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Anselm FeuerbachJacob freit um Rahel

In 19. Jahrhundert / 19th Century

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Anselm FeuerbachJacob freit um Rahel
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Anselm Feuerbach
Jacob freit um Rahel

Öl auf Leinwand. 147 x 182 cm.

Gutachten
Paul Wember, Krefeld, 5.8.1953 (abgedruckt bei Ecker, a.a.O., S. 204f).

Ausstellungen
Von 1969 bis 1979 als Leihgabe im Kaiser Wilhelm Museum Krefeld.

Literatur
Jürgen Ecker: Anselm Feuerbach. Leben und Werk. Kritischer Katalog der Gemälde, Ölskizzen und Ölstudien, München 1991, S. 204f, Nr. 332.

Das vorliegende Gemälde ist ein frühes und großformatiges Werk von Anselm Feuerbach. In seinem Gutachten von 1953 datierte es Paul Wember in die Düsseldorfer Studienzeit des Künstlers. Jürgen Ecker schlug dagegen im 1991 erschienenen Werkverzeichnis eine Datierung in die Zeit des ersten römischen Aufenthalts vor und hält heute eine Entstehung im Karlsruher Atelier des Künstlers um 1854 für wahrscheinlich, kurz vor dem ersten Italienaufenthalt Feuerbachs.
Das Thema unseres Gemäldes ist dem 1. Buch Moses entnommen (Kap. 29). Nachdem sich Jakob den Segen des Erstgeborenen durch seinen Vater Isaak erschlichen hatte, bedrohte ihn sein älterer Bruder Esau mit dem Tod und Jakob floh zu seinem Onkel Laban von Haran. Er verliebte sich in dessen Tochter Rahel und diente sieben Jahre bei Laban, um diese heiraten zu können. Am Ende der sieben Jahre gab ihm Laban jedoch nicht wie vereinbart Rahel, sondern der Tradition folgend deren ältere Schwester Lea zur Frau. Um auch Rahel heiraten zu können, musste er Laban sieben weitere Jahre dienen.
Feuerbach stellt den Moment dar, in dem Jakob seinem Onkel Vorhaltungen macht, nicht die erbetene Rahel, sondern deren Schwester zur Frau bekommen zu haben. Die beiden Hauptfiguren sind der junge Jakob und sein Onkel Laban. Zwischen ihnen steht Rahel, am rechten Bildrand sitzt Lea mit ihrer älteren Dienerin Silpa. Während Jakob und Rahel vor einem weiten Landschaftsausblick und Lea mit ihrer Dienerin vor einer laubumrankten Häuserwand dargestellt werden, bildet die mittlere Figur des Laban eine Verbindung dieser beiden Hintergrundszenerien. Feuerbach gibt die fünf Figuren in einer vergleichsweise strengen Anordnung nebeneinander wieder, wobei ein besonderer Reiz in der Gestik der Hände liegt, die das komplizierte Beziehungsgeflecht verdeutlichen. Sowohl Jakob (vorwurfsvoll) als auch Laban (anbietend) verweisen auf die mit gesenktem Kopf sitzende Lea. Mit der anderen Hand hält Laban den Arm seiner jüngeren Tochter Rahel fest. Deren anderer Arm wiederum ist in Demutsgeste vor die Brust gehalten. Die Dienerin Silpa verweist mit einer Hand auf die beiden Kontrahenten Jakob und Laban und stützt mit der anderen ihre Herrin, die wiederum in Verzweiflung und Passivität beide Arme sinken lässt.
Unser in kleinen Partien noch unvollendetes Werk zeigt bereits die charakteristischen Merkmale von Feuerbachs Stil aus seiner römischen Zeit, insbesondere die klassisch beruhigte Komposition mit einer statuarischen Figurenbildung und zurückhaltendem Kolorit. Feuerbach steht damit durchaus im Gegensatz zu einigen seiner Zeitgenossen, beispielsweise dem Wiener Malerfürsten Hans Makart oder dem Münchener Akademiedirektor Carl Theodor von Piloty, die zu einer prunkvolleren und dekorativen Malerei mit deutlich kräftigerem Kolorit neigten. Demgegenüber ist Feuerbach ein Vertreter der idealen Malerei des 19. Jahrhunderts.
Wir danken Herrn Dr. Jürgen Ecker für seine nochmalige Bestätigung der Eigenhändigkeit von Anselm Feuerbach auf der Grundlage hochauflösender Fotografien.





Anselm Feuerbach
Jacob and Rachel

Oil on canvas. 147 x 182 cm.

Certificate
Paul Wember, Krefeld, 05.08.1953 (printed in Ecker, ibid., p. 204f).

Exhibitions
On loan to the Kaiser Wilhelm Museum in Krefeld from 1969 to 1979.

Literature
Jürgen Ecker: Anselm Feuerbach. Leben und Werk. Kritischer Katalog der Gemälde, Ölskizzen und Ölstudien, Munich 1991, p. 204f, no. 332.

