弗兰兹-温特豪德Franz Xavier Winterhalter

弗兰兹•艾克塞瓦•温特哈尔特(1805年4月20日- 1873年7月8日)是一位德国画家和石版家,以19世纪中期的皇室肖像。他的名字已经成为与时尚相关法院的肖像画。在他最著名的作品是皇后Eugenie包围她的女士们在等待(1855)和伊丽莎白女皇的画像他奥地利(1865)。

人物关系

画派古典主义

中文名弗兰兹-温特豪德
外文名Franz Xaver Winterhalter
性别男
国籍德国
出生日期1805年4月20日
逝世日期1873年7月8日
职业画家和石版家

早期

在Franz Xaver Winterhalter出生的小村庄 menzenschwand ，德国黑色的森林（现在的一部分圣布拉辛），在 Baden选民我们20 1805年四月。他是Fidel Winterhalter的第六个孩子（1773–1863），村里的农民和树脂生产商，和他的妻子Eva Meyer（1765–1838），一个历史悠久的Menzenschwand家族的一个成员。他的父亲是农民的股票和是一个强大的影响在他的生活。在八个兄弟姐妹，只有四个存活婴儿。在他的一生中，弗朗兹·克萨韦尔·温特哈尔特仍然非常接近，特别是他哥哥给他的家人赫尔曼（1808–1891），也是一个画家。

上学后班尼的天在圣Blasien修道院，温特离开menzenschwand 1818十三岁绘画和雕刻研究。他曾在Karl Ludwig学校üLER车间绘图员、平版（1785–1852）在弗莱堡。1823、十八岁时，他去了慕尼黑，由实业家男爵冯eichtal赞助（1775–1850）。在1825，他被授予助学金由路德维希我，巴登大公爵（1763–1830）和课程学习在艺术学院开始慕尼黑与柯内留斯（1783–1867），其学术方法让他不舒服。温特在时髦的肖像画家更宜人的导师约瑟夫斯提勒（1781–1858）。在这期间，他支持自己的工作作为平版。

Winterhalter进入法庭时，他成为1828界画大师苏菲margravine部巴登，在卡尔斯鲁厄。他在南德国的机会出现在1832的时候，他能够前往意大利，1833–1834的支持 Leopold of Baden大公爵。他在罗马的浪漫风格的场景组成的方式路易斯éopold罗伯特和自己是属于法国科学院的主任圈，韦尔内。回到卡尔斯鲁厄后，他画的Leopold of Baden大公爵和他妻子的肖像，并被任命为画家的大公爵法院。

然而，他离开巴登搬到法国，他的意大利流派纷呈 Il dolce farniente 在1836沙龙吸引注意。 十日谈 一年后也称赞；绘画在风格的学术著作拉斐尔。在1838的沙龙，他表现出的肖像 “ Prince of Wagram 他的小女儿。他的职业生涯作为一个肖像画家很快就担保时，在同一年，他画的 Louise Marie of Orleans ，比利时人的女王和她的儿子，布拉班特公爵。它可能是通过这幅画，Winterhalter来通知两西西里的Maria Amalia ， Queen 之 French ，母亲之 Queen 之 Belgians.

宫廷画家

leonilla bariatinskaia公主维特根斯坦sayn sayn （1843年），保罗J。盖蒂博物馆，洛杉矶。温特豪德对比华丽的面料和鲜艳的色彩，对乳肉提高姿态，感性的模型，和华丽的背景。

在巴黎，温特迅速成为时尚。他被任命为宫廷画家属于路易-菲利普，法国的国王，谁委托他画他的大家庭的个人肖像。温特他执行超过三十的佣金。

这一成功赢得了画家在王朝和贵族的肖像画专家的声誉，在肖像与奉承和活跃的盛况与现代时尚相结合的技术官员。

然而，Winterhalter的名声在艺术界遭受。批评，谁曾在1836沙龙称赞他的处女作，解雇了他作为一个画家，不能认真对待。这种态度贯穿了温特的事业，谴责他的作品在绘画中的层次一类的自己。Winterhalter自己认为他的第一个皇家委员会作为一个临时的间歇回国前主题画和学术声望的领域，但他是他自己成功的受害者，他的余生他会几乎完全作为一个肖像画家的作品。这是一个领域，他不仅很成功，也使他致富。Winterhalter成了国际名人享受皇家赞助人。

Katarzyna Potocka在东方服饰 （1854），国家博物馆，华沙。伯爵夫人坐在这幅画像波托茨卡在巴黎，她去的地方去旅行回来后神圣的土地。 krasińska玫瑰，谁与她的母亲去了巴黎，写了她 在温特的工作室几次，而母亲给她的肖像 。

他的许多富豪保姆之间也维多利亚女王。温特首次访问英国是在1842，并多次回来Victoria漆，艾伯特王子越来越多的家庭，画至少120他们的作品，在保持大量的皇家收藏，向公众展示白金汉宫和其他的皇家住宅。温特还画了一些肖像画在英国的贵族，大多法院界成员。1848 Louis Philippe的下降没有影响画家的声誉。Winterhalter去了瑞士并先后在比利时和英国。

