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2239

Ernst Ferdinand OehmeMühle im Eichtal

In 19. Jahrhundert / 19th Century

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Ernst Ferdinand Oehme
Mühle im Eichtal

Öl auf Leinwand. 78 x 110 cm.
Monogrammiert und datiert unten links: EO 1839 (EO ligiert).

Provenienz
1839 von Sächsischen Kunstverein beim Künstler erworben. Durch Verlosung am 20.12.1839 an Hofmann, Bad Muskau. - Deutsche Privatsammlung. – Auktion Nagel, Stuttgart, 17.10.2019, Lot 701. – Dort vom jetzigen Eigentümer erworben.

Literatur
Ulrich Bischoff (Hrsg.): Ernst Ferdinand Oehme 1797-1855. Ein Landschaftsmaler der Romantik, Dresden 1997, S. 200, Nr. 136.

In einer Waldlichtung, an einem Bach, steht eine Mühle, umgeben von hohen Bäumen. Ein schmaler Weg führt an ihr vorbei und verliert sich in der Tiefe des Waldes. Ein Mädchen mit einem Krug in der Hand steht am Fenster der Mühle, ein Mann, einen Esel mit sich führend, geht entlang des Weges. Beide kehren dem Maler - oder dem Betrachter - den Rücken zu und scheinen ihn nicht zu bemerken. Dieser steht abseits des Weges, unmittelbar am Ufer des Baches und blickt auf die malerische Szenerie.
Die „Mühle im Eichtal“ zeugt vom Interesse Ernst Ferdinand Oehmes für die heimische Landschaft, die nicht durch geschichtsträchtige Bauten oder erhabene Motive besticht, sondern durch ihre unmittelbare suggestive Poesie. Die Naturdarstellung wird bestimmt durch die subtilen Modulationen der Braun- und Grüntöne und dem Spiel des Sonnenlichts, das durch das Laub fällt und die unebenen Bretter der Mühle in chromatischen Gelb- und Ockertönen beleuchtet. In dieser Landschaft ist, wie auch in anderen Bildern der Zeit, Oehmes Bemühen zu erkennen, die „lineare Malweise durch Betonung malerischer Elemente zu mildern“ (Bischoff, op. cit., S. 90).
Oehme schuf diese Landschaft 1839, lange nach seinen Studien bei Johan Christian Dahl und seinem Aufeinandertreffen mit der Kunst Caspar David Friedrichs, lange auch nach seiner Italienreise mit seinem Künstlerfreund Ludwig Richter. Die Landschaftsauffassung der Künstler in Dresden änderte sich zu jener Zeit, der Einfluss der Düsseldorfer Malerschule machte sich bemerkbar - diese Periode ist als Spätromantik bezeichnet worden im Gegensatz zu den ersten Jahrzehnten des 19. Jahrhunderts in Dresden, als die Landschaftsmalerei vornehmlich geprägt wurde von Friedrich und Dahl.
Es hat sich ein Aquarell Oehmes mit nahezu gleicher Komposition erhalten, das eine Vorarbeit zum vorliegenden Gemälde darstellen dürfte (Abb. 1; Museum der bildenden Künste Leipzig, Inv.-Nr.7077). Das Aquarell ist ausgearbeitet, es fehlen jedoch die Figuren, die als anekdotisches Element im Gemälde ergänzt sind. Augenfällig sind zudem die Änderungen in der Gesamtanlage der Landschaft. Oehme ersetzt die Steine am Ufer des Baches durch das Grün des Grases und verdichtet das Laub der Bäume. Auf diese Weise entsteht, geprägt vom subtilen Bildlicht und Kolorit, das poetische Bild einer heimischen Waldlandschaft.





Ernst Ferdinand Oehme
A Mill in Eichtal

Oil on canvas. 78 x 110 cm.
Monogrammed and dated lower left: EO 1839 (EO conjoined).

Provenance
Acquired from the artist in 1839 by the Sächsischen Kunstverein. - Won in a raffle on 20.12.1830 by Hofmann, Bad Muskau. - German private collection.

