COLLECTION NAME:
The AMICA Library
mediaCollectionId
AMICO~1~1
The AMICA Library
Collection
true
AMICA ID:
CMA_.1991.163
amicoid
CMA_.1991.163
AMICA ID
false
AMICA Library Year:
1998
aly
1998
AMICA Library Year
false
Object Type:
Paintings
oty
Paintings
Object Type
false
Creator Name:
Amerling, Friedrich
crn
Amerling, Friedrich
Creator Name
false
Creator Nationality:
European; Central European; Austrian
crc
European; Central European; Austrian
Creator Nationality
false
Creator Role:
artist
crr
artist
Creator Role
false
Creator Dates/Places:
1803 - 1887
cdt
1803 - 1887
Creator Dates/Places
false
Biography:
Friedrich Amerling grew up in a poor working-class milieu and started his career illuminating maps and prints before attending the Vienna academy from 1815 until 1824. The following two years he studied at the academy in Prague, until his sojourn in London from 1827 through 1828. Amerling went to London primarily to meet the portraitist Thomas Lawrence (1769-1830), whose fame had spread throughout Europe and whose work, together with that of Joshua Reynolds (1723-1792), would form an important influence on Amerling's art. After a brief stay in Paris, during which Amerling met Vernet (q.v.), he went on to Rome. Back in Vienna he painted the life-size portrait of Emperor Franz I (1832/33, Kunsthistorisches Museum, Vienna), which, despite its mixed reviews, estab-lished his reputation as the foremost portrait painter in Vienna. From then on he received many portrait commissions from the Viennese aristocracy and bourgeoisie (see Waldmüller, Countess Széchenyi, fig. 223b). In 1833 Amerling traveled to the Netherlands and, upon his return, visited the artistic centers of Munich and Düsseldorf, where he met the influential academy director Friedrich Wilhelm von Schadow (1788-1862). Amerling's career reached its height from the 1830s through the 1850s. In the early 1840s he traveled to Rome where he worked with Leopold Pollak (1806-1880) and August Riedel (1799-1883), who influenced his work with their depictions of Italian beauties. Besides painting formal portraits, Amerling developed a painting category that remained close to portraiture but crossed over to a slightly sentimental type of genre or character painting, mostly depicting single women in coquettish poses. Although Amerling retained a certain popularity throughout his long career-he was knighted in 1879-he failed to adapt to changing artistic developments and was eventually overshadowed by artists such as Hans Makart (1840-1884).
crb
Friedrich Amerling grew up in a poor working-class milieu and started his career illuminating maps and prints before attending the Vienna academy from 1815 until 1824. The following two years he studied at the academy in Prague, until his sojourn in London from 1827 through 1828. Amerling went to London primarily to meet the portraitist Thomas Lawrence (1769-1830), whose fame had spread throughout Europe and whose work, together with that of Joshua Reynolds (1723-1792), would form an important influence on Amerling's art. After a brief stay in Paris, during which Amerling met Vernet (q.v.), he went on to Rome. Back in Vienna he painted the life-size portrait of Emperor Franz I (1832/33, Kunsthistorisches Museum, Vienna), which, despite its mixed reviews, estab-lished his reputation as the foremost portrait painter in Vienna. From then on he received many portrait commissions from the Viennese aristocracy and bourgeoisie (see Waldmüller, Countess Széchenyi, fig. 223b). In 1833 Amerling traveled to the Netherlands and, upon his return, visited the artistic centers of Munich and Düsseldorf, where he met the influential academy director Friedrich Wilhelm von Schadow (1788-1862). Amerling's career reached its height from the 1830s through the 1850s. In the early 1840s he traveled to Rome where he worked with Leopold Pollak (1806-1880) and August Riedel (1799-1883), who influenced his work with their depictions of Italian beauties. Besides painting formal portraits, Amerling developed a painting category that remained close to portraiture but crossed over to a slightly sentimental type of genre or character painting, mostly depicting single women in coquettish poses. Although Amerling retained a certain popularity throughout his long career-he was knighted in 1879-he failed to adapt to changing artistic developments and was eventually overshadowed by artists such as Hans Makart (1840-1884).
