Дитрих художник

literature

• Stephan Brakensiek, Mayari Granados (ed.): Near the Old Masters. Etchings by CWE Dietrich (1712–1774) . Lemgo 2010, ISBN 978-3-936225-30-3 .
• Hans-H. Jungbauer-Haupt:  In: New German Biography (NDB). Volume 3, Duncker & Humblot, Berlin 1957, ISBN 3-428-00184-2 , p. 696 ( ).
• JF Linck: Monograph of the painterly images erased, scraped and cut into wood by the… court painter and professor… CWE Dietrich: along with an outline of the artist’s life story . Berlin 1846.
• Günter Meißner (Ed.): General artist lexicon . tape27 . Saur, Leipzig 2000, p.297 .
• Petra Michel: Christian Wilhelm Ernst Dietrich (1712–74) and the problem of eclecticism . Mäander, Munich 1984, ISBN 3-88219-295-X .
• Petra Schniewind-Michel: CWE Dietrich — A Raphael of landscape painting . In: Weltkunst . tape59 , no.17 , 1989.
• Petra Schniewind Michel: Christian Wilhelm Ernst Dietrich . HIRMER-Verlag, Munich 2012, ISBN 978-3-7774-5491-7 .

Work

Dietrich’s work covers all subject areas and techniques of painting of his time.
Also, various art movements of the 17th century can be found in his oeuvre again.

First, Dietrich was limited to the imitation of the famous Dutch painters such as Rembrandt van Rijn, Adriaen van Ostade, Cornelis van Poelenburgh and Nicolaes Pieterszoon Berchem, but also Antoine Watteau, which are technically the original style often aligned in such a way that counterfeiting Dietrich sold as real » Rembrandt »
were.

From contemporaries his landscape etchings were the most highly prized, Johann Joachim Winckelmann called Dietrich in this respect even the Raphael of all time in landscapes.
They represent a precursor for the realistic landscape painting, represented for example by his pupil Johann Christian Klengel.
Its approximately 181 traditional printmaking blades are characterized mainly by the virtuosity of the technique and the range of its representation motives.
Dietrich printed graphic oeuvre includes themes of old and New Testament representations, mythology, allegory, history, landscapes, livestock and pastoral pieces, animal studies, coat of arms, vignettes, decorated letters, half-length figures, busts, genre paintings of heads, etc. The main focus is on landscape representations to
judge that are etched in a virtuoso manner of the Dutch masters of the 17th century or Italian masters of the 17th and beginning of the 18th century and occupy a focal point in his prints oeuvre.

The infamous art thieves Stéphane Breitwieser began his foray through the museums of Europe in 1995 with a painting by Dietrich, whose plastic properties reminded him of Rembrandt.

On the occasion of his 300th birthday is a published by Hirmer Verlag monograph by art historian Petra Schniewind -Michel life and work of this extraordinary artist re-submit its significance was largely forgotten in the wake of the changing taste in art in the 19th century.

биография

Кристиан Вильгельм Эрнст Дитрих, Портрет женщины в соломенной шляпе

Он родился в Веймар, где он был рано воспитан в профессии художника его отцом Иоганном Георгом, затем художником миниатюр при дворе герцога

Сестра Дитриха была художницей Мария Доротея Дитрих.Был отправлен в Дрезден совершенствоваться под присмотром Иоганн Александр Тиле, ему посчастливилось закончить за два часа, в возрасте восемнадцати лет, картину, которая привлекла внимание короля Саксония. Август II был настолько доволен готовностью Дитриха, что дал ему возможность учиться за границей и последовательно посещать главные города Италии и Нидерландов

Там он научился копировать и подражать мастерам прошлого века с действительно удивительной универсальностью. Иоганн Иоахим Винкельманн, которому его рекомендовали, не колеблясь называл его Рафаэль из пейзаж. Однако в этой области своей практики он просто имитировал Сальватор Роза и Алларт ван Эвердинген.

Ему больше удалось подражать стилю Рембрандт, и многочисленные примеры этой привычки можно найти в галереях Санкт-Петербург, Вена и Дрезден. В Дрездене действительно есть картины, которые, как известно, принадлежат ему, с фиктивными датами 1636 и 1638 годов и именем Рембрандта. Среди самых умных репродукций Дитриха мы можем назвать Остаде манера в Странствующие певцы в Национальной галерее. Его умение уловить характер более поздних мастеров Голландии проявляется в сценах при свечах, таких как Белка и пип-шоу в Санкт-Петербурге, где нам легко вспомнить Годфрид Шалькен. Дитрих перепробовал все направления искусства, кроме портретов, поочередно изображая итальянские и голландские виды. писание сцены и натюрморты.

В 1741 году он был назначен придворным художником в Август III в Дрездене с годовой зарплатой 400 талеры при условии производства четырех кабинетных картин в год. Этим условием, несомненно, объясняется наличие 52 панно и полотен мастера в одном из залов Дрезденского музея. В 1746 году он был назначен инспектором галерей.

Дитрих, хотя и был популярным и, вероятно, самым загруженным художником своего времени, никогда не создавал ничего собственного; и его имитации обязательно хуже оригиналов, которые он пытался скопировать. Его лучшая работа, безусловно, та, которую он дал гравюры. Коллекция их на британский музей, созданные по образцу более ранних людей, таких как Остаде и Рембрандт, раскрывают дух и мастерство. Дитрих после своего возвращения с полуострова обычно подписывал себя Дитрихом, и этой подписью подписано большинство его сохранившихся изображений.

Он умер в Дрездене после того, как последовательно занимал важные должности директора школы живописи на Мейсенском фарфоровом заводе (назначен в 1763 г.) и профессора кафедры живописи. Дрезденская Художественная Академия (назначен в 1765 г.).

