约翰·弗里德利希·奥韦尔贝克Johann Friedrich Overbeck

约翰·弗里德利希·奥韦尔贝克Johann Friedrich Overbeck（1789年7月4日——1869年11月12日），德国画家。

中文名约翰·弗里德利希·奥韦尔贝克
外文名Johann Friedrich Overbeck
性别男
国籍德国
出生地吕贝克
出生日期1789年7月4日
逝世日期1869年11月12日
职业画家

传记

复活节的早晨

出生在吕贝克,他的祖先三代被新教牧师;他的父亲基督教阿道夫编选(1755 - 1821)是法学博士,诗人,神秘的虔信派教徒市长吕贝克。一箭之遥的豪宅Konigstrasse站着体育馆,叔叔,神学博士和大量的作家,是主,收到的侄子成为经典的学者和教学艺术。

年轻的艺术家1806年3月离开吕贝克,进入学院的学生维也纳,然后的指导下海因里希相邻。而编选显然应计的一些抛光技术方面的新古典主义的画家,他疏远了缺乏宗教精神的主题选择他的主人。编选写信给一个朋友,他已在一个粗俗的集合,每一个贵族认为抑制在学院和失去对人性的信仰,他转而向内他的信仰寻求灵感。

在编选的观点中,早期的欧洲艺术的本质被损坏在当代欧洲,几个世纪前开始法国大革命,丢弃其基督教的过程取向进行进一步的现在。他试图表达基督教艺术在文艺复兴后期的腐蚀影响,抛弃他的当代影响,作为指导早期意大利文艺复兴时期的画家,包括拉斐尔。四年后,他的团队之间的分歧和其他学院已经不可调和的,编选和他的追随者被驱逐。

他离开了罗马,到了1810年,带着他的帆布基督的进入耶路撒冷。罗马成为59年来他劳动的中心。他加入了一个公司志同道合的艺术家,包括彼得·冯·科尼利厄斯,弗里德里希·威廉Schadow和菲利普Veit,两人共同住在旧的圣方济会修道院旧址伊斯多罗——并成为已知的在朋友和敌人的描述性词语拿撒勒。他们的格言是硬的和诚实的工作和神圣的生活;他们避开了古董异教徒,文艺复兴时期的为假,积累了严重的复兴在简单的性质和严重的艺术佩鲁基诺,平图里乔,弗朗西斯科·地区年轻的拉斐尔。风格的特点,从而得出高贵的想法,甚至精度和硬度的轮廓,学术成分,外加光,阴影和色彩,不为诱惑,但主要动机的明晰和完成。在1813年加入了编选罗马天主教会,因此他相信,他的艺术接受督教洗礼.

意大利和日耳曼尼亚(莱纳Pinakothek).

及时的佣金。的普鲁士人的高,雅各布·所罗门Bartholdy,有一个房子的额头Pincian山,被称为宫殿Zuccari或Casa Bartholdy,他与编选的四重奏,科尼利厄斯,Veit Schadow壁画房间7平方(现在Alte Nationalgalerie、柏林)和故事的情节约瑟夫和他的弟兄。倒在了很多的主题编选的七年饥荒和约瑟夫出售他的弟兄,在1818年完成。同年马西莫王子委托编选Veit和科尼利厄斯斯诺来弥补他的花园馆的墙壁和天花板,近了圣约翰拉特兰壁画的例证《,但丁和阿里奥斯托。编选被分配,一个房间5平方,是《耶路撒冷被交付的插图;和十一的作品占据整面墙,是会议戈弗雷德的清汤和彼得的隐士。十年后延迟,不堪重负和衰弱的画家壁画的委托完成他的朋友约瑟夫•冯•Fuhrich。休闲从而获得是致力于一个彻底的主题,圣弗朗西斯的愿景,壁画6.5米长,1830年完成,Porziuncola在教堂圣玛丽亚达久的天使附近阿西西.