Biography
false
Gender:
M
cgn
M
Gender
false
Creator Birth Place:
Vienna, 14 April 1803
cbp
Vienna, 14 April 1803
Creator Birth Place
false
Creator Death Place:
Vienna, 14 January 1887
cdp
Vienna, 14 January 1887
Creator Death Place
false
Creator Name-CRT:
Friedrich Amerling
crt
Friedrich Amerling
Creator Name-CRT
false
Title:
The Young Eastern Woman
otn
The Young Eastern Woman
Title
false
Title Type:
Primary
ott
Primary
Title Type
false
Title:
Die junge Morgenländerin
otn
Die junge Morgenländerin
Title
false
Title Type:
Foreign
ott
Foreign
Title Type
false
View:
Full View
rid
Full View
View
false
Creation Date:
1838
oct
1838
Creation Date
false
Creation Start Date:
1838
ocs
1838
Creation Start Date
false
Creation End Date:
1838
oce
1838
Creation End Date
false
Materials and Techniques:
oil on fabric
omd
oil on fabric
Materials and Techniques
false
Classification Term:
Painting
clt
Painting
Classification Term
false
Dimensions:
Unframed: 88.5cm x 71.5cm
met
Unframed: 88.5cm x 71.5cm
Dimensions
false
AMICA Contributor:
The Cleveland Museum of Art
oon
The Cleveland Museum of Art
AMICA Contributor
false
Owner Location:
Cleveland, Ohio, USA
oop
Cleveland, Ohio, USA
Owner Location
false
ID Number:
1991.163
ooa
1991.163
ID Number
false
Credit Line:
Mr. and Mrs. William H. Marlatt Fund
ooc
Mr. and Mrs. William H. Marlatt Fund
Credit Line
false
Rights:
orl
<a href="http://www.clemusart.com/museum/disclaim2.html"target="_new">http://www.clemusart.com/museum/disclaim2.html</a>
Rights
false
Provenance:
Painted in 1838 for Mathias Feldmüller (the younger), wood merchant, Vienna, for 80 ducats. Sold around 1852 to Jakob Fellner, Vienna. His collection sale, Vienna, P. Kaeser, 14-15 December 1871 (lot 9), Die Morgenländerin, 88 x 70 cm, sold for ?800 to Löscher, a Viennese dealer (according to annotated sales catalogue in the Netherlands Institute for Art History, The Hague). Baron Franz Wertheimer, Vienna, by 1927. His heirs, United States. Bought by Galerie Sanct Lucas, Vienna, in 1991. Purchased by the cma in 1991.
opo
Painted in 1838 for Mathias Feldmüller (the younger), wood merchant, Vienna, for 80 ducats. Sold around 1852 to Jakob Fellner, Vienna. His collection sale, Vienna, P. Kaeser, 14-15 December 1871 (lot 9), Die Morgenländerin, 88 x 70 cm, sold for ?800 to Löscher, a Viennese dealer (according to annotated sales catalogue in the Netherlands Institute for Art History, The Hague). Baron Franz Wertheimer, Vienna, by 1927. His heirs, United States. Bought by Galerie Sanct Lucas, Vienna, in 1991. Purchased by the cma in 1991.
Provenance
false
Context:
Although the artist provocatively titled this painting "Young Eastern Woman," it is obvious that the model is not Asian but merely wears Turkish dress. The costume and glowing light certainly create an exotic atmoshphere, and the woman's pose with an open book echoes traditional representations of ancient sibyls or fortune-tellers. Much of 19th century art shows a fascination with the Near East. The combination of the sensually exotic with an atmosphere of quiet contemplation in this work is a less-familiar aspect of the Vienna Biedermeier period (1815-1848).
cxd
<p>Although the artist provocatively titled this painting "Young Eastern Woman," it is obvious that the model is not Asian but merely wears Turkish dress. The costume and glowing light certainly create an exotic atmoshphere, and the woman's pose with an open book echoes traditional representations of ancient sibyls or fortune-tellers. Much of 19th century art shows a fascination with the Near East. The combination of the sensually exotic with an atmosphere of quiet contemplation in this work is a less-familiar aspect of the Vienna Biedermeier period (1815-1848).</p>
Context
false
Related Image Identifier Link:
CMA_.1991.163.tif
ril
CMA_.1991.163.tif
Related Image Identifier Link
false