这个皇后欧仁妮在等待她的女士们包围 （1855），瓷器。从第十八世纪的田园场景以启示，这不朽的作文集的主权和她的随从在森林中阴暗的清除背景。然而，作文很做作和形式。皇后，略偏向左边，包围和控制组。

坚持看到Winterhalter生存从一个王朝的秋天到另一个的崛起。巴黎仍然是他的家直到他去世前几年。在法国肖像佣金停止让他回到主题画 弗洛林达 （1852）（大都会艺术博物馆、纽约），一个喜庆的女性美的灵感来自一个西班牙的传奇。在同一年，他的求婚被拒绝，而温特一直致力于他的工作学士。

入世后拿破仑三世他的知名度的提升。从那时起，下第二帝国，Winterhalter成为了皇家法院法国首席画家。美丽的法国皇后欧仁妮成为一个最喜欢的保姆，她待他慷慨。1855温特画他的杰作： 皇后尤金é聂包围的侍女 。他在法国皇后田园的设置采集花朵与她的女士们和谐圈等。这幅画是著名的，并表现出在世界博览会1855。它仍然是温特的最著名的作品。

在1852，他去了西班牙，画皇后伊莎贝拉二世她的女儿，伊莎贝尔公主号。俄罗斯对巴黎贵族的游客也喜欢有自己的肖像由著名大师执行。作为王子”的“画家，温特是此后由英国法院不断的需求（1841），西班牙，比利时，俄罗斯，墨西哥，德国法院，法国。在50、60年代，温特画了一批重要的肖像的波兰和俄罗斯贵族。1857，他画的肖像皇后玛丽亚以后。

在帝国在19世纪60年代，由 Maximilian I of Mexico ，温特委托作画，这对皇室夫妇的肖像。墨西哥的皇后，比利时的夏洛特是女儿玛丽路易丝-法国，比利时人的女王，而温特在法国开始自己的职业生涯画。Winterhalter的一些画作的墨西哥君主仍然留在墨西哥城宫，查普尔特佩克城堡现在，国家博物馆的历史。

最后一年

巴氏dmitrievna林姆斯基-高沙可夫mergassov夫人 （1864），布面油画，117×90厘米，奥赛博物馆，巴黎。

为了应对这些压力的肖像佣金，其中许多人呼吁的多个副本，Winterhalter助手的广泛使用。没有肖像画家，曾为温特享受如此非凡的皇家赞助人；只有鲁本斯和范戴克当他在一个国际网络。

温特从国外度假的他在意大利工作的压力，寻求喘息的机会，瑞士首先在德国。尽管许多年，他住在法国，他仍然深爱着自己的祖国。他所有的成功和普及，温特继续简单地生活，有节制地。1859他买了一栋别墅巴登巴登，他最喜欢的度假胜地。

1864温特作了最后一次访问英国。在那一年的秋天，他前往维也纳执行的画像皇帝弗朗茨约瑟夫和皇后伊丽莎白这是他最著名的作品之一。随着他年龄的增长，温特与法国的减弱，他的兴趣在德国成长的链接。他正在治疗在瑞士的爆发 prussian是佛朗哥，战争结束了法国第二帝国 1870年九月。战争结束后，画家没有返回法国而巴登。他被正式认可的Baden仍然在法院和他定居卡尔斯鲁厄。在他生命的最后两年Winterhalter画得很小。在访问法兰克福在1873的夏天，他承包斑疹伤寒在1873七月8人死亡。他六十八岁的时候。

风格

巴伐利亚的伊丽莎白of 皇后大学，奥地利 （1865年），油的战斗。校园，255×133厘米，艺术博物馆，维也纳。这幅画像呈现在一个浪漫的方式提高她的声誉作为一个她的时间大美女皇后。皇后出现在一个性感的姿势和裸露的肩膀，把她的头向观众。她穿着一件白色的绸缎和薄纱连衣裙点缀着银箔的明星，在她的头发上钻石星辰。这幅画像是一个皇后伊丽莎白最具标志性的表示和Winterhalter最著名的作品之一。

Winterhalter来到自己的作为一个肖像画家，他画的第二帝国在他最好的作品在他生命的最后二十年。他与他的风格的豪华和时代气氛轻松，其享乐主义与欢乐。他的女模特50、60年代居住在不同的生理气候从那些他画前；他们不谨慎而含蓄。他的男保姆启发几原或难忘的成分。

温特从来没有收到好评对他进行严肃的批评，被指责不断追求流行的肤浅和做作。然而，他被他的贵族顾客高度赞赏。英国，法国，西班牙，俄罗斯，葡萄牙的皇室家族，墨西哥和比利时都委托他画的肖像。他的不朽的油画占据了相当的受欢迎，和平版印刷的肖像副本帮助传播他的名声。

温特的肖像画因其微妙的亲密他呼吁的性质是不难解释。他创造的形象他的保姆希望或需要的项目主题。他在创造戏剧作品几乎构成他的保姆不仅熟练，而且在输送织物纹理的艺术鉴赏家，皮草和珠宝，向他支付了不低于注意脸。他画得很快，很流利，他的大部分作品的设计直接在画布上。他的肖像画，优雅，精致，栩栩如生，和美丽的理想。

