Austrian or Rhenish School; circa 1870. "Tyrolean landscape". Oil on canvas.

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19th & 20th Century paintings and Decorative ...

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Nov 10, 2021

Set Reminder 2021-11-10 08:00:00 2021-11-10 08:00:00 America/New_York Bidsquare Bidsquare : 19th & 20th Century paintings and Decorative Arts https://www.bidsquare.com/auctions/setdart-auction-house/19th-20th-century-paintings-and-decorative-arts-7800
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• Lot Description
  Austrian or Rhenish School; circa 1870. "Tyrolean landscape". Oil on canvas. Presents period frame. Measurements: 114 x 103 cm; 155 x 140 cm (frame). In this landscape the author presents a fisherman totally dominated by the force of nature- The landscape that opens in the center thanks to the riverbed, is completely closed in a second plane by the own wooded nature and by the mountains. This conception of the landscape, which shows its magnificence and power with respect to the human figure, is in line with the romantic ideal of nature. One of the most radical aspects of Romantic painting was the attempt to replace the large canvases of historical or religious themes with landscapes. They intended that the pure landscape, almost without figures or totally devoid of them, should attain the heroic significance of history painting. They were based on the idea that human feeling and nature should be complementary, one reflected in the other. That is, the landscape should arouse emotion and transmit ideas. Thus, landscape painters like the author of this painting tried to express their feelings through the landscape, instead of imitating it. The romantic landscape had two main aspects: the dramatic, with turbulent and fantastic views, and the naturalistic, which emphasized images of a peaceful and serene nature, as in this case. It is this second conception that we see embodied in this work; the painter tries to communicate a religious reverence for the landscape, nature in its fullness, free from the industrial elements of modern life. In fact, the painter's own use of light here conveys a dreamy atmosphere, inviting the viewer to meditate and contemplate himself in the landscape. The romantic landscape is nevertheless made up of manifestations of very different types and not comparable to each other; it does not affect all the national schools equally, remaining more faithful to the tradition in schools such as the French or Dutch. Thus, in this canvas we do not find the grandiose scenographies of the British and Germans, the rugged mountains or the monumental Gothic ruins. On the contrary, it is a landscape centered in the foreground, a space enclosed in the background by the city. The most typical elements of the romantic landscape, such as the hostile climate or the Gothic ruins, do not appear. Likewise, the typical romantic perspective is used, very marked, in abyss, which is complemented by a slight confusion of points of view. Despite these local differences, this romanticism contained in the form, we find however a clearly poetic content, which goes beyond the simple representation of the natural to capture nature as a reflection of the author's feelings.
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