DOI Heft:
Część III. Sztuka XIX wieku / Part III. Art of the Nineteenth Century
DOI Artikel:Kozak, Anna: Portrety artystów przyjaciól w tradycji nazareńskiej w twórczości malarzy śląskich XIX wieku
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.45361#0438
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Art of the Nineteenth Century
hair, bags under his eyes and a despondent face expression, formed by farrowed brows and
creases from his nose to the tips of his mouth. Like the majority of Schadow’s portraits, his
figure is filled with an inward focus. It is difficult to tell when this drawing was made, since
even in his portraits as a youth he at times gives the impression of being older than his years.
Certainly a few years before Bendemann’s portrait drawing, in which he looks even older, he
is unhealthily overweight and his face is sad and resigned. It is not out of the question that
this portrait is somehow connected to the album of drawings dedicated to the painter by his
students, which included works by Julius Hübner, Carl Müller, Wilhelm Sohn, Carl Friedrich
Lessing.77 78 Schall contributed to it a beautiful composition representing the parting of Saint
Elisabeth of Thuringia and her husband and signed Raphael Schall from Breslau to his beloved
master, 30 Nov. 1851.™ It is not out of the question that he was in Düsseldorf at that time and took
the opportunity to draw his “beloved” teacher. But this is mere conjecture, confirmed only by
the appearance of the man in the drawing. In 1851 Schadow was sixty-three, possibly the age
of the man in Schall’s portrait. Here, what is more important is the author’s attitude toward
his subject, expressed in its dedication, that allows us to include this image in the category of
friendship portraits.
77 The album was prepared to honour Schadow’s 25 -year tenure at the Düsseldorf academy; see Katharina
Bott, Das Schadow-Album der Düsseldorfer Akademieschüler von 1851 (Hanau: Co-Con Verlag, 2009).
78 Pencil, lights painted in white, paper, 44.9 x 35.5 cm, writing at bottom: Raphael Schall in Breslau seinem
geliebten Meister am30. Nov: 1851, inv. no. Z1689, Wallraf-Richartz-Museum, Cologne.
Art of the Nineteenth Century
hair, bags under his eyes and a despondent face expression, formed by farrowed brows and
creases from his nose to the tips of his mouth. Like the majority of Schadow’s portraits, his
figure is filled with an inward focus. It is difficult to tell when this drawing was made, since
even in his portraits as a youth he at times gives the impression of being older than his years.
Certainly a few years before Bendemann’s portrait drawing, in which he looks even older, he
is unhealthily overweight and his face is sad and resigned. It is not out of the question that
this portrait is somehow connected to the album of drawings dedicated to the painter by his
students, which included works by Julius Hübner, Carl Müller, Wilhelm Sohn, Carl Friedrich
Lessing.77 78 Schall contributed to it a beautiful composition representing the parting of Saint
Elisabeth of Thuringia and her husband and signed Raphael Schall from Breslau to his beloved
master, 30 Nov. 1851.™ It is not out of the question that he was in Düsseldorf at that time and took
the opportunity to draw his “beloved” teacher. But this is mere conjecture, confirmed only by
the appearance of the man in the drawing. In 1851 Schadow was sixty-three, possibly the age
of the man in Schall’s portrait. Here, what is more important is the author’s attitude toward
his subject, expressed in its dedication, that allows us to include this image in the category of
friendship portraits.
77 The album was prepared to honour Schadow’s 25 -year tenure at the Düsseldorf academy; see Katharina
Bott, Das Schadow-Album der Düsseldorfer Akademieschüler von 1851 (Hanau: Co-Con Verlag, 2009).
78 Pencil, lights painted in white, paper, 44.9 x 35.5 cm, writing at bottom: Raphael Schall in Breslau seinem
geliebten Meister am30. Nov: 1851, inv. no. Z1689, Wallraf-Richartz-Museum, Cologne.