关于温特的工作方法，认为，作为他在绘画代表人物，他直接画在画布上未做初步研究。他经常决定的服饰和模特姿势。他的风格是温和的，世界性的和合理的。许多的肖像被复制在他的车间或复制成版画。

作为一个艺术家，他仍然是一个困难的图的地方，有跟几个画家比较他和他不属于任何学校。他早期的亲和力新古典主义但他的风格可以描述为尼奥— 洛可可。他死后，他的画失宠被认为是浪漫的，有光泽，表面。对他本人和他的艺术几乎不为人所知，直到最近没有认真对待。然而，在他的工作的一个主要的展览国家肖像画廊（英国）和伦敦小皇宫 1987在巴黎把他带到聚光灯再次。他的画是领先的欧洲和美国的博物馆展出的今天。

所有的艺术品

一个来自茵特拉根的瑞士女孩
一个名叫Princess Charlotte的年轻女孩，1864
安吉莉娜佩蒂，1863年
Albert Edward，威尔士王子，1846
Albert Edward，威尔士王子
阿尔贝，王夫，1859年
Alexandra Feodorovna，1856
Alexandra Iosifovna，俄罗斯公爵夫人，Alexandra of Altenburg公主
亚历山德拉，威尔士公主，1864
阿尔弗雷德艾米里，伯爵nieuwerkerke，1852年
Anna Dollfus，Baronness de Bourgoing，1855
安东尼-玛丽-路易斯菲利普-奥尔良公爵详介，1844年
阿瑟·韦尔斯利，第一威灵顿公爵罗伯特皮尔爵士在1844年
芭芭拉- dmitrievna mergassov里姆斯基- korsakova，1864年
Caroline Elisabeth拉格朗日，1841年
查尔斯·DI，波佐博尔伯爵，1849年
Charlotte Stuart ， Viscountess Canning ， 1849
夏洛特、比利时的公主
卡洛塔，墨西哥女皇（比利时公主夏洛特）
萧邦
计数Jenison沃尔沃思，1837
Alexander Nikolaevitch Lamsdorff伯爵夫人，1859
1857年的爱德华安德烈
伊丽莎白皇后冯奥地利，1865年
奥地利伊丽莎白皇后），1865年
艾branicka，countess krasinka 1853年和她的孩子
Emperor Don Maximiliano我的墨西哥，c.1865
德国皇帝Frederick III，与他的妻子维多利亚皇后普鲁士王，和他们的孩子，威廉王子和Princess Charlotte，1862
拿破仑三世
在舞蹈服饰的奥地利皇后Elisabeth，1865
欧仁妮皇后
Empress Eugenie，1853
欧仁妮皇后，四周的侍女，1855
从法国欧热妮皇后，蒙蒂茄，1857年
欧热妮皇后、妃of the French，1864年
欧也妮，Empress of the French
Florinda，1853
弗朗索瓦菲利普王子斐迪南奥尔良诺，1843年
Francois Horace，1841
我的Franz Joseph，奥地利的Maria Theresa穿着与军事秩序之星的奥地利元帅制服皇帝，1865
frubling
女孩Sabin Mountains，1840
俄罗斯大公夫人，Olga Feodorovna
公爵
Harriet Howard萨瑟兰公爵夫人，1849
海伦路易丝de梅克兰堡什未林，他的儿子巴黎伯爵奥尔良公爵夫人，1839
亨利尤金Philippe Duc d'aumale，对轻步兵第十七营的指挥官
艾伯特亲王殿下
甜farniente，1836年
英国的伊莎贝尔二世
意大利女人和孩子
potocka branicka吗，伯爵夫人
皇后奥古斯特
Karl Josef berkmuller，1830年
午睡，1841年
夫人奥古斯塔儿童惠灵顿克莱门蒂娜维利尔斯，1857年
leonilla维特根斯坦，1849
利奥波德一世
利奥波德在1840年
利奥波德，布拉班特公爵
林登的hooghvorst，1855年
路易斯菲利普，1841年
国王路易-菲利普（1840年，在法国。
路易-查尔斯-奥尔良公爵菲利普of Nemours，1843
路易-菲利普I，法国国王
langenstein伯爵路德维希，1834
Maria Carolina 但 Borb 哦 Dues Sic P 的谎言
玛丽亚克里斯蒂娜迪的波旁，两西西里王国的公主，c.1818
对缪拉瓦格拉姆公爵小姐Maria Louise，1854
路易莎·西班牙，1847
玛丽克里斯汀奥尔良
奥地利的玛丽埃特of
夫人苏菲洗澡，1830年
奥地利的马克西米连
马西米兰
媚兰从bussiere，伯爵爱德蒙维尔德，1857年
小公主爱丽丝的英国画
对欧盟的计数为孩子画
Pauline Sandor，梅特涅公主，1860
公主克洛蒂尔德冯saxen堡，1855年
弗朗索瓦阿道夫akermann马术肖像，1870年
一位女士的画像，1872
一位女士的画像，1860
一个范女士的画像，1850
一位女士用玫瑰在她的头发的肖像，（伯爵夫人普希金娜）
艾蜜莉of洛伊赫滕贝尔格肖像
奥古斯塔的Saxe Weimar Eisenach画像
比利时的夏洛特画像，1864
比利时的夏洛特画像，1864
