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Ferdinand BellermannTropische Landschaft in Venezuela mit Badenden

In 19. Jahrhundert / 19th Century

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Ferdinand BellermannTropische Landschaft in Venezuela mit Badenden
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Ferdinand Bellermann
Tropische Landschaft in Venezuela mit Badenden

Öl auf Leinwand. 165 x 125 cm.
Signiert unten links: Ferd. Bellermann.

Provenienz
Westdeutsche Sammlung.

Literatur
Schierz, Kai Uwe / Taschitzki, Thomas von (Hg.): Beobachtung und Ideal - Ferdinand Bellermann - ein Maler aus dem Kreis um Humboldt, Ausst.-Kat, Erfurt, Angermuseum, 12. Oktober 2014 - 18. Januar 2015.

Wie Bellermann 1842 in einem Brief an den Stettiner Kunstverein schrieb, ergäbe sich für ihn in nächster Zeit die Möglichkeit zu einer Reise nach Venezuela. Eine Bekanntschaft mit dem Hamburger Kaufmann und Inhaber eines Handelskontors in der venezolanischen Hafenstadt Puerto Cabello, Carl A. Rühs (1805-1880), eröffnete ihm diese Möglichkeit, welche sein Oeuvre so eindrucksvoll bereicherte. Da Rühs ihm zwar eine freie Hinreise auf einem seiner Schiffe offerierte, aber die Abreise mit dem 15. Mai 1842 kurzfristig bevorstand, musste Bellermann unter erheblichem Druck finanzielle Mittel für seine auf zunächst zwei Jahre geplante Reise organisieren. Indem er drei seiner Werke an den bereits erwähnten Stettiner Kunstverein verkaufte und ein Stipendium des preußischen Königs Friedrich Wilhelm IV. erhielt, war seine Zeit in Venezuela gesichert. Bellermann begründetet seinen Reisewunsch gegenüber dem Preußenkönig, indem er darauf verwies, dass Venezuela von Künstlern bisher wenig oder noch gar nicht besucht wurde und die Reise "durch den großartigen Charakter des Landes und seiner Naturformen eine reiche Ausbeute und vielleicht ein ganz neues Feld für die Landschaftsmalerei" versprechen dürfte. Als Gegenleistung bot Bellermann dem König an "seine gesammelten Studien und Ergebnisse der Reise in einer der Königlichen Sammlungen niederzulegen".
Neben Friedrich Wilhelm IV. erfuhr Bellermann eine ganz entscheidende und auch prominente Unterstützung durch Alexander von Humboldt, dem damaligen Kammerherrn des Königs. Humboldts wissenschaftliches Ansehen sollte dem Maler so manche Tür öffnen. Ein Empfehlungsbrief des Wissenschaftlers war hierbei besonders ausschlaggebend, in welchem er darum bat, dass „alle Personen, die im schönen Lande Venezuela einiges Wohlwollen für meinen Namen bewahrt haben, meinen jungen Landsmann Ferdinand Bellermann mit ihrem Rat zu unterstützen und freundliche Anteilnahme entgegenzubringen.“ Nach zahlreichen Rundreisen im Land konnte Bellermann seinen Aufenthalt mithilfe eines weiteren Reisestipendiums um eineinhalb Jahre verlängern, sodass er nach Genesung von einer schweren Fiebererkrankung am 15. November 1845 mit Hilfe des Segelschiffes Margareth, welches ihn auch 1842 sicher nach Venezuela gebrachte hatte, wieder in Hamburg an Land gehen konnte.
Seine Erlebnisse während der teils auch lebensgefährlichen Reise nach und durch Venezuela hat Bellermann ausführlich in sechs erhaltenen Tagebüchern festgehalten.
Insbesondere der Tropenwald wurde zu einem unerschöpflichen Sujet in Bellermans späterem Oeuvre. Die sich selbst überlassene Vegetation, die faszinierende und für Bellermann noch fremde Pflanzenwelt mit ihren fantastischsten Erscheinungsformen, die er selbst als „feenartig“ beschreibt, sind die Grundlage all seiner Urwaldbilder. Nur selten basieren Bellermanns Gemälde, welche auf seine Zeit in Venezuela zurückgehen, auf Zeichnungen. Fast sämtliche dieser uns bekannten Werke nach 1845 beruhen auf Ölstudien, welche er während der Reise anfertigte.
Als Ferdinand Bellermann 44 Jahre nach seiner Rückkehr aus Südamerika in Berlin verstarb, stand ein letztes unvollendetes Gemälde seiner Venezuela-Reihe auf seiner Staffelei, eine Abendstimmung am Orinoco.





Ferdinand Bellermann
Tropical Landscape in Venezuela with Bathers

Oil on canvas. 165 x 125 cm.
Signed lower left: Ferd. Bellermann.

Provenance
West German collection.

