(Krottingen 1826–1894 Berlin)
A Banquet - Sebastiano del Piombo and Jacopo Strada visit Titian in Venice, signed F. Kraus (1)862, oil on canvas, 111 x 162 cm, framed

Provenance:
Private Collection, Germany.

Exhibited:
43rd Art Exhibition of the Royal Academy of Arts, Berlin, 1862, no. 380.

Compare:
Friedrich von Boetticher, Malerwerke des 19. Jahrhunderts, Hofheim am Taunus 1979, vol. I, 2, p. 790, no. 29 (Gastmahl bei Tizian, engraved by Gustav Eilers).

The German artist Friedrich Kraus, after completing his academic studies in Königsberg left in 1852 first to Paris and later for Rome where he had the opportunity to study directly the great masters exhibited in public and private collections. He finally settled in Berlin in 1855 where he became a member of the Academy, participating in its exhibitions every year.

The following lot not only displays Kraus’ interest in historical painting, but also demonstrates the artist’s knowledge of the lives of the old masters and their techniques. Under the influence of Veronese’s banquet scenes, Krauss places the protagonists in a veranda, framed within an idyllic architectonical setting. The emphasis in texture and the richness of textiles, as well as the use of sfumato and the similarities of the poses and physiognomy of the characters with works of the Venetian masters are devised to transport the viewer back to the Italian Renaissance.

The likenesses of the characters were directly taken from well-known portraits: Jacopo Strada (far right) from Titian’s painting at the Kunsthistorisches Museum, Vienna; Titian (centre) from his self-portrait at the Gemäldegalerie, Berlin; his daughter Lavinia (left, standing) from her supposed portrait at the Gemäldegalerie Alte Meister, Dresden and Sebastiano del Piombo (seated, left) probably from Tintoretto’s likeness of the artist.

Although some elements of the imagined encounter are inspired by historical facts, such as Sebastiano del Piombo’s talent as a lutenist, the meeting between them probably never happened in that form. On the one hand, Titian is said to have disliked Jacopo Strada and thought him a charlatan. On the other hand, during Strada’s stay in Venice 1567-68, del Piombo was already based in Rome.

Nevertheless, beyond Kraus’ interest in displaying his knowledge of Art History, such artworks were greatly appreciated in the 19th century as conversation pieces, meant not only to be wondered at for their exquisite craftsmanship, but also to be commented and reflected upon. The scene was created to induce a sense of curiosity and stimulate the romantic imagination of the viewer – very much like it does today.