Alexei Bobrinsky伯爵的画像，1844
Olga Shuvalova伯爵夫人的肖像，1858
Varvara Musina Pushkina伯爵夫人的肖像
Portrait of Eliza Franciszka of Branicki Krasi ń 斯卡， 1857
Napoleon III皇帝的画像，1855
皇后玛丽亚亚历山德罗芙娜画像，1857
欧也妮的肖像，皇后of the French，1862年
弗朗西斯肖像卡罗琳布拉干萨，1844年
弗朗西斯卡罗莱纳肖像Gonzagaç布拉根，公主诺，c.1850
大公玛丽亚尼古拉耶夫娜·茜尔画像，1857
大公主叶莲娜安娜帕夫洛夫娜画像，1862
奥尔良的玛丽公主殿下拍摄的肖像，1832
西班牙的Infanta Luisa Fernanda画像，montpesier公爵夫人，c.1847
Katarzyna波托茨卡的肖像，1854
的NéKatarzyna波托茨卡E branicka肖像，Adam Potocki的妻子，c.1850
米德尔顿夫人的肖像，1863
Leonilla的肖像，对sayn公主维特根斯坦1843
利奥波德我比利时肖像，1846
路易肖像奥尔良，1845年
肖像城堡旅馆冯新奥尔良，1841年
丽迪雅schbelsky斯达尔荷斯坦男爵夫人的肖像，1857
Madame Ackerman的肖像，Louis Philippe王的首席财政部长的妻子，1838
夫人的肖像林姆斯基-高沙可夫瓦尔瓦拉·dmitrievna mergassov，1864年
Marie Louise的肖像，比利时人的第一位女王，c.1841
马克西米利安画像I of Mexico
艾伯特王子的肖像，1843
Prince Henri的肖像，欧马勒公爵，c.1843
公主非常长久tchernicheva画像，1857
公主非常长久tchernicheva画像，1858
巴登公主的画像，1856
Tatiana Alexanrovna Yusupova公主的画像，1858
科堡和哥达的萨克森维多利亚公主的肖像，1840
西班牙的Queen Isabella II和她的女儿伊莎贝拉的肖像，1852
Portrait of Queen Sophie of Netherlands ，出生 Sophie of W u rttemberg ， 1863
索菲亚非常拉齐维乌łł画像，1864
皇后的画像丁香，1853年
对Prince de Wagram和他的女儿玛尔希路易丝卡洛琳弗德拿破仑éAlexandre Berthier画像，1837
肖像女王玛丽酒店法国，1842年
Portrait 之 Queen Olga of W u rttemberg ， 1865
对英国Victoria的肖像，1843
对英国Victoria的肖像，c.1844-c.1845
皇家维多利亚公主的画像，1857年，
王子艾伯特，1842年
艾伯特王子
阿尔弗雷德王子和公主海伦娜，1849年
Princes Alice of England ， 1861
巴伐利亚公主Amelia，1860
比阿特丽丝公主，1859
dadiani凯瑟琳公主
比利时公主夏洛特，1842
伊丽莎白公主esperovna belosselsky，1859年
Kotschoubey公主，1860
Leonilla公主的sayn
马蒂尔德波拿巴公主
Pauline de Metternich公主，1860
公主yussupova达吉雅娜，1858年
维多利亚女王，1843
维多利亚女王，1859年
维多利亚女王，1842年
维多利亚女王和艾伯特王子与King Louis Philippe家族的酒庄，1845
维多利亚女王与亚瑟王子，1850
小说体裁的场景，1833年
玫瑰potocka 1856年
与他的弟弟，赫尔曼艺术家的自画像，1840
gagarina索非亚，c.1850
Sophia Bobrinskaya，1857
索菲亚的wurtemberg frederia
Sophia Petrovna Narishkina，1859
Sophie Guillemette，Baden大公夫人，1831
Sophie Trobetskoy，morny公爵夫人，1863
弹簧
科堡哥达的萨克森Amalie公主画像的研究
图中一个女孩的研究，1862
itlain女孩的研究，1834
the表亲：维多利亚女王和公爵夫人的胜利，评分，1852年
维多利亚女王和艾伯特王子的女儿，1849
十日谈，1837
欧也妮the皇后，1854年
皇后尤金妮娅抱着路易斯，拿破仑，皇太子，跪在地上，1857
皇后尤金妮娅包围她的宫女1855
五月一日，1851
Maharaja Dalip Singh，1854
维多利亚公主，公主在1867普鲁士太子妃，1867
1846皇室家族，1846
rimskaya korsakova瓦尔瓦拉·…
皇家维多利亚公主，1842年
wienczyslawa barczewska，1860 iurievich夫人，
威廉道格拉斯-汉密尔顿汉密尔顿公爵的缸，1863年
年轻的意大利女孩的好
potocka Countess摄影zamoyska Zofia，1870年，

