German painter. In 1798 he studied under Christoph Fesel (1737-1805) in Würzburg and in 1800 with Heinrich Füger in Vienna, where his style was strongly influenced by English portraiture. After he studied in Paris (1807-08) with François Gérard the influence of NeoclassicismGLOSSARYA style in European art and architecture from the mid 18th century until the end of the 19th century. Based as it was on the use of ancient Greek and Roman models and motifs, its development was greatly influenced by the excavations at Pompeii and Herculaneum, and by the theories of the German art historian Johann Joachim Winckelmann (1717-1768). Intellectually and politically it was closely linked to the Enlightenment's rejection of the aristocratic frivolity of Rococo, the style of the Ancien Régime. Among Neoclassicism's leading figures were the French painter Jacques-Louis David (1744-1825), the German painter Anton Raffael Mengs (1728-1729), and the Italian sculptor Antonio Canova (1757-1822). became apparent in his work. He visited Italy in 1809, 1810 and 1812 to do commissioned portraits for various patrons, among them Prince Eugene de Beauharnais (1809; Munich, Bayerische Nationalmuseum) and Joachim Murat, King of Naples (reg 1808-15). In 1812 he went to Munich where he did work for middle-class clients, the nobility and the royal family of Bavaria (e.g. the portraitGLOSSARYThe Roman portrait bust survived in the form of life-sized reliquaries of saints, but it was in 15th century Florence that the individual features and character of a contemporary sitter were accurately recorded by sculptors such as Donatello, Desiderio da Settignano, Mino da Fiesole and the Rossellino. A similar degree of realism occurs in 15th century tomb sculpture. The equestrian portrait, based on antique statues such as the Marcus Aurelius monument (Rome, Campidoglio), was revived in the 14th century. Two examples in fresco are Simone Martini's Guidoriccio (c. 1328; Siena, Palazzo Pubblico) and the posthumous portrait of Sir John Hawkwood (1436; Florence, Cathedral) by Uccello, which gives the illusion of a 3-dimensional statue seen from below. The Venetian Republic ordered imposing monuments from Donatello (1447; Gattarnelata, Padua) and Verrocchio (14799; Colleoni, Venice), whilst other statesmen ordered their own images to be erected in public places, directly relating themselves to the military heroes of ancient Rome. Another form of political portraiture derived from antiquity was the commemorative portrait medal designed by artists such as Pisanello. The carved or painted profile portrait became popular in the 1450s. The realism of the clear, flattened image, painted under the influence of Flemish examples by the Pollaiuolo brothers, Piero della Francesca and Botticelli, was superseded by the three-quarter and frontal portrait, psychologically more complex, such as Leonardo's enigmatic Mona Lisa (Paris, Louvre) with her momentary smile or Andrea del Sarto's arresting Portrait of a Man (London, National Gallery). The 16th century portrait became generalized, Lotto's Andrea Odoni (1527; Royal Collection) being an idealized concept of a collector rather than an individual. Group portraits, decorating whole rooms, include the narrative scenes of the Gonzaga court painted by Mantegna (completed 1474; Mantua, Palazzo Ducale) and the elaborate schemes commissioned by the Farnese family in Rome from Vasari (1546; Palazzo della Cancelleria) and Salviati (after 1553; Palazzo Farnese). Portraits were also incorporated into religious narratives, as in Ghirlandaio's fresco cycle painted for Giovanni Tornabuoni in S. Maria Novella, Florence (1486-90). of Maximilian I Joseph, 1816; Ellingen, Schloss). In 1820 he was appointed court painter to Ludwig I, King of Bavaria (reg 1825-48), and painted several portraits of him. In 1823 he helped co-found the Kunstverein in Munich.
He was one of the most important portrait painters in the Neo-classicalGLOSSARYRelating to the culture of ancient Greece and Rome (classical Antiquity). The classical world played a profoundly important role in the Renaissance, with Italian scholars, writers, and artists seeing their own period as the rebirth (the "renaissance") of classical values after the Middle Ages. The classical world was considered the golden age for the arts, literature, philosophy, and politics. Concepts of the classical, however, changed greatly from one period to the next. Roman literature provided the starting point in the 14th century, scholars patiently finding, editing and translating a wide range of texts. In the 15th century Greek literature, philosophy and art - together with the close study of the remains of Roman buildings and sculptures-expanded the concept of the classical and ensured it remained a vital source of ideas and inspiration. style, specializing particularly in studies of women, as seen in the 36 portraits commissioned by Ludwig I for the Schönheitsgalerie (1827-42; Munich, Schloss Nymphenburg). In his portraits for the middle classes and for the court he devised certain peculiarities of form. He painted various members of the royal houses of Austria, Prussia and Sweden, as well as members of the nobility in the duchies of Saxe-Altenberg, Saxe-Coburg and Hesse. His sitters also included some of the most important figures in the political and intellectual life of Germany in the first half of the 19th century. He painted the pendantGLOSSARYOne of a pair of related art works, or related elements within an art work. portraits of Franz Brentano and Antonie Brentano (both 1808; Winkel, Brentanohaus), Johann Wolfgang von Goethe (1828; Munich, Neue Pinakothek) and Ludwig Tieck (1838; Berlin, Schloss Charlottenburg), the geographer and botanist Alexander von Humboldt (1843; Potsdam, Schloss Charlottenhof) and the musician Ludwig van Beethoven (Bonn, Beethoven-Haus).
After 1845 the classical elements in his paintings were sometimes combined with an application of colour typical of plein-air studies. He also painted genreGLOSSARYIn a broad sense, the term is used to mean a particular branch or category of art; landscape and portraiture, for example, are genres of painting, and the essay and the short story are genres of literature. pictures and religious scenes.