Literature
Ulrich Bischoff (ed.): Ernst Ferdinand Ohme 1797-1855. Ein Landschaftsmaler der Romantik, Dresden 1997, p. 200, no. 136.

In a forest clearing by a stream stands a mill, surrounded by tall trees. A narrow path runs past it and disappears into the depths of the woods. A girl with a jug in her hand stands at a window of the mill whilst a man leads a donkey along the path. Both have their backs turned towards the painter and don't appear to have noticed him. The painter himself stands away from the path on the bank of the stream, looking towards the picturesque scenery.
“Mühle im Eichtal” bears witness to Ernst Ferdinand Oehme's interest in the local landscape, which captivates not through historical buildings or sublime motifs, but through its immediately suggestive poetry. The representation of nature is determined by the subtle modulations of brown and green tones and the play of sunlight falling through the foliage and illuminating the uneven boards of the mill in chromatic tones of yellow and ochre. In this landscape, as in other pictures of that time, one can recognize Oehme's effort to “soften the linear painting style by emphasisng painterly elements” (Bischoff, op. cit. p.90).
Oehme created this landscape in 1839 long after his studies under Johan Christian Dahl and his encounter with the art of Caspar David Friedrich, and also long after his Italy trip with his artist friend Ludwig Richter. The artists' conception of landscape changed at that time, the influence of the Düsseldorf painting school making itself noticeable - this period has been termed Late Romantic, in contrast to the first decades of the 19th century in Dresden, when landscape painting was mainly influenced by Friedrich and Dahl.
A watercolour by Oehme with almost the same composition has survived, and may be considered the preparatory work of the present painting (ill. 1; Museum der bildenden Künste Leipzig, inv. no. 7077). The watercolour is complete but is missing the figures which serve as an anecdotal element in the painting. The changes to the layout of the landscape also catch the eye. Oehme has replaced the stones on the bank of the stream with the green of the grass and has thickened the tree foliage. This has created the poetic image of a native forest landscape coined by subtle pictorial light and colouring.





Ernst Ferdinand Oehme
Mühle im Eichtal

Öl auf Leinwand. 78 x 110 cm.
Monogrammiert und datiert unten links: EO 1839 (EO ligiert).

Provenienz
1839 von Sächsischen Kunstverein beim Künstler erworben. Durch Verlosung am 20.12.1839 an Hofmann, Bad Muskau. - Deutsche Privatsammlung. – Auktion Nagel, Stuttgart, 17.10.2019, Lot 701. – Dort vom jetzigen Eigentümer erworben.

Literatur
Ulrich Bischoff (Hrsg.): Ernst Ferdinand Oehme 1797-1855. Ein Landschaftsmaler der Romantik, Dresden 1997, S. 200, Nr. 136.