编选当选外国的荣誉成员美国艺术和科学院在1864年。^[1]他在1869年死于罗马。他被埋葬在教堂的圣贝尔纳多阿莱领域.

English Introduction

Biography

Born in Lübeck, his ancestors for three generations had been Protestant pastors; his father Christian Adolph Overbeck (1755–1821) was doctor of law, poet, mystic pietist and burgomaster of Lübeck. Within a stone's throw of the family mansion in the Konigstrasse stood the Gymnasium, where the uncle, doctor of theology and a voluminous writer, was the master; there the nephew became a classic scholar and received instruction in art.

The young artist left Lübeck in March 1806, and entered as student the academy ofVienna, then under the direction of Heinrich Füger. While Overbeck clearly accrued some of the polished technical aspects of the neoclassic painters, he was alienated by lack of religious spirituality in the themes chosen by his masters. Overbeck wrote to a friend that he had fallen among a vulgar set, that every noble thought was suppressed within the academy and that losing all faith in humanity, he had turned inward to his faith for inspiration.

In Overbeck's view, the nature of earlier European art had been corrupted throughout contemporary Europe, starting centuries before the French Revolution, and the process of discarding its Christian orientation was proceeding further now. He sought to express Christian art before the corrupting influence of the late Renaissance, casting aside his contemporary influences, and taking as a guide early Italian Renaissance painters, up to and including Raphael. After four years, their differences between his group and others in the academy had grown so irreconcilable, that Overbeck and his followers were expelled.

He left for Rome, where he arrived in 1810, carrying his half-finished canvas of Christ's Entry into Jerusalem. Rome became for 59 years the centre of his labor. He was joined by a company of like-minded artists, including Peter von Cornelius, Friedrich Wilhelm Schadowand Philipp Veit, who jointly housed in the old Franciscan convent of San Isidoro, and became known among friends and enemies by the descriptive epithet of Nazarenes. Their precept was hard and honest work and holy living; they eschewed the antique as pagan, theRenaissance as false, and built up a severe revival on simple nature and on the serious art of Perugino, Pinturicchio, Francesco Francia and the young Raphael. The characteristics of the style thus educed were nobility of idea, precision and even hardness of outline, scholastic composition, with the addition of light, shade and colour, not for allurement, but chiefly for perspicuity and completion of motive. Overbeck in 1813 joined the Roman Catholic Church, and thereby he believed that his art received Christian baptism.

Timely commissions followed. The Prussian consul, Jakob Salomon Bartholdy, had a house on the brow of the Pincian Hill, called Palazzo Zuccari or Casa Bartholdy, and he engaged the quartet of Overbeck, Cornelius, Veit and Schadow to fresco a room 7 m square (now in theAlte Nationalgalerie, Berlin) with episodes from the story of Joseph and his Brethren. The subjects which fell to the lot of Overbeck were the Seven Years of Famine and Joseph sold by his Brethren, finished in 1818. In the same year Prince Massimo commissioned Overbeck, Cornelius, Veit and Schnorr to cover the walls and ceilings of his garden pavilion, nearSt. John Lateran, with frescoes illustrative of Tasso, Dante and Ariosto. To Overbeck was assigned, in a room 5 m square, the illustration of Tasso's Jerusalem Delivered; and of eleven compositions occupying one entire wall, is the Meeting of Godfrey de Bouillon andPeter the Hermit. After ten years delay, the overtaxed and enfeebled painter delegated the completion of the frescoes to his friend Joseph von Führich. The leisure thus gained was devoted to a thoroughly congenial theme, the Vision of St Francis, a wall-painting 6.5 m long, finished in 1830, for the Porziuncola in the Basilica of Santa Maria degli Angeli near Assisi.

Overbeck was elected a Foreign Honorary Member of the American Academy of Arts and Sciences in 1864.^[1] He died in Rome in 1869. He was interred in the church of San Bernardo alle Terme.

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美术百科参考资料

1、Johann Friedrich Overbeck