笔记

Jump up ^ 保罗·盖蒂，J. “弗兰兹-温特豪德” 。 J保罗盖蒂博物馆 。J保罗盖蒂信托。恢复十一月20 二千零一十五。
^Jump up to:^一 ^B 奥蒙德&布莱克特-奥德， 弗兰兹-温特豪德和欧洲法院 ，18页。
Jump up ^ 奥蒙德&布莱克特-奥德， 弗兰兹-温特豪德和欧洲法院 ，19页。
Jump up ^ 奥蒙德&布莱克特-奥德， 弗兰兹-温特豪德和欧洲法院 ，20页。
Jump up ^ 奥蒙德&布莱克特-奥德， 弗兰兹-温特豪德和欧洲法院 ，21页。
^Jump up to:^一 ^B 奥蒙德&布莱克特-奥德， 弗兰兹-温特豪德和欧洲法院 ，25页。
Jump up ^ 奥蒙德&布莱克特-奥德， 弗兰兹-温特豪德和欧洲法院 185页。
Jump up ^ cholewianka - kruszyńska，aldona（2001）。 在白教堂branickie小姐的画像winterhaltera f x。 。九. Gazeta Antykwaryczna. pp. 14–21.
^Jump up to:^一 ^B 奥蒙德&布莱克特-奥德， 弗兰兹-温特豪德和欧洲法院 ，p. 217。
Jump up ^ “弗兰兹-温特豪德” 。 wikiart（wikipaintings） 。WikiArt视觉艺术百科全书。恢复十一月20 二千零一十五。

English is introduced

Franz Xaver Winterhalter

From Wikipedia, the free encyclopedia

(Redirected from Franz Xavier Winterhalter )

Franz Xaver Winterhalter (20 April 1805 – 8 July 1873) was a German painter and lithographer , known for his portraits of royalty in the mid-nineteenth century. His name has become associated with fashionable court portraiture . Among his best known works are Empress Eugénie Surrounded by her Ladies in Waiting (1855) and the portraits he made of Empress Elisabeth of Austria (1865).

1 Early years
2 Court painter
3 Last years
4 Style
5 All Artworks
6 Notes
7 References
8 External links

Early years

Franz Xaver Winterhalter was born in the small village of Menzenschwand , Germany's Black Forest (now part of Sankt Blasien ), in the Electorate of Baden , on 20 April 1805. He was the sixth child of Fidel Winterhalter (1773–1863), a farmer and resin producer in the village, and his wife Eva Meyer (1765–1838), a member of a long established Menzenschwand family. His father was of peasant stock and was a powerful influence in his life. Of the eight brothers and sisters, only four survived infancy. Throughout his life, Franz Xaver remained very close to his family in particular to his brother Hermann (1808–1891), who was also a painter.

After attending school at a Benedictine monastery in St.Blasien, Winterhalter left Menzenschwand in 1818 at the age of thirteen to study drawing and engraving. He trained as a draughtsman and lithographer in the workshop of Karl Ludwig Schüler (1785–1852) in Freiburg . In 1823, at the age of eighteen, he went to Munich, sponsored by the industrialist Baron von Eichtal (1775–1850). In 1825, he was granted a stipend by Ludwig I, Grand Duke of Baden (1763–1830) and began a course of study at the Academy of Arts in Munich with Peter von Cornelius (1783–1867), whose academic methods made him uncomfortable. Winterhalter found a more congenial mentor in the fashionable portraitist Joseph Stieler (1781–1858). During this time, he supported himself working as lithographer

Winterhalter entered court circles when in 1828 he became drawing master to Sophie Margravine of Baden , at Karlsruhe . His opportunity to establish himself beyond southern Germany came in 1832 when he was able to travel to Italy, 1833–1834, with the support of Grand Duke Leopold of Baden . In Rome he composed romantic genre scenes in the manner of Louis Léopold Robert and attached himself to the circle of the director of the French Academy, Horace Vernet . On his return to Karlsruhe, he painted the portraits of the Grand Duke Leopold of Baden and his wife, and was appointed painter to the grand-ducal court.

Nevertheless, he left Baden to move to France where his Italian genre scene Il dolce Farniente attracted notice at the Salon of 1836. Il Decameron a year later was also praised; both paintings are academic compositions in the style of Raphael . In the Salon of 1838 he exhibited a portrait of the Prince of Wagram with his young daughter. His career as a portrait painter was soon secured when in the same year he painted Louise Marie of Orleans , Queen of the Belgians, and her son, Duc de Brabant. It was probably through this painting that Winterhalter came to the notice of Maria Amalia of the Two Sicilies , Queen of the French, mother of the Queen of the Belgians.

Court painter

In Paris, Winterhalter quickly became fashionable. He was appointed court painter of Louis-Philippe , the king of the French, who commissioned him to paint individual portraits of his large family. Winterhalter would execute more than thirty commissions for him.

This success earned the painter the reputation of a specialist in dynastic and aristocratic portraiture, skilled in combining likeness with flattery and enlivening official pomp with modern fashion.

