COLLECTION NAME:
Visual Resources Teaching Collection
mediaCollectionId
ArtArtHiAAH~7~7
Visual Resources Teaching Collection
Collection
true
Image Record ID:
aahi0000733
image_record_id
aahi0000733
Image Record ID
false
Work Title (display):
The Artist's Two Daughters
Image Title:
full view
Work Dates (display):
1901
Work Dates type:
creation
Work Creator (display):
Fritz Karl Hermann von Uhde (German, 1848-1911)
Work Creator gender:
male
work_creator_or_agent_gender
male
Work Creator gender
false
Work Creator notes (display):
German painter. He came from a family of civil servants with artistic interests. In 1866 he briefly attended the Hochschule der Bildende Künste in Dresden, but he was bored by the teaching and in 1867 he joined the army. In 1877, despite being an officer, he took leave of absence, having decided after all to be an artist. He was determined to succeed rapidly in order to justify his late start and almost to the end of his life, therefore, his work revealed a tension between innovation and conformity. Rejected as a pupil by Hans Makart, Karl Theodor von Piloty and Wilhelm von Diez (18391907), Uhde studied 17th-century Dutch painters in Munich on his own. On the invitation of Mihály Munkácsy he went to Paris in 1879 and attended Munkácsy's painting school for five months. His last work painted at the school, The Chanteuse (1880; Munich, Neue Pin.), a genre painting aiming at popular success, received honourable mention at the Salon. In Paris Uhde first discovered his abiding interest in painting from nature. In 1880 he returned to Munich, where he was based for the rest of his career. Encouraged by Max Liebermann, he experimented with plein-air painting in the Netherlands. Fishermen's Children in Zandvoort (1882; Vienna, Belvedere) was painted entirely en plein air, yet Uhde only dared to exhibit a much more conventional version, the Hurdy-gurdy Man is Coming (1883; Hamburg, Ksthalle), in which the immediacy of the study was lost. In Drum Practice (1883; Dresden, Gemäldegal. Neue Meister), a subject from military life given a plein-air treatment, Uhde adopted a provocative Naturalism, which he abandoned after receiving harsh reviews by conservative critics. Suffer the Little Children to Come unto Me (1884; Leipzig, Mus. Bild. Kst) shows Jesus as an itinerant preacher receiving timid peasant children at a village school. The critics accepted this work by the 'painter of filth' because of its important religious content. Thus Uhde found a way to pursue what really interested himthe rendering of natural light and realistic settingsunder the guise of religious subject-matter. Against the current of 19th-century historicism, Uhde's updated versions of events from the life of Jesus set among the contemporary poor were very successful, for example Last Supper (1886; Stuttgart, Staatsgal.) and Holy Night (1888/9; Dresden, Gemäldegal. Neue Meister). In Heavy Gait (see fig.) the secularization is taken so far that only the initiate can discern the religious subject, the journey to Bethlehem. Like all of Uhde's works, this depiction of a wretched, homeless craftsman's family does not accuse, but rather arouses pity. Nevertheless, setting episodes from the Gospels in the context of contemporary poverty was explosive; it suggested that the Christian demand of equality for all men had not been met politically or socially. Conservative elements of the public condemned the paintings for degrading holy subjects and unleashed a controversy, which paradoxically made the artist the most popular of his day. Until the early 1890s Uhde was regarded as the head of the Naturalist movement in Munich. He was one of the founders of the Munich Secession in 1892 (see Secession, §1). The cultural liberalization in Germany in the 1890s caused Naturalism to lose some of its force as an oppositional movement. Uhde's religious paintings became more conventional, authoritarian rather than egalitarian. In 190305 he painted his only commissioned religious work, the altarpiece (Das Volk, das in der Finsternis sass, hat ein grosses Licht gesehen, Matthew 4:16; in situ) for the Lutheran church at Zwickau. The Protestant church began to accept Uhde's work, and in 1908 he was awarded an honorary doctorate by the theological faculty at Leipzig. It was in his unofficial work that Uhde expressed his personality most clearly; his private family pictures, showing his home life and his three daughters (his wife died in 1886), such as Nursery (1889; Hamburg, Ksthalle) and In the Bower (1896; Düsseldorf, Kstmus.), eventually won public recognition. Uhde showed much sensitivity as a painter of children, to whom, as a shy man, he felt close, for example in Little Princess of the Heath (1889; Berlin, Alte N.G.). Summers spent at Dachau and at a country house at Starnberg in the 1890s influenced his steady development towards an Impressionistic rendering of light. From the late 1890s he produced fresh, glowing paintings of his daughters in the garden, which became his refuge when he withdrew from the art world after 1900: In the Garden (1901; Frankfurt am Main, Städel. Kstinst. & Städt. Gal.) and In the Garden (1906; Mannheim, Städt. Ksthalle). (Grove Art Online Accessed 2007-10-22)
Work Style Period:
20th century
work_styleperiod
20th century
Work Style Period
false
Work Style Period:
Impressionist
work_styleperiod
Impressionist
Work Style Period
false
Work Worktype:
paintings (visual works)
work_type
paintings (visual works)
Work Worktype
false
Work Category (VRC classification):
paintings
work_category__ucbaahvrc_classification_
paintings
Work Category (VRC classification)
false
Work Material and Technique (display):
paint on canvas
Work Measurements (display):
60 cm (H) x 49 cm (W)
Work Inscription (display):
signed, dated
Work Location (Repository or Site) name:
Kunsthistorisches Museum Wien
Work Location (Repository or Site) role:
repository
Work Location (Geographic) name:
Vienna, Austria
Image Rights (display):
© Ronald Wiedenhoeft. Licensed for educational use via Scholars Resource: Saskia, Ltd.
Image Rights license agreement:
SASKIA, LTD.: WHO CAN USE THIS SOFTWARE: (a) Licensee, including faculty, staff and currently enrolled students may use the Licensed Software to display and or print the corresponding graphic images without limitation for teaching and research purposes at the defined Sites, or at remote locations having electronic access to your Site(s). (b) This license include permission to use the Licensed Software on a multi-user network at the defined Site, and to permit remote access to a computer/server located at your Site. Simultaneous display in multiple locations at or connected to the Site is also permitted. (c) Licensee agrees to employ reasonable security measures designed to limit access to your faculty, staff and currently enrolled students. PROHIBITED USES AND LIMITATIONS: (a) Saskia hereby reserves all rights not expressly granted herein. (b) the License Software may not be used for preparaiton of any publication, scholarly or otherwise; or for any purpose other than teaching or research. Publication of an image from the Licensed Software requires a separate license from Saskia. (c) Licensee agrees not to resell, lease, transfer, sub-license or otherwise distribute a copy of the Licensed Software, or any image taken from the Licensed Software, in whole or in part. (d) Licensee also agrees not to modify, corrupt or alter any digital image graphic content or "digital watermark" or the like in the software provided by Saskia under this Agreement. (e) Licensee agrees not to remove, alter, cover or distort Saskia's copyright notice, trademark, or other proprietary rights notice placed by Saskia in the Licensed Software itself, or in the associated packaging, media or documentation. (f) And Licensee agrees to notify users of the Licensed Software, in writing or by sign-on screen display, of their obligations under this Agreement and solicit their cooperation and compliance with such obligations.
Work Rights (display):
public domain
Terms of Agreement and Conditions of Use:
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Holding Institution:
University of Colorado at Boulder
Collection:
Art and Art History Visual Resources Center
Collection info and contact:
For information about this collection, see