Detail View: Visual Resources Teaching Collection: Beech Forest with Couple

aahi0000730

Beech Forest with Couple

full view

1876

creation

Wilhelm Trübner (German, 1851-1917)

male

German painter. The son of a goldsmith and jeweller, he began an apprenticeship as a goldsmith. The intervention of Anselm Feuerbach enabled him to overcome his father's resistance and train as a painter. In 1867 he began to study at the Kunstschule in Karlsruhe, where his tutors included Karl Friedrich Schick (1826–75). Trübner also met artists outside the school, such as Hans Canon, who were very influential. Trübner moved to Munich in 1869 to study with Alexander von Wagner (1838–1919) at the Akademie der Bildenden Künste, where he also met Wilhelm Leibl. He continued his studies with Wilhelm von Diez (1839–1907) and met Hans Thoma, with whom, for a while, he shared a studio and models. Trübner acknowledged his debt to Feuerbach, Canon, Leibl and Thoma, whom he described as his 'leaders and guiding stars', throughout his life. In the winter of 1870–71 he met Carl Schuch and with him and other friends worked in Bernried on the Starnberg Lake, where Leibl championed them, praising Trübner in particular. Summer 1871 marked the real beginning of the Leibl circle (see Leibl, wilhelm). Encouraged by Leibl, Trübner, Schuch and Albert Lang (1847–1933) left the academy and hired a studio together in winter 1871–2. Some of Trübner's most striking works were produced during this period, such as Boy at the Sideboard (1872; Stuttgart, Staatsgal.) and The Sofa (1872; Berlin, Staatl. Museen, N.G.). Trübner reached his relatively brief artistic peak between 1872 and 1876, during which time he made some of the most important contributions to the Leibl circle's achievement and produced the most effective examples of what he called 'purist painting', painting that disregards the expectations of the public to concentrate on formal qualities rather than content. Horse and Beech Trees (1874; Karlsruhe, Staatl. Ksthalle) and the stark Carpenters on the Banks of Wessling Lake (1876; Hamburg, Ksthalle) reject the conventions of picturesque landscape to produce low-key and unglamorous images of rural life and labour painted in sombre tones. After this time Trübner's objectives and achievements began to flag. He felt neglected by the public and tried to achieve popularity by tackling literary subjects and by intensifying the colour-range of his palette. During his period in Munich Trübner was also involved in the Secession, which was founded in April 1892. After 1896, when he left the city, he travelled widely, visiting Italy, the Netherlands, Belgium, France, Switzerland and England. In London he met important academicians such as Lawrence Alma-Tadema, Hubert von Herkomer and Frederic Leighton. In 1896 he became Director of the Städelsches Kunstinstitut in Frankfurt am Main, and the following year he founded a private art school there. In 1903 he was appointed Director of the Kunstschule in Karlsruhe, and in 1917 he obtained a post at the Akademie der Künste in Berlin but died before he could accept it. (Grove Art Online Accessed 2007--10-22)

20th century

Realist (modern European fine arts styles)

women (female humans)

couples

figures

trees

men (male humans)

paintings (visual works)

paintings

canvas

55 cm (H) x 46 cm (W)

signed, dated

Kunsthistorisches Museum Wien

repository

Vienna, Austria

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