Josef Danhauser
![Josef Danhauser - 19th Century Paintings Josef Danhauser - 19th Century Paintings](/fileadmin/lot-images/38N140408/normal/josef-danhauser-3900040.jpg)
(Vienna 1805–1845)
In the Painter’s Studio, oil on canvas, 33.4 x 27.4 cm, framed, (Rei)
We are grateful to Dr. Sabine Grabner for her assistance in cataloguing this work.
Josef Danhauser was one of the first artists to depict everyday activities in the studio in a humorous manner. He was unable to draw on a conventional style in order to do so, for at that time portrayals of painters were limited to self-portraits. In contrast to these portraits, which showed only the individual and focused on the dignity of the profession, Danhauser excluded himself from his studio depictions, instead introducing his own familiarity with the situation and painting the incident as if seen by an outside observer. His first works of this genre, Schoolroom (1828) and Amusing Scene in the Studio (1829, both in the Belvedere, Vienna), already permit the viewer to peep behind the scenes, into the artist’s world. Yet he did not concentrate solely on presenting a scene; he simultaneously used this subject to criticise, albeit humorously, the popular artistic practice of his day of portraying life on the basis of models, rather than studying it in natura.
This critical attitude has been set aside in the present painting. Although we see the same painter, with green leggings and a blue cap, here he should not be understood as representing the outmoded painting establishment, but rather as a dexterous artist, drawing the figure of an ancient soldier on the canvas with a few quick strokes of colour. Even here, however, Danhauser couldn’t resist a sly tease, for the colourful splotches on the painter’s trousers suggest that the master had recently sat on the paint box, the colours mirroring those on the palette.
The scene also tells a story; the model is making himself comfortable, has removed the helmet and stretches out his other hand towards the tobacco tin, which the painter holds out to him. As we are accustomed to see in Danhauser’s works, the details are executed with affection. For example, we see the knife, previously used to sharpen the drawing chalk, and get the impression from the drawing instrument in the artist’s hand that the underside has probably touched red ochre, the other side white chalk. The mechanism of the two easels in the background is interesting; their three feet extend through a round swivel joint and can be spread as far apart as required. There are many other remarkable details, such as the thin cushion on the floor which would prevent the “fighter’s” feet from getting cold, the cosy curled up cat, the makeshift stovepipe cover, or the firewood under the stairwell. This work also displays a further distinctive feature, for on the vertical edges of the painting – on the canvas which extends over the sides of the stretcher – are several dashes of colour in different tones. Here Danhauser had obviously wiped off colour from his brush, “sharpening” his brush to draw with finer strokes.
Danhauser’s distinctive gift for observation cannot be overlooked in the affectionate depiction of the studio with the painter and his model. Even as a young artist he had recognised that his calling held many interesting subjects for portrayal, and studio depiction of accompanied him from the start of his career through the whole course of his life. However, the present lot does not correspond to any known works in the catalogue raisonné, (1) whether because of differing dimensions, another medium, or owing to a differing description of the picture. (2) We are really dealing with a previously totally unknown work by the young painter Josef Danhauser. Its execution can be dated to 1829, the year in which Amusing Scene in the Studio was painted, and the work will be included as no.47a in the catalogue raisonné.
Dr. Sabine Grabner
(1) Sabine Grabner, Der Maler Josef Danhauser. Biedermeierzeit im Bild. Monograph and catalogue raisonné, Vienna-Köln-Weimar 2011. (2) Catalogue no. 48 is excluded, despite similar dimensions, as the description in the auction catalogue dated 1907 refers to a painter with a woman and a boy at his side (Wawra art auction, 6./7.12.1905, no. 27).
Specialist: Mag. Dimitra Reimüller
Mag. Dimitra Reimüller
+43-1-515 60-355
19c.paintings@dorotheum.at
08.04.2014 - 18:00
- Realized price: **
-
EUR 24,700.-
- Estimate:
-
EUR 20,000.- to EUR 25,000.-
Josef Danhauser
(Vienna 1805–1845)
In the Painter’s Studio, oil on canvas, 33.4 x 27.4 cm, framed, (Rei)
We are grateful to Dr. Sabine Grabner for her assistance in cataloguing this work.