Literature
Schierz, Kai Uwe / Taschitzki, Thomas von (ed.): Beobachtung und Ideal - Ferdinand Bellermann - ein Maler aus dem Kreis um Humboldt, Exhib. cat.: Erfurt, Angermuseum, 12th October 2014 - 18th January 2015.

As Bellermann wrote in a letter to the Stettiner Kunstverein in 1842, he had a chance to travel to Venezuela in the near future. His acquaintance with Carl A. Rühs (1805-1880), the Hamburg merchant and owner of a trading office in the Venezuelan harbour town of Puerto Cabello opened up this opportunity, one which so impressively enriched his oeuvre. Rühs offered him a free outward journey on his ship, but with the departure date of 15 May 1842 only a short time away, Bellermann was under considerable pressure to organise the financial means to cover the initial planned travels of two years. He secured his time in Venezuela with the sale of three works to the formerly mentioned Stettiner Kunstverein and a grant from the Prussian King Friedrich Wilhelm IV. Bellermann justified his desire to travel to the Prussian king by pointing out that Venezuela had been visited little or not at all by artists and that the trip promised “ a rich yield and perhaps a completely new field for landscape painting due to the magnificent character of the country and its natural forms”. In return, Bellerman offered “to deposit his collected studies and results of the journey in one of the royal collections”.
As well as Friedrich Wilhelm IV, Bellerman received decisive and prominent support from Alexander von Humboldt, a former chamberlain to the king. Humboldt's scientific reputation would open many doors for the painter. A letter of recommendation from the scholar was particularly decisive in this regard, in which he asked that “all persons who have preserved some goodwill for my name in the beautiful country of Venezuela, to support my young countryman Ferdinand Bellermann with their advice and friendly empathy”. After numerous round trips in the country, Bellermann was able to extend his stay by one and a half years with the help of a further travel grant, so that having recovered from a serious fever illness, he was able to disembark the sailing ship Margareth - which had also brought him safely to Venezuela in 1842 - on 15 November 1845 in Hamburg.
Bellermann recorded his experiences during his often life-threatening travels to and around Venezuela in six preserved, detailed diaries.
The tropical forest in particular would become an inexhaustible subject in Bellermann's later oeuvre. The overgrown vegetation, the fascinating and alien plant world with its most fantastic manifestations, which he himself described as “fairy-like”, were the foundation of all his primeval forest pictures. Only rarely are Bellermann's paintings, which hark back to his time in Venezuela, based on drawings. Almost all of those works known to us from after 1845 are based on oil studies which he completed during his travels.
When Ferdinand Bellermann died in Berlin 44 years after his return from South America, the last unfinished painting of his Venezuela series stood on the easel: Evening on the Orinoco.





Ferdinand Bellermann
Tropische Landschaft in Venezuela mit Badenden

Öl auf Leinwand. 165 x 125 cm.
Signiert unten links: Ferd. Bellermann.

Provenienz
Westdeutsche Sammlung.

Literatur
Schierz, Kai Uwe / Taschitzki, Thomas von (Hg.): Beobachtung und Ideal - Ferdinand Bellermann - ein Maler aus dem Kreis um Humboldt, Ausst.-Kat, Erfurt, Angermuseum, 12. Oktober 2014 - 18. Januar 2015.