In einer Waldlichtung, an einem Bach, steht eine Mühle, umgeben von hohen Bäumen. Ein schmaler Weg führt an ihr vorbei und verliert sich in der Tiefe des Waldes. Ein Mädchen mit einem Krug in der Hand steht am Fenster der Mühle, ein Mann, einen Esel mit sich führend, geht entlang des Weges. Beide kehren dem Maler - oder dem Betrachter - den Rücken zu und scheinen ihn nicht zu bemerken. Dieser steht abseits des Weges, unmittelbar am Ufer des Baches und blickt auf die malerische Szenerie.
Die „Mühle im Eichtal“ zeugt vom Interesse Ernst Ferdinand Oehmes für die heimische Landschaft, die nicht durch geschichtsträchtige Bauten oder erhabene Motive besticht, sondern durch ihre unmittelbare suggestive Poesie. Die Naturdarstellung wird bestimmt durch die subtilen Modulationen der Braun- und Grüntöne und dem Spiel des Sonnenlichts, das durch das Laub fällt und die unebenen Bretter der Mühle in chromatischen Gelb- und Ockertönen beleuchtet. In dieser Landschaft ist, wie auch in anderen Bildern der Zeit, Oehmes Bemühen zu erkennen, die „lineare Malweise durch Betonung malerischer Elemente zu mildern“ (Bischoff, op. cit., S. 90).
Oehme schuf diese Landschaft 1839, lange nach seinen Studien bei Johan Christian Dahl und seinem Aufeinandertreffen mit der Kunst Caspar David Friedrichs, lange auch nach seiner Italienreise mit seinem Künstlerfreund Ludwig Richter. Die Landschaftsauffassung der Künstler in Dresden änderte sich zu jener Zeit, der Einfluss der Düsseldorfer Malerschule machte sich bemerkbar - diese Periode ist als Spätromantik bezeichnet worden im Gegensatz zu den ersten Jahrzehnten des 19. Jahrhunderts in Dresden, als die Landschaftsmalerei vornehmlich geprägt wurde von Friedrich und Dahl.
Es hat sich ein Aquarell Oehmes mit nahezu gleicher Komposition erhalten, das eine Vorarbeit zum vorliegenden Gemälde darstellen dürfte (Abb. 1; Museum der bildenden Künste Leipzig, Inv.-Nr.7077). Das Aquarell ist ausgearbeitet, es fehlen jedoch die Figuren, die als anekdotisches Element im Gemälde ergänzt sind. Augenfällig sind zudem die Änderungen in der Gesamtanlage der Landschaft. Oehme ersetzt die Steine am Ufer des Baches durch das Grün des Grases und verdichtet das Laub der Bäume. Auf diese Weise entsteht, geprägt vom subtilen Bildlicht und Kolorit, das poetische Bild einer heimischen Waldlandschaft.





Ernst Ferdinand Oehme
A Mill in Eichtal

Oil on canvas. 78 x 110 cm.
Monogrammed and dated lower left: EO 1839 (EO conjoined).

Provenance
Acquired from the artist in 1839 by the Sächsischen Kunstverein. - Won in a raffle on 20.12.1830 by Hofmann, Bad Muskau. - German private collection.

Literature
Ulrich Bischoff (ed.): Ernst Ferdinand Ohme 1797-1855. Ein Landschaftsmaler der Romantik, Dresden 1997, p. 200, no. 136.

In a forest clearing by a stream stands a mill, surrounded by tall trees. A narrow path runs past it and disappears into the depths of the woods. A girl with a jug in her hand stands at a window of the mill whilst a man leads a donkey along the path. Both have their backs turned towards the painter and don't appear to have noticed him. The painter himself stands away from the path on the bank of the stream, looking towards the picturesque scenery.
“Mühle im Eichtal” bears witness to Ernst Ferdinand Oehme's interest in the local landscape, which captivates not through historical buildings or sublime motifs, but through its immediately suggestive poetry. The representation of nature is determined by the subtle modulations of brown and green tones and the play of sunlight falling through the foliage and illuminating the uneven boards of the mill in chromatic tones of yellow and ochre. In this landscape, as in other pictures of that time, one can recognize Oehme's effort to “soften the linear painting style by emphasisng painterly elements” (Bischoff, op. cit. p.90).
Oehme created this landscape in 1839 long after his studies under Johan Christian Dahl and his encounter with the art of Caspar David Friedrich, and also long after his Italy trip with his artist friend Ludwig Richter. The artists' conception of landscape changed at that time, the influence of the Düsseldorf painting school making itself noticeable - this period has been termed Late Romantic, in contrast to the first decades of the 19th century in Dresden, when landscape painting was mainly influenced by Friedrich and Dahl.
A watercolour by Oehme with almost the same composition has survived, and may be considered the preparatory work of the present painting (ill. 1; Museum der bildenden Künste Leipzig, inv. no. 7077). The watercolour is complete but is missing the figures which serve as an anecdotal element in the painting. The changes to the layout of the landscape also catch the eye. Oehme has replaced the stones on the bank of the stream with the green of the grass and has thickened the tree foliage. This has created the poetic image of a native forest landscape coined by subtle pictorial light and colouring.




19. Jahrhundert / 19th Century

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

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Stichworte: , Oil on Canvas