However, Winterhalter's reputation in artistic circles suffered. The critics, who had praised his debut in the salon of 1836, dismissed him as a painter that could not be taken seriously. This attitude persisted throughout Winterhalter's career, condemning his work to a category of his own in the hierarchy of painting. Winterhalter himself regarded his first royal commissions as a temporary intermission before returning to subject painting and the field of academic respectability, but he was a victim of his own success and for the rest of his life he would work almost exclusively as a portrait painter. This was a field in which he was not only very successful but also made him rich. Winterhalter became an international celebrity enjoying Royal patronage.

Among his many regal sitters was also Queen Victoria . Winterhalter first visited England in 1842, and returned several times to paint Victoria, Prince Albert and their growing family, painting at least 120 works for them, a large number of which remain in the Royal Collection , on display to the public at Buckingham Palace and other royal residences. Winterhalter also painted a few portraits of the aristocracy in England, mostly members of court circles. The fall of Louis-Philippe in 1848 did not affect the painter's reputation. Winterhalter went to Switzerland and worked in Belgium and England.

Persistence saw Winterhalter survive from the fall of one dynasty to the rise of another. Paris remained his home until a couple of years before his death. A halt in portrait commissions in France allowed him to return to subject painting with Florinda (1852) ( Metropolitan Museum of Art , New York), a joyous celebration of female beauty inspired by a Spanish legend. In the same year his marriage proposal was rejected, and Winterhalter remained a bachelor committed to his work.

After the accession of Napoleon III , his popularity grew. From then on, under the Second Empire , Winterhalter became the chief portraitist of the imperial family and court of France. The beautiful French Empress Eugénie became a favorite sitter and she treated him generously. In 1855 Winterhalter painted his masterpiece: The Empress Eugénie Surrounded by her Ladies in Waiting . He set the French Empress in a pastoral setting gathering flowers in a harmonious circle with her ladies in waiting. The painting was acclaimed, and exhibited in the universal exposition in 1855. It remains Winterhalter's most famous work.

In 1852, he went to Spain to paint Queen Isabella II with her daughter, Infanta Maria-Isabel. Russian aristocratic visitors to Paris also liked to have their portraits executed by the famous master. As the "Painter of Princes", Winterhalter was thereafter in constant demand by the courts of Britain (from 1841), Spain, Belgium , Russia, Mexico , the German courts, and France. During the 1850s and 1860s, Winterhalter painted a number of important portraits of Polish and Russian aristocrats. In 1857, he painted the portrait of Tsarina Maria Alexandrovna .

During the Second Mexican Empire in the 1860s, headed by Maximilian I of Mexico , Winterhalter was commissioned to paint portraits of the Imperial couple. The Empress consort of Mexico, Charlotte of Belgium was the daughter of Louise-Marie of France , Queen of the Belgians, who Winterhalter painted at the beginning of his career in France. Some of Winterhalter's paintings of the Mexican monarchs still remain in their Mexico City palace, Chapultepec Castle , now the National Museum of History.

Last years

To deal with those pressuring for portrait commissions, many of whom were calling for multiple replicas, Winterhalter made extensive use of assistants. No portrait painter had ever enjoyed such an extraordinary royal patronage as Winterhalter; only Rubens and Van Dyck worked as he did in an international network.

Winterhalter sought respite from the pressures of his work with holidays abroad in Italy, Switzerland and above all in Germany. Despite the many years he lived in France, he remained deeply attached to his native country. For all his success and popularity, Winterhalter continued to live simply and abstemiously. In 1859 he bought a villa in Baden-Baden , his favorite vacation spot.

In 1864 Winterhalter made his last visit to England. In the autumn of that year he traveled to Vienna to execute the portraits of Emperor Franz Joseph and Empress Elisabeth that remain among his most well-known works. As he grew older, Winterhalter's links with France weakened while his interest in Germany grew. He was taking a cure in Switzerland at the outbreak of the Franco-Prussian War , the war that ended the Second French Empire in September 1870. After the war, the painter did not return to France going instead to Baden . He was officially still accredited at the court of Baden and he settled in Karlsruhe . In the last two years of his life Winterhalter painted very little. During a visit to Frankfurt am Main in the summer of 1873 he contracted typhus and died on 8 July 1873. He was sixty-eight years old.

Style

Winterhalter came into his own as a portrait painter during the second Empire and he painted his best work during the last two decades of his life. He matched his style to the luxury and relaxed atmosphere of the age, its hedonism and gaiety. His female sitters of the 1850s and 1860s inhabit a different physiological climate from those he painted earlier; they are not reticent and reserved. His male sitters inspired few original or memorable compositions.

Winterhalter never received high praise for his work from serious critics, being constantly accused of superficiality and affectation in pursuit of popularity. However, he was highly appreciated by his aristocratic patrons. The royal families of England, France, Spain, Russia, Portugal, Mexico and Belgium all commissioned him to paint portraits. His monumental canvases established a substantial popular reputation, and lithographic copies of the portraits helped to spread his fame.

Winterhalter's portraits were prized for their subtle intimacy; the nature of his appeal is not difficult to explain. He created the image his sitters wished or needed to project to their subjects. He was not only skilled at posing his sitters to create almost theatrical compositions, but also was a virtuoso in the art of conveying the texture of fabrics, furs and jewellery, to which he paid no less attention than to the face. He painted very rapidly and very fluently, designing most of his compositions directly in the canvas. His portraits are elegant, refined, lifelike, and pleasantly idealized.

