Null Carl Vornkeller (tätig um 1840), 'Judith und Holofernes' / 'Judith and Holo…

Description

Carl Vornkeller (tätig um 1840), 'Judith und Holofernes' / 'Judith and Holofernes' Technique: Ink / pencil drawing, partially heightened in white and washed, the two upper sheet corners fixed to the passepartout with adhesive tape, Signature: inscribed 'Nachlass C. Vornkeller' in ink on the verso, Dimensions: 13.5 x 18 cm (sheet size), 24 x 30 cm

430158

Carl Vornkeller (tätig um 1840), 'Judith und Holofernes' / 'Judith and Holofernes' Technique: Ink / pencil drawing, partially heightened in white and washed, the two upper sheet corners fixed to the passepartout with adhesive tape, Signature: inscribed 'Nachlass C. Vornkeller' in ink on the verso, Dimensions: 13.5 x 18 cm (sheet size), 24 x 30 cm

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August Rieper "Judith" Depiction of a naked young woman with a rosary in her hair, on a divan in front of a red curtain and a view of a mountainous landscape with a castle, the depicted woman holds an oversized knife in her right hand, as the title on the reverse reveals, the painting alludes to the widow Judith, who is often quoted as "Judith Holofernes", The Book of Judith in the Old Testament tells of a siege of the Israelite fortress of Bethulia on behalf of the Assyrian king Nebuchadnezzar by his commander-in-chief Holofernes in revenge for a lack of support in his campaigns of conquest; due to a shortage of water, the Israelites were ready to give up - only the rich, beautiful and God-fearing widow Judith promised relief, she asked for help, Intoxicated by her beauty and wisdom, Holofernes showed no caution towards her and got drunk at a feast in Judith's honour, whereupon Judith beheaded the commander with his own sword and, with the help of her maid, took the head back to Bethulia as a trophy and a testimony to God's support, whereupon the besiegers were terrified and the Israelites took courage to resist and - with God's help - emerged victorious, contrary to biblical tradition, Rieper depicts his Judith in a less chaste and God-fearing, more lascivious and erotic manner, the sitter is probably Rieper's wife, who repeatedly modelled for the artist, impasto painting with a broad brushstroke, oil on canvas and stretcher, around 1910, signed lower left "A. Rieper", original artist's label "Aug. Rieper München - No. 729 "Judith"" to the reverse of the stretcher, minor craquelure, backed losses, old retouches, somewhat in need of restoration, unframed, dimensions approx. 94 x 126.5 cm. Artist info: German artist. Landscape, interior, portrait, nude, still life and genre painter as well as draughtsman, lithographer and etcher (1865 Hamburg - 1940 Munich), first artistic promotion at the Hamburg School of Applied Arts, studied at the Munich Academy for several months from 1884, but initially decided in favour of self-taught training with the old masters, attended Munich exhibitions from 1887 and met with keen interest from Munich artists such as Rudolf von Seitz, Franz von Lenbach and Friedrich August von Kaulbach, Rieper was subsequently supported by Seitz and Kaulbach on a friendly basis, exhibited at the international art exhibition in the Munich Glaspalast in 1888, as well as exhibitions in Hamburg, Vienna, Dresden and Berlin, studied at the Munich Academy under Rudolf von Seitz from 1898, a member of the Munich Artists' Association, the "Isar" Artists' Association, the Reich Association of Visual Artists in Germany and the State Commission for Restoration Matters at the Bavarian State Gallery, his paintings were purchased by Emperor Wilhelm II and the heir to the Austrian throne, Franz Ferdinand Ferdinand. and the Austrian heir to the throne Franz Ferdinand, active in Munich, sources: Thieme-Becker, Saur "Bio-Bibliographisches Künstlerlexikon", Bruckmann "Münchner Maler des 19./20. Jh.", "Der neue Rump", Müller-Singer, Ries, Matrikel der Münchner Akademie, Boetticher, Dressler and Wikipedia.

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