created monuments for H. Canon (1905) and J. Brahms (1908) in Vienna. Beside V. Tilgner one of the most significant Austrian representatives of the new baroque in the sculpture. 

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The pillars form at the same time monument base for the bronze lions of Rudolf Weyr.
The election slogan emperor Franz Joseph ” with combined forces ” (Viribus unitis) stands in golden letter on one of the pillars. His fixing certifies to the Nußdorfer weir and so many other Viennese buildings that they were established in the reign emperor Franz Joseph I., in 1848 – in 1916.

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Rudolf Weyr, - Wien, Hofburg “Macht zur See”,

was made in 1895 by Rudolf von Weyr (1847-1914). Also this figure adorns one of the rudolfinischen house crown felt crown.

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Ressel Park (4th district of Vienna) is close to St.Charles’ and the Technical University, both in the vicinity of the Musikverein.

Somewhat hidden in the bushes, near the entrance to the Historical Museum of Vienna, stands the monument of Johannes Brahms, designed by Rudolf Weyr and unveiled on May 7th, 1908. The City of Vienna paid for the project, thus honouring the great composer with this marble monument. It shows Brahms seated, at his feet a female figure with a lyre.

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You can see here the Volksgarten, on this public park you can find the monument of Franz Grillparzer (a poet), the sculpture was done by Rudolph Weyr, Karl Kundmann and Karl Hasenauer in 1889. In this park there’s also The Temple of Theseus an imitation of the Theseion temple in Athens, built between 1820 and 1823 by Peter Nobile. Inside the temple there used to be the “Group of Theseus” by Antonio Canova (now in the Museum of Fine Arts).

http://www.virtourist.com/europe/vienna/18.htm

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 Franz Grillparzer (1/15/1791 – 1/21/1872), with assistance from – Rudolf Weyr – releif sculpture for this monument.
An architectural Niesche, from Karl Hasenauer is sketched, the seated figure of the poet envelops. For the wings Rudolf Weyr Reliefs has created. In the choice of the motives one notices that the court has promoted the monument: (v. li. n. re.) ” the ancestress “, ” the dream a life “, ” king of Otto’s cirque luck and end “, “Sappho”, “Medea” and ” of the sea and the dear waves ” – scenes from grill par cerium dramas.
No protracted quarrel around the location or shortage of money hindered the work – nevertheless, it lasted 12 years, until it was ready. Already four years after the death of the poet the work of the private Denkmalkomitées was almost concluded. There was only no useful draft. Two competitions brought no result.

The support of the imperial house to Lebezeiten would have used grill par cerium more. His wish to become a manager of the university library never went to fulfilment. He remained as a manager in the court chamber archive. There Joseph Schreyvogel encouraged him, castle theater script editor, stage plays to write. Grill par cerium pieces did him one of the biggest poets of his time, however, the difficulties with the censorship as well as the failure of his comedy ” woe he lies ” did in a bitter person who withdrew more and more.

The monument was revealed on the 23rd May, 1889. 8,000 guilders were left in the Denkmalkassa. One handed over them to the castle head team who undertaken to arise for the preservation of the monument.

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Das Ban Jelačić Denkmal in Zagreb

Anton Dominik Ritter von Fernkorn – (* 17. März 1813 in Erfurt; † 16. November 1878 in Wien)

 (* 17. March 1813 in Erfurt; † 16 November 1878 in Vienna) was a German sculptor and picture caster. It is considered as one of the most important masters of early historicism.

After he learned partial auto+didactical training in Munich with Ludwig Schwanthaler. Starting from approximately 1850 it was in Vienna, where it an old cannon foundry (today electrotechnical institute building DO Viennain since 1873 in such a way designated casting house road) as working place (bildgiesserei) used.

Its most well-known works are patriotic fixed images in Austria, above all the rider statues of ore duke Karl (1853-1859) and prince Eugen (1860-1865) at the hero place. From it also the lion of Aspern is, a lying lion as monument to the victory over Napoleon in the battle with Aspern. This sculpture is likewise at the hero place – however on that in Aspern (today some of vienna Danube city).

The monument of ore duke Karl, after a painting of Johann Peter Krafft, is in as much a technical wonderwork as the horse stands only on the hind legs. This feat could not be repeated with the prince Eugen any longer: here the tail of the horse affects the base.

After several impact accumulations of Fernkorn prince Eugen was finished by his pupils. After the legend remote grain illness came along that it could not repeat the technical achievement of the ore duke Karl monument. Its pupil Franz Pönninger continued the picture foundry workshop.

In Zagreb the famous rider monument stands to honours of the Croatian Ban Josip Jelačić, which was likewise created by remote grain. It was finished 1864 and inaugurated on 17 December 1866 Weblinks [Bearbeiten]

Von „http://de.wikipedia.org/wiki/Anton_Dominik_Fernkorn“
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The “Saviour of the Occident”, who played an important part in the wars against the Turks, was the first to receive a memorial in the area of the Hofburg, without being part of the House of Habsburg. Horse and rider were concluded in 1865 by Anton Dominik Fernkorn, when the artist’s mind already was affected by sickness.



 

 

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Johann Heinrich Dannecker (1758 – 1841)
»Ariadne auf dem Panther«

1803, Gebrannter Ton

Das Tonmodell ist die erste Studie zur lebensgroßen, 1814 vollendeten Fassung in Marmor. Sie war für den Frankfurter Bankier Simon Moritz von Bethmann bestimmt, der dafür ein eigenes Gebäude errichtete.