Individual evidence

1. JF Linck: Monograph of the painterly images erased, scraped and cut into wood by the… court painter and professor… CWE Dietrich: along with an outline of the artist’s life story . Berlin 1846, L158.
2. Carl Clauss:  Dietrich, Christian Wilhelm Ernst . In: Allgemeine Deutsche Biographie (ADB). Volume 5, Duncker & Humblot, Leipzig 1877, p. 192 f.
3. JF Linck: Monograph of the painterly images erased, scraped and cut into wood by the… court painter and professor… CWE Dietrich: along with an outline of the artist’s life story . Berlin 1846.

plant

Christian Wilhelm Ernst Dietrich — Waterfalls around Rome , around 1750.

Dietrich’s work encompasses all areas of material and painting techniques of his time. Various artistic movements from the 17th century can also be found in his oeuvre.

Christian Wilhelm Ernst Dietrich, called Dietricy — Landscape with two men in front of Roman ruins

At first, Dietrich limited himself to the imitation of the well-known Dutch painters such as Rembrandt van Rijn , Adriaen van Ostade , Cornelis van Poelenburgh and Nicolaes Pieterszoon Berchem , but also Antoine Watteau . Technically, his pictures were often so similar that they were sold as real «Rembrandts», for example.

His landscape etchings were highly valued by contemporaries, and Johann Joachim Winckelmann even called Dietrich the “ Raphael of all times in landscapes”. They represent a preliminary stage to realistic landscape painting, which was represented, for example, by his student Johann Christian Klengel . His approx. 181 printed graphic sheets have survived and are characterized above all by the virtuosity of the technique and the range of his motifs. Dietrich’s graphic oeuvre includes themes from the Old and New Testaments, mythology, allegory and history as well as landscapes, cattle and shepherds, animal studies, coats of arms, vignettes, decorated letters, half-figures, half-length portraits, genre representations, heads, etc. A main focus is on the representations of landscapes which are etched in the virtuoso manner of the Dutch masters of the 17th century or Italian masters of the 17th and early 18th centuries and form a focus in his graphic oeuvre.

The notorious art thief Stéphane Breitwieser began his foray through European museums in 1995 with a painting by Dietrich, the plastic properties of which reminded him of Rembrandt .

On the occasion of his 300th birthday in 2012, a monograph by the art historian Petra Schniewind-Michel published by Hirmer-Verlag presented the life and work of this extraordinary artist, whose importance had largely been forgotten in the course of the changing taste in art in the 19th century.

Life

Christian Wilhelm Ernst Dietrich was born the son of the court painter Johann Georg Dietrich in Weimar.
His mother was Johanna Dorothea Dietrich, daughter of the court painter Johann Ernst Rentsch from Weimar.
His sister Maria Dorothea Wagner later became known as a landscape painter, as well as his nephew Johann Georg Wagner.
Even Dietrich’s youngest sister Rachel Rosina Böhme was a painter.

Dietrich received his earliest education in Weimar with his father Johann Georg Dietrich.
After moving to Dresden in 1724 Dietrich was promoted by the landscape painter Johann Alexander Thiele.
August the Strong soon noticed the young talent and let the Count Brühl for further education Dietrich’s take care of has its patrons.

After a long journey that had taken him from may 1734 in the Netherlands, Dietrich 1741 by Augustus III was.
appointed court painter.
A subsequent study trip to Italy in 1743, as a result Dietrich renamed to Dietricy, had an impact on Dietrich’s work but only conditionally.
The following years are to create the richest and most successful Dietrich.
Throughout Europe, his works were traded.
He received honorary memberships of academies in Augsburg, Bologna and Copenhagen and was in 1764 appointed director of the school of painting of the Meissen porcelain factory.
A year later he received a professorship, which he held until his death at the Art Academy in Dresden.
After his death, the widow of Dietrich, Adrian Zingg initiated a complete edition to be published, which included 87 sheets and partly contained leaves, the consummate Zingg.
The title page is the fourth reprint of a rocky landscape of Dietrich, which is designed in the style tradition of Salvator Rosa.

Life

Christian Wilhelm Ernst Dietrich was born in Weimar as the son of the court painter Johann Georg Dietrich . His mother was Johanna Dorothea Dietrich, the daughter of the court painter Johann Ernst Rentsch from Weimar. His sister Maria Dorothea Wagner later devoted herself to landscape painting, as did his nephew Johann Georg Wagner . Dietrich’s youngest sister Rahel Rosina Böhme also became a painter.

Dietrich received his earliest training in Weimar from his father Johann Georg Dietrich. After moving to Dresden in 1724, Dietrich was supported by the landscape painter Johann Alexander Thiele . August the Strong soon became aware of the young talent and let Count Brühl take care of the further training of Dietrich, who became his patron.

After a long journey, which may have also led him to the Netherlands from 1734, Dietrich was in 1741 by August III. appointed court painter. A subsequent study trip to Italy in 1743, as a result of which Dietrich renamed himself Dietricy, only had a limited effect on Dietrich’s work and cannot be proven by the sources. The following years were among Dietrich’s most creative and successful. His works were traded all over Europe. He received honorary membership of the academies in Augsburg, Bologna and Copenhagen and in 1764 was appointed director of the painting school of the Meissen porcelain factory . A year later he was given a professorship at the Dresden Art Academy , which he held until his death. After his death, Dietrich’s widow arranged for the painter Adrian Zingg to publish a complete edition comprising 87 sheets, some of which Zingg completed. The title page is the fourth impression of a rocky landscape by Dietrich in the style tradition of Salvator Rosa .