Josef Danhauser, 1829 - Grappige scène in de studio - fine art print

Informatie over de kunstprint met de naam "Funny scene in the studio"

Funny scene in the studio is a painting made by the realist painter Josef Danhauser in 1829. Het kunstwerk heeft het formaat: 40,3 x 52 cm - afmetingen lijst: 59 x 72 x 8 cm. Oil on canvas was applied by the European artist as the medium of the artpiece. The original artpiece has the following inscription: signed and dated lower left: Danhauser / 829. This artpiece is part of the digital collection of Belvedere in Wenen, Oostenrijk. We are delighted to reference that the public domain work of art is provided with courtesy of © Belvedere, Wenen, inventarisnummer: 2552. Bovendien heeft het kunstwerk de creditline: overdracht van het Kunsthistorisches Museum, Wenen in 1926. Bovendien is uitlijning in Landschap formaat en heeft een verhouding van 4: 3, inhoudende dat de lengte is 33% langer dan de breedte. Josef Danhauser was a artist, painter of Austrian nationality, whose artistic style can mainly be classified as Realism. The Realist painter was born in 1805 in Vienna, Vienna state, Austria and passed away at the age of 40 in 1845.

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One year after the "Schola Renz Always" (Inv 2109) discussed Danhauser once more his metier. Another art world is full of life - this time by a large dog in his hunt for the cat lifts the painter along with his stool and pushes with both legs through the image. The joke of the presentation revealed that the head of the artist ends up in the mouth of painted hippopotamus and the Africans in the picture by the Thrust the spear gives the impression that he would save the painter. The "Art structure" on the easel that has nothing to do with the culture of the master and is made on the basis of several graphical templates (to see the stapled to the canvas sheet and the open book next to the easel), is thus used content-expanding and by the realistic described hunting instinctual dog absurdity. Danhauser could not with this scene, even with the "Schola Renz Always" on a common image form to fall back, because representations of painters were previously limited to self-portraits. In contrast to these, which are based solely on one's own person and the professional dignity, clinging Danhauser himself out, brought own situation knowledge and described the events as an observer from the outside. By intertwining of real and fictive level, he has continued spun in the present painting, which he had criticized in "Schola Renz Always": he wanted the budding artists were, "vormalen" like what coming toward him, he should set his progress academic bids accordingly. This inherent criticism of the education system is reminiscent of the claims Waldmüller, because like this it appealed in numerous writings, not to let besides copying the study of nature aside, put Danhauser with his two studio scenes to mind copying and the importance of history painting in its conventional form in question. In order to give his concern emphasis, he picked up the most extreme, namely the destruction of the image - clear rejection of the tradition can not be expressed. [Sabine Grabner 8/2009] Literature: Sabine Grabner, in: self-image. The artist and his portrait, ed. v. Renate Trnek, exh. . Kat Academy of Fine Arts Vienna, Ostfildern-Ruit 2004; This .: The painter Josef Danhauser - Biedermeier period in the image. Monograph and catalog raisonné, Vienna, Cologne, Weimar 2011 (Belvedere of Works, 1), pp 37-45, 204, WV-No. 46

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