The present painting is an early and large-format work by Anselm Feuerbach. In his expertise from 1953, Paul Wember dates it to the artist's period of study in Düsseldorf. In the catalogue raisonné published in 1991, Jürgen Ecker in contrast suggested a dating to the time of his first sojourn in Rome and today considers a creation in the artist's studio in Karlsruhe in around 1854, shortly before Feuerbach's first stay in Italy, to be probable.
The theme of our painting is the First Book of Moses (chapter 29). After Jacob had obtained the blessing of the first-born through his father Issac, his elder bother Esau threatened him with death and so Jacob fled to his uncle Laban von Haran. He falls in love with Laban's daughter Rachel and in order to marry her, serves Laban for seven years. At the end of this time, Laban does not give him Rachel as agreed, but according to tradition, gives him her elder sister Lea as wife. To be able to marry Rachel as well, he must serve Laban for a further seven years.
Feuerbach depicts the moment when Jacob reproaches his uncle for not having received Rachel as wife, but her sister. Rachel stands between the two main characters of the young Jacob and his uncle Laban, with Lea and her elderly servant Silpa seated on the right edge of the picture. Whilst Jacob and Rachel are depicted in front of a wide landscape vista and Lea and her servant in front of the wall of a foliage-covered house, the central figure of Laban forms a connection between these two background scenes. Feuerbach presents the five figures in a comparatively strict arrangement alongside each other, whereby the gesture of the hands is particularly compelling, illustrating the complicated network of relationships. Both Jacob (reproachful) and Laban (offering) allude to Lea, seated with her head lowered. Laban firmly grips the arm of his other daughter Rachel with his other hand whilst his other arm is held at the chest in a gesture of humility. The servant Silva signals with one hand to both opponents, Jacob and Laban, and with the other supports her mistress whose arms hang down in despair and passiveness.
Our work, still unfinished in small sections, already shows the characteristic features of Feuerbach's style of his Roman period, in particular the classically calm composition and restrained colouring. This stands Feuerbach in contrast to his contemporaries such as the Viennese academic painter Hans Makart or the Munich academy director Carl Theodor von Piloty who tended towards a more splendid and decorative painting with considerably stronger colouring. On the other hand, Feuerbach is a representative of the ideal painting of the 19th century.
We would like to thank Dr Jürgen Ecker for his renewed confirmation of the hand of Anselm Feuerbach on the basis of high-resolution photographs.





Anselm Feuerbach
Jacob freit um Rahel

Öl auf Leinwand. 147 x 182 cm.

Gutachten
Paul Wember, Krefeld, 5.8.1953 (abgedruckt bei Ecker, a.a.O., S. 204f).

Ausstellungen
Von 1969 bis 1979 als Leihgabe im Kaiser Wilhelm Museum Krefeld.

Literatur
Jürgen Ecker: Anselm Feuerbach. Leben und Werk. Kritischer Katalog der Gemälde, Ölskizzen und Ölstudien, München 1991, S. 204f, Nr. 332.

