(Vienna 1793-1865 Hinterbrühl) An old woman in a lace collar and with a gold brooch, signed and dated Waldmüller (1)863, with an old inscription "Ferdinand Georg Waldmüller 1863 signiert" on the reverse, oil on panel, 13,9x 11 cm, oval format, framed, (Hu)

Provenance: Private collection, Vienna.

Literature: Rupert Feuchtmüller, Ferdinand Georg Waldmüller, Leben - Schriften - Werke, Verlag Christian Brandstätter, Vienna 1996, WV No. 1057, p. 523 with ill; Bruno Grimschitz, Ferdinand Georg Waldmüller, Verlag Galerie Welz, Salzburg 1957, No. 973 "Bildnis einer alten Frau in grüner Rüschenhaube und schwarzem Kleid", p. 365 with ill.

A student at the Vienna academy Waldmüller’s earliest artisitc occupation was dedicated to portrait painting which also granted him a living. After 1811 he was active as a painter of miniatures. (Comp. Bruno Grimschitz, Ferdinand Georg Waldmüller, Salzburg 1957, S. 30). It was the painter’s principle to paint his model as lifelike as possible and to do it justice with the careful depiction of every detail. (Sabine Grabner, Mehr als Biedermeier, Klassizismus, Romantik und Realismus in der Österreichischen Galerie Belvedere, Vienna-Munich 2006, p. 100).

Provenance: Private collection, Vienna.

Literature: Rupert Feuchtmüller, Ferdinand Georg Waldmüller, Leben - Schriften - Werke, Verlag Christian Brandstätter, Vienna 1996, WV No. 1057, p. 523 with ill; Bruno Grimschitz, Ferdinand Georg Waldmüller, Verlag Galerie Welz, Salzburg 1957, No. 973 "Bildnis einer alten Frau in grüner Rüschenhaube und schwarzem Kleid", p. 365 with ill.

A student at the Vienna academy Waldmüller’s earliest artisitc occupation was dedicated to portrait painting which also granted him a living. After 1811 he was active as a painter of miniatures. Thus he learned to approach reality with a close perspective and to paint with a detailed precision. He practised the sharpness and the forcefulness of his eye and above all learned to exercise patience. Waldmüller’s models appear particularly uninvolved with the painter, who denies his subjectivity of perception thus, that the figures depicted appear in their own specific personality and active independance (Comp. Bruno Grimschitz, Ferdinand Georg Waldmüller, Salzburg 1957, S. 30, 42). Painting portraits was Waldmüller‘s preference throughout his entire life and there is no doubt that he accomplished his most significant achievements besides landscape painting in portraits. It was the painter’s principle to paint his model as lifelike as possible and to do it justice with the careful depiction of every detail. (Sabine Grabner, Mehr als Biedermeier, Klassizismus, Romantik und Realismus in der Österreichischen Galerie Belvedere, Vienna-Munich 2006, p. 100).