Wie Bellermann 1842 in einem Brief an den Stettiner Kunstverein schrieb, ergäbe sich für ihn in nächster Zeit die Möglichkeit zu einer Reise nach Venezuela. Eine Bekanntschaft mit dem Hamburger Kaufmann und Inhaber eines Handelskontors in der venezolanischen Hafenstadt Puerto Cabello, Carl A. Rühs (1805-1880), eröffnete ihm diese Möglichkeit, welche sein Oeuvre so eindrucksvoll bereicherte. Da Rühs ihm zwar eine freie Hinreise auf einem seiner Schiffe offerierte, aber die Abreise mit dem 15. Mai 1842 kurzfristig bevorstand, musste Bellermann unter erheblichem Druck finanzielle Mittel für seine auf zunächst zwei Jahre geplante Reise organisieren. Indem er drei seiner Werke an den bereits erwähnten Stettiner Kunstverein verkaufte und ein Stipendium des preußischen Königs Friedrich Wilhelm IV. erhielt, war seine Zeit in Venezuela gesichert. Bellermann begründetet seinen Reisewunsch gegenüber dem Preußenkönig, indem er darauf verwies, dass Venezuela von Künstlern bisher wenig oder noch gar nicht besucht wurde und die Reise "durch den großartigen Charakter des Landes und seiner Naturformen eine reiche Ausbeute und vielleicht ein ganz neues Feld für die Landschaftsmalerei" versprechen dürfte. Als Gegenleistung bot Bellermann dem König an "seine gesammelten Studien und Ergebnisse der Reise in einer der Königlichen Sammlungen niederzulegen".
Neben Friedrich Wilhelm IV. erfuhr Bellermann eine ganz entscheidende und auch prominente Unterstützung durch Alexander von Humboldt, dem damaligen Kammerherrn des Königs. Humboldts wissenschaftliches Ansehen sollte dem Maler so manche Tür öffnen. Ein Empfehlungsbrief des Wissenschaftlers war hierbei besonders ausschlaggebend, in welchem er darum bat, dass „alle Personen, die im schönen Lande Venezuela einiges Wohlwollen für meinen Namen bewahrt haben, meinen jungen Landsmann Ferdinand Bellermann mit ihrem Rat zu unterstützen und freundliche Anteilnahme entgegenzubringen.“ Nach zahlreichen Rundreisen im Land konnte Bellermann seinen Aufenthalt mithilfe eines weiteren Reisestipendiums um eineinhalb Jahre verlängern, sodass er nach Genesung von einer schweren Fiebererkrankung am 15. November 1845 mit Hilfe des Segelschiffes Margareth, welches ihn auch 1842 sicher nach Venezuela gebrachte hatte, wieder in Hamburg an Land gehen konnte.
Seine Erlebnisse während der teils auch lebensgefährlichen Reise nach und durch Venezuela hat Bellermann ausführlich in sechs erhaltenen Tagebüchern festgehalten.
Insbesondere der Tropenwald wurde zu einem unerschöpflichen Sujet in Bellermans späterem Oeuvre. Die sich selbst überlassene Vegetation, die faszinierende und für Bellermann noch fremde Pflanzenwelt mit ihren fantastischsten Erscheinungsformen, die er selbst als „feenartig“ beschreibt, sind die Grundlage all seiner Urwaldbilder. Nur selten basieren Bellermanns Gemälde, welche auf seine Zeit in Venezuela zurückgehen, auf Zeichnungen. Fast sämtliche dieser uns bekannten Werke nach 1845 beruhen auf Ölstudien, welche er während der Reise anfertigte.
Als Ferdinand Bellermann 44 Jahre nach seiner Rückkehr aus Südamerika in Berlin verstarb, stand ein letztes unvollendetes Gemälde seiner Venezuela-Reihe auf seiner Staffelei, eine Abendstimmung am Orinoco.





Ferdinand Bellermann
Tropical Landscape in Venezuela with Bathers

Oil on canvas. 165 x 125 cm.
Signed lower left: Ferd. Bellermann.

Provenance
West German collection.

Literature
Schierz, Kai Uwe / Taschitzki, Thomas von (ed.): Beobachtung und Ideal - Ferdinand Bellermann - ein Maler aus dem Kreis um Humboldt, Exhib. cat.: Erfurt, Angermuseum, 12th October 2014 - 18th January 2015.

As Bellermann wrote in a letter to the Stettiner Kunstverein in 1842, he had a chance to travel to Venezuela in the near future. His acquaintance with Carl A. Rühs (1805-1880), the Hamburg merchant and owner of a trading office in the Venezuelan harbour town of Puerto Cabello opened up this opportunity, one which so impressively enriched his oeuvre. Rühs offered him a free outward journey on his ship, but with the departure date of 15 May 1842 only a short time away, Bellermann was under considerable pressure to organise the financial means to cover the initial planned travels of two years. He secured his time in Venezuela with the sale of three works to the formerly mentioned Stettiner Kunstverein and a grant from the Prussian King Friedrich Wilhelm IV. Bellermann justified his desire to travel to the Prussian king by pointing out that Venezuela had been visited little or not at all by artists and that the trip promised “ a rich yield and perhaps a completely new field for landscape painting due to the magnificent character of the country and its natural forms”. In return, Bellerman offered “to deposit his collected studies and results of the journey in one of the royal collections”.
As well as Friedrich Wilhelm IV, Bellerman received decisive and prominent support from Alexander von Humboldt, a former chamberlain to the king. Humboldt's scientific reputation would open many doors for the painter. A letter of recommendation from the scholar was particularly decisive in this regard, in which he asked that “all persons who have preserved some goodwill for my name in the beautiful country of Venezuela, to support my young countryman Ferdinand Bellermann with their advice and friendly empathy”. After numerous round trips in the country, Bellermann was able to extend his stay by one and a half years with the help of a further travel grant, so that having recovered from a serious fever illness, he was able to disembark the sailing ship Margareth - which had also brought him safely to Venezuela in 1842 - on 15 November 1845 in Hamburg.
Bellermann recorded his experiences during his often life-threatening travels to and around Venezuela in six preserved, detailed diaries.
The tropical forest in particular would become an inexhaustible subject in Bellermann's later oeuvre. The overgrown vegetation, the fascinating and alien plant world with its most fantastic manifestations, which he himself described as “fairy-like”, were the foundation of all his primeval forest pictures. Only rarely are Bellermann's paintings, which hark back to his time in Venezuela, based on drawings. Almost all of those works known to us from after 1845 are based on oil studies which he completed during his travels.
When Ferdinand Bellermann died in Berlin 44 years after his return from South America, the last unfinished painting of his Venezuela series stood on the easel: Evening on the Orinoco.




19. Jahrhundert / 19th Century

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

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