Das vorliegende Gemälde ist ein frühes und großformatiges Werk von Anselm Feuerbach. In seinem Gutachten von 1953 datierte es Paul Wember in die Düsseldorfer Studienzeit des Künstlers. Jürgen Ecker schlug dagegen im 1991 erschienenen Werkverzeichnis eine Datierung in die Zeit des ersten römischen Aufenthalts vor und hält heute eine Entstehung im Karlsruher Atelier des Künstlers um 1854 für wahrscheinlich, kurz vor dem ersten Italienaufenthalt Feuerbachs.
Das Thema unseres Gemäldes ist dem 1. Buch Moses entnommen (Kap. 29). Nachdem sich Jakob den Segen des Erstgeborenen durch seinen Vater Isaak erschlichen hatte, bedrohte ihn sein älterer Bruder Esau mit dem Tod und Jakob floh zu seinem Onkel Laban von Haran. Er verliebte sich in dessen Tochter Rahel und diente sieben Jahre bei Laban, um diese heiraten zu können. Am Ende der sieben Jahre gab ihm Laban jedoch nicht wie vereinbart Rahel, sondern der Tradition folgend deren ältere Schwester Lea zur Frau. Um auch Rahel heiraten zu können, musste er Laban sieben weitere Jahre dienen.
Feuerbach stellt den Moment dar, in dem Jakob seinem Onkel Vorhaltungen macht, nicht die erbetene Rahel, sondern deren Schwester zur Frau bekommen zu haben. Die beiden Hauptfiguren sind der junge Jakob und sein Onkel Laban. Zwischen ihnen steht Rahel, am rechten Bildrand sitzt Lea mit ihrer älteren Dienerin Silpa. Während Jakob und Rahel vor einem weiten Landschaftsausblick und Lea mit ihrer Dienerin vor einer laubumrankten Häuserwand dargestellt werden, bildet die mittlere Figur des Laban eine Verbindung dieser beiden Hintergrundszenerien. Feuerbach gibt die fünf Figuren in einer vergleichsweise strengen Anordnung nebeneinander wieder, wobei ein besonderer Reiz in der Gestik der Hände liegt, die das komplizierte Beziehungsgeflecht verdeutlichen. Sowohl Jakob (vorwurfsvoll) als auch Laban (anbietend) verweisen auf die mit gesenktem Kopf sitzende Lea. Mit der anderen Hand hält Laban den Arm seiner jüngeren Tochter Rahel fest. Deren anderer Arm wiederum ist in Demutsgeste vor die Brust gehalten. Die Dienerin Silpa verweist mit einer Hand auf die beiden Kontrahenten Jakob und Laban und stützt mit der anderen ihre Herrin, die wiederum in Verzweiflung und Passivität beide Arme sinken lässt.
Unser in kleinen Partien noch unvollendetes Werk zeigt bereits die charakteristischen Merkmale von Feuerbachs Stil aus seiner römischen Zeit, insbesondere die klassisch beruhigte Komposition mit einer statuarischen Figurenbildung und zurückhaltendem Kolorit. Feuerbach steht damit durchaus im Gegensatz zu einigen seiner Zeitgenossen, beispielsweise dem Wiener Malerfürsten Hans Makart oder dem Münchener Akademiedirektor Carl Theodor von Piloty, die zu einer prunkvolleren und dekorativen Malerei mit deutlich kräftigerem Kolorit neigten. Demgegenüber ist Feuerbach ein Vertreter der idealen Malerei des 19. Jahrhunderts.
Wir danken Herrn Dr. Jürgen Ecker für seine nochmalige Bestätigung der Eigenhändigkeit von Anselm Feuerbach auf der Grundlage hochauflösender Fotografien.





Anselm Feuerbach
Jacob and Rachel

Oil on canvas. 147 x 182 cm.

Certificate
Paul Wember, Krefeld, 05.08.1953 (printed in Ecker, ibid., p. 204f).

Exhibitions
On loan to the Kaiser Wilhelm Museum in Krefeld from 1969 to 1979.

Literature
Jürgen Ecker: Anselm Feuerbach. Leben und Werk. Kritischer Katalog der Gemälde, Ölskizzen und Ölstudien, Munich 1991, p. 204f, no. 332.

The present painting is an early and large-format work by Anselm Feuerbach. In his expertise from 1953, Paul Wember dates it to the artist's period of study in Düsseldorf. In the catalogue raisonné published in 1991, Jürgen Ecker in contrast suggested a dating to the time of his first sojourn in Rome and today considers a creation in the artist's studio in Karlsruhe in around 1854, shortly before Feuerbach's first stay in Italy, to be probable.
The theme of our painting is the First Book of Moses (chapter 29). After Jacob had obtained the blessing of the first-born through his father Issac, his elder bother Esau threatened him with death and so Jacob fled to his uncle Laban von Haran. He falls in love with Laban's daughter Rachel and in order to marry her, serves Laban for seven years. At the end of this time, Laban does not give him Rachel as agreed, but according to tradition, gives him her elder sister Lea as wife. To be able to marry Rachel as well, he must serve Laban for a further seven years.
Feuerbach depicts the moment when Jacob reproaches his uncle for not having received Rachel as wife, but her sister. Rachel stands between the two main characters of the young Jacob and his uncle Laban, with Lea and her elderly servant Silpa seated on the right edge of the picture. Whilst Jacob and Rachel are depicted in front of a wide landscape vista and Lea and her servant in front of the wall of a foliage-covered house, the central figure of Laban forms a connection between these two background scenes. Feuerbach presents the five figures in a comparatively strict arrangement alongside each other, whereby the gesture of the hands is particularly compelling, illustrating the complicated network of relationships. Both Jacob (reproachful) and Laban (offering) allude to Lea, seated with her head lowered. Laban firmly grips the arm of his other daughter Rachel with his other hand whilst his other arm is held at the chest in a gesture of humility. The servant Silva signals with one hand to both opponents, Jacob and Laban, and with the other supports her mistress whose arms hang down in despair and passiveness.
Our work, still unfinished in small sections, already shows the characteristic features of Feuerbach's style of his Roman period, in particular the classically calm composition and restrained colouring. This stands Feuerbach in contrast to his contemporaries such as the Viennese academic painter Hans Makart or the Munich academy director Carl Theodor von Piloty who tended towards a more splendid and decorative painting with considerably stronger colouring. On the other hand, Feuerbach is a representative of the ideal painting of the 19th century.
We would like to thank Dr Jürgen Ecker for his renewed confirmation of the hand of Anselm Feuerbach on the basis of high-resolution photographs.




19. Jahrhundert / 19th Century

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

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