Josef Danhauser was one of the first artists to depict everyday activities in the studio in a humorous manner. He was unable to draw on a conventional style in order to do so, for at that time portrayals of painters were limited to self-portraits. In contrast to these portraits, which showed only the individual and focused on the dignity of the profession, Danhauser excluded himself from his studio depictions, instead introducing his own familiarity with the situation and painting the incident as if seen by an outside observer. His first works of this genre, Schoolroom (1828) and Amusing Scene in the Studio (1829, both in the Belvedere, Vienna), already permit the viewer to peep behind the scenes, into the artist’s world. Yet he did not concentrate solely on presenting a scene; he simultaneously used this subject to criticise, albeit humorously, the popular artistic practice of his day of portraying life on the basis of models, rather than studying it in natura.
This critical attitude has been set aside in the present painting. Although we see the same painter, with green leggings and a blue cap, here he should not be understood as representing the outmoded painting establishment, but rather as a dexterous artist, drawing the figure of an ancient soldier on the canvas with a few quick strokes of colour. Even here, however, Danhauser couldn’t resist a sly tease, for the colourful splotches on the painter’s trousers suggest that the master had recently sat on the paint box, the colours mirroring those on the palette.
The scene also tells a story; the model is making himself comfortable, has removed the helmet and stretches out his other hand towards the tobacco tin, which the painter holds out to him. As we are accustomed to see in Danhauser’s works, the details are executed with affection. For example, we see the knife, previously used to sharpen the drawing chalk, and get the impression from the drawing instrument in the artist’s hand that the underside has probably touched red ochre, the other side white chalk. The mechanism of the two easels in the background is interesting; their three feet extend through a round swivel joint and can be spread as far apart as required. There are many other remarkable details, such as the thin cushion on the floor which would prevent the “fighter’s” feet from getting cold, the cosy curled up cat, the makeshift stovepipe cover, or the firewood under the stairwell. This work also displays a further distinctive feature, for on the vertical edges of the painting – on the canvas which extends over the sides of the stretcher – are several dashes of colour in different tones. Here Danhauser had obviously wiped off colour from his brush, “sharpening” his brush to draw with finer strokes.
Danhauser’s distinctive gift for observation cannot be overlooked in the affectionate depiction of the studio with the painter and his model. Even as a young artist he had recognised that his calling held many interesting subjects for portrayal, and studio depiction of accompanied him from the start of his career through the whole course of his life. However, the present lot does not correspond to any known works in the catalogue raisonné, (1) whether because of differing dimensions, another medium, or owing to a differing description of the picture. (2) We are really dealing with a previously totally unknown work by the young painter Josef Danhauser. Its execution can be dated to 1829, the year in which Amusing Scene in the Studio was painted, and the work will be included as no.47a in the catalogue raisonné.
Dr. Sabine Grabner
(1) Sabine Grabner, Der Maler Josef Danhauser. Biedermeierzeit im Bild. Monograph and catalogue raisonné, Vienna-Köln-Weimar 2011. (2) Catalogue no. 48 is excluded, despite similar dimensions, as the description in the auction catalogue dated 1907 refers to a painter with a woman and a boy at his side (Wawra art auction, 6./7.12.1905, no. 27).
Specialist: Mag. Dimitra Reimüller
Mag. Dimitra Reimüller
+43-1-515 60-355
19c.paintings@dorotheum.at
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Auction: | 19th Century Paintings |
Auction type: | Saleroom auction |
Date: | 08.04.2014 - 18:00 |
Location: | Vienna | Palais Dorotheum |
Exhibition: | 29.03. - 08.04.2014 |
** Purchase price incl. buyer's premium and VAT
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