Concerning Winterhalter's method of working, it is thought that, practiced as he was at drawing and representing figures, he painted directly onto the canvas without making preliminary studies. He frequently decided upon the dress and pose of the sitter. His style was suave, cosmopolitan and plausible. Many of the portraits were copied in his workshop or reproduced as lithographs.

As an artist he remained a difficult figure to place, there are few painters with whom to compare him and he does not fit into any school. His early affinities were Neoclassical but his style can be described as Neo- Rococo . After his death, his painting fell out of favor being considered romantic, glossy, and superficial. Little was known about him personally and his art was not taken seriously until recently. However, a major exhibition of his work at the National Portrait Gallery (United Kingdom) in London and the Petit Palais in Paris in 1987 brought him into the limelight again. His paintings are exhibited today in leading European and American museums.

All Artworks

A Swiss Girl from Interlaken
A Young Girl called Princess Charlotte, 1864
Adelina Patti, 1863
Albert Edward, Prince of Wales, 1846
Albert Edward, Prince of Wales
Albert, Prince Consort, 1859
Alexandra Feodorovna, 1856
Alexandra Iosifovna, Grand Duchess of Russia, Princess Alexandra of Altenburg
Alexandra, Princess of Wales, 1864
Alfred Emilien, Comte de Nieuwerkerke, 1852
Anna Dollfus, Baronness de Bourgoing, 1855
Antoine-Marie-Philippe-Louis d'Orleans Duc de Montpensier, 1844
Arthur Wellesley, 1st Duke of Wellington with Sir Robert Peel, 1844
Barbara Dmitrievna Mergassov-Rimsky-Korsakova , 1864
Caroline Elisabeth de Lagrange, 1841
Charles Jerome, Comte Pozzo di Borgo, 1849
Charlotte Stuart, Viscountess Canning, 1849
Charlotte, Princess of Belgium
Carlota, Empress of Mexico (Princess Charlotte of Belgium)
Chopin
Count Jenison Walworth, 1837
Countess Alexander Nikolaevitch Lamsdorff, 1859
Edouard Andre, 1857
Elisabeth Kaiserin von Österreich, 1865
Elizabeth, Empress of Austria, 1865
Elzbieta Branicka, Countess Krasinka and her Children, 1853
Emperor Don Maximiliano I of Mexico, c.1865
Emperor Frederick III of Germany, King of Prussia with his wife, Empress Victoria, and their children, Prince William and Princess Charlotte, 1862
Emperor Napoleon III
Empress Elisabeth of Austria in dancing dress, 1865
Empress Eugenie
Empress Eugenie , 1853
Empress Eugenie, Surrounded by her Ladies-in-Waiting, 1855
Eugénie de Montijo, Empress of France, 1857
Eugénie, Empress Consort of the French, 1864
Eugenie, Empress of the French
Florinda, 1853
Francois Ferdinand Philippe d'Orleans Prince de Joinville, 1843
Francois-Horace , 1841
Franz Joseph I, Emperor of Austria wearing the dress uniform of an Austrian Field Marshal with the Great Star of the Military Order of Maria Theresa, 1865
Frubling
Girl from Sabin Mountains, 1840
Grand Duchess of Russia, Olga Feodorovna
Grand Duchess Olga
Harriet Howard, Duchess of Sutherland, 1849
Helene-Louise de Mecklembourg-Schwerin, Duchess of Orleans with his son Count of Paris , 1839
Henri Eugene Philippe Duc d'Aumale, Commander of the 17th Batallion of the Light Infantry
His Royal Highness Prince Albert
Il dolce Farniente, 1836
Isabel II of United Kingdom
Italian woman with child
Jadwiga Potocka, Countess Branicka
Kaiserin Auguste
Karl Josef Berkmuller , 1830
La Siesta, 1841
Lady Clementina Augusta Wellington Child Villiers, 1857
Leonilla Wittgenstein, 1849
Leopold I
Leopold I , 1840
Leopold, Duke of Brabant
Linden d'Hooghvorst, 1855
Louis Philippe, 1841
Louis Philippe I, King of the French, 1840
Louis-Charles-Philippe of Orleans Duke of Nemours, 1843
Louis-Philippe I, King of France
Ludwig, Graf Von Langenstein, 1834
Maria Carolina de Borbó Dues Sicílies
Maria Cristina di Borbone, Princess of the Two Sicilies, c.1818
Maria Louise of Wagram Princess of Murat, 1854
Maria Luisa von Spanien, 1847
Marie Christine d'Orléans
Marie Henriette of Austria
Markgräfin Sophie von Baden , 1830
Maximiliaan van Oostenrijk
Maximilian
Melanie de Bussiere, Comtesse Edmond de Pourtales, 1857
Painting of baby Princess Alice of the United Kingdom
Painting of the Count of Eu as a child
Pauline Sandor, Princess Metternich, 1860
Pincess Clothilde von Saxen Coburg, 1855
Portrait équestre de François Adolphe Akermann, 1870
Portrait of a lady, 1872
Portrait of a Lady, 1860
Portrait of a lady with a fan, 1850
Portrait of a lady with roses in her hair, (Countess Pushkina)
Portrait of Amélie of Leuchtenberg
Portrait of Augusta of Saxe Weimar Eisenach
Portrait of Charlotte of Belgium, 1864
Portrait of Charlotte of Belgium, 1864
Portrait of Count Alexei Bobrinsky, 1844
Portrait of Countess Olga Shuvalova, 1858
Portrait of Countess Varvara Musina-Pushkina
Portrait of Eliza Franciszka of Branicki Krasińska, 1857
Portrait of Emperor Napoleon III , 1855
Portrait of Empress Maria Alexandrovna , 1857
Portrait of Eugénie, Empress of the French, 1862
Portrait of Francisca Caroline de Braganca , 1844
Portrait of Francisca Caroline Gonzaga de Bragança, princesse de Joinville, c.1850
Portrait of Grand Duchess Maria Nikolayevna, 1857
Portrait of Grand Princess Yelena Pavlovna, 1862
Portrait of HRH Princess Marie Clementine of Orleans, 1832
Portrait of Infanta Luisa Fernanda of Spain, Duchess of Montpesier, c.1847
Portrait of Katarzyna Potocka, 1854
Portrait of Katarzyna Potocka née Branicka, wife of Adam Potocki, c.1850
Portrait of Lady Middleton , 1863
Portrait of Leonilla, Princess of Sayn Wittgenstein, 1843
Portrait of Leopold I of Belgium, 1846
Portrait of Louis d'Orleans, 1845
Portrait of Louises von Orléans, 1841
Portrait of Lydia Schbelsky Baroness Stael Holstein, 1857
Portrait of Madame Ackerman, the wife of the Chief Finance Minister of King Louis Philippe, 1838
Portrait of Madame Rimsky-Korsakov, Varvara Dmitrievna Mergassov, 1864
Portrait of Marie Louise, the first Queen of the Belgians, c.1841
Portrait of Maximilian I of Mexico
Portrait of Prince Albert, 1843
Portrait of Prince Henri, Duke of Aumale, c.1843
Portrait of Princess Elizaveta Alexandrovna Tchernicheva, 1857
Portrait of Princess Elizaveta Alexandrovna Tchernicheva, 1858
Portrait of Princess of Baden, 1856
Portrait of Princess Tatiana Alexanrovna Yusupova, 1858
Portrait of Princess Victoria of Saxe Coburg and Gotha, 1840
Portrait of Queen Isabella II of Spain and her daughter Isabella, 1852
Portrait of Queen Sophie of Netherlands, born Sophie of Württemberg, 1863
Portrait of Sophia Alexandrovna Radziwiłł, 1864
Portrait of the Empress Eugénie, 1853
Portrait of the Prince de Wagram and his daughter Malcy Louise Caroline Frederique Napoléon Alexandre Berthier, 1837
Portrait of the Queen Marie Amelie of France, 1842
Portrait of the Queen Olga of Württemberg, 1865
Portrait of Victoria of the United Kingdom, 1843
Portrait of Victoria of the United Kingdom, c.1844-c.1845
Portrait of Victoria, Princess Royal, 1857
Prince Albert, 1842
Prince Albert
Prince Alfred and Princess Helena, 1849
Princes Alice of England, 1861
Princess Amelia of Bavaria, 1860
Princess Beatrice, 1859
Princess Catherine Dadiani
Princess Charlotte of Belgium, 1842
Princess Elizabeth Esperovna Belosselsky , 1859
Princess Kotschoubey, 1860
Princess Leonilla of Sayn
Princess Mathilde Bonaparte
Princess Pauline de Metternich, 1860
Princess Tatiana Yussupova, 1858
Queen Victoria, 1843
Queen Victoria, 1859
Queen Victoria , 1842
Queen Victoria and Prince Albert with the Family of King Louis Philippe at the Chateau, 1845
Queen Victoria with Prince Arthur, 1850
Roman Genre Scene, 1833
Rosa Potocka, 1856
Self-Portrait of the Artist with his Brother, Hermann, 1840
Sofia Gagarina, c.1850
Sophia Bobrinskaya, 1857
Sophia Frederia of Wurtemberg
Sophia Petrovna Narishkina, 1859
Sophie Guillemette, Grand Duchess of Baden, 1831
Sophie Trobetskoy, Duchess of Morny, 1863
Spring
Study for a portrait of Princess Amalie of Saxe-Coburg-Gotha
Study of a Girl in Profile, 1862
Study of Itlain girl, 1834
The Cousins: Queen Victoria and Victoire, Duchesse de Nemours, 1852
The daughters of Queen Victoria and Prince Albert, 1849
The Decameron, 1837
The Empress Eugénie, 1854
The Empress Eugenie Holding Louis Napoleon, the Prince Imperial, on her Knees, 1857
The Empress Eugenie Surrounded by her Ladies in Waiting, 1855
The First of May , 1851
The Maharaja Dalip Singh, 1854
The Princess Victoria, Princess Royal as Crown Princess of Prussia in 1867, 1867
The Royal Family in 1846, 1846