Ariadne, von Theseus verlassen, wird von Bacchus auf der Insel Naxos getröstet und ihm, mit Weinlaub bekränzt, auf einem Panther entgegengetragen. Der sensationelle Erfolg von Danneckers Skulptur beruhte auf der Verbindung von erotischer Freizügigkeit und monumentaler Form. Das restaurierte Original ist heute im Liebieg-Haus in Frankfurt zu sehen, ein moderner Abguss steht in der Rotunde der Neuen Staatsgalerie.

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Johan Heinrich von Dannecker

 

Attributed To Johan Heinrich von Dannecker
Title		ARIANE ASSISE SUR UNE LIONNE
Medium		Marble marbre de carrare et povonazetta
Size		57.1 x 45.7 in. / 145 x 116 cm.
Sale Of	Ariadne (ărēăd’nē) [key], in Greek mythology, Cretan princess, daughter of Minos and Pasiphaë. She loved Theseus, and gave him the skein of thread that enabled him to make his way out of the labyrinth after killing the Minotaur. When Theseus left Crete, Ariadne went with him, but before they reached Greece, he abandoned her at Naxos. There the god Dionysus consoled and later married her. She bore him several children, including Oenopion, whom Dionysus first taught the art of winemaking. It was said that Zeus granted Ariadne immortality and that Dionysus set her bridal crown, the Corona Borealis, among the stars. Subsequent treatments include nearly 50 operas by Monteverdi, Handel, Massenet, Richard Strauss, Milhaud, Martinu, and others.	Picard Scp.: Sunday, September 19, 1993 [Lot 251] MAISON DE LA CHIMIE

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Johann Heinrich von Dannecker

Dannecker – Ariadne – 1889 drawing

(born October 15, 1758 in Waldenbuch near Stuttgart; died December 8, 1841 in Stuttgart) was a German sculptor.

 

He was the third of five children of Georg Dannecker (1718-1786), a coachman of Karl Eugen. In 1764, the family moved to Ludwigsburg. From 1772 to 1780, he was educated as a sculptor, together with Philipp Jacob Scheffauer (1756-1808). Initially, he studied under Adam Bauer, and, starting in 1775, at the military academy at Stuttgart. After finishing the academy in 1780, he traveled to Paris, Rome, Bologna and Mantua, and returned to Stuttgart in 1790, where he worked as a professor at the Hohe Karlsschule until 1794. In 1804, he did the initial draft of “Ariadne on the Panther“, which he finished from 1810 to 1824, generally regarded as his masterpiece and one of the most important sculptures of the 19th century.

After the death of his schooltime friend Friedrich Schiller, Dannecker created a bust of him. In 1823 and 1824, he created a bust of John the Baptist.

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Johan Heinrich von Dannecker

 

Johan Heinrich von Dannecker
Title		Minerva als Hermenbüste
Year		1785 – 1786
Medium		Marble
Size		11.8 x 0 in. / 30 x 0 cm.

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JOHANN HEINRICH VON DANNECKER (1758-1841), German sculptor, was born at Stuttgart, where his father was employed in the stables of the duke of Wurttemberg, on the 15th of October 1758. The boy was entered in the military school at the age of thirteen, but after two years he was allowed to take his own taste for art. We find him at once associating with the young sculptors Scheffauer and Le Jeune, the painters Guibal and Harper, and also with Schiller, and the musician Zumsteeg. His busts of some of these are good; that of Schiller is well known. In his eighteenth year he carried off the prize at the Concours with his model of Milo of Crotona. On this the duke made him sculptor to the palace (1780), and for some time he was employed on child-angels and caryatides for the decoration of the reception rooms. In 1783 he left for Paris with Scheffauer, and placed himself under Pajou. His Mars, a sitting figure sent home to Stuttgart, marks this period; and we next find him, still travelling with his friend, at Rome in 1785, where he settled down to work hard for five years. Goethe and Herder were then in Rome and became his friends, as well as Canova, who was the hero of the day, and who had undoubtedly a great authoritative influence on his style. His marble statues of Ceres and Bacchus were done at this time. These are now in the Residenz-schloss, at Stuttgart. On his return to Stuttgart, which he never afterwards quitted except for short trips to Paris, Vienna and Zurich, the double influence of his admiration for Canova and his study of the antique is apparent in his works. The first was a girl lamenting her dead bird, which pretty light motive was much admired. Afterwards, Sappho, in marble for the Lustschloss, and two offering-bearers for the Jagdschloss; Hector, now in the museum, not in marble; the complaint of Ceres, from Schiller’s poem; a statue of Christ, worthy of mention for its nobility, which has been skilfully engraved by Amsler; Psyche; kneeling water-nymph; Love, a favourite he had to repeat. These stock subjects with sculptors had freshness of treatment; and the Ariadne, done a little later, especially had a charm of novelty which has made it a European favourite in a reduced size. It was repeated for the banker Von Bethmann in Frankfort, and it now appears the ornament of the Bethmann Museum. Many of the illustrious men of the time were modelled by him. The original marble of Schiller is now at Weimar; after the poet’s death it was again modelled in colossal size. Lavater, Metternich, Countess Stephanie of Baden, General Benkendorf and others are much prized. Dannecker was director of the Gallery of Stuttgart, and received many academic and other distinctions. His death in 1841 was preceded by a period of mental failure.

 

 

 

 

 

 

 

<< William T. Dannat -

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Sappho Statue

Johann Heinrich von Dannecker (1758-1841), about 1800

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1809 schuf Dannecker Keramikarbeiten, u.a. die herrliche Terracotta
“Delphin mit dem Leichnam eines jungen Mannes” (siehe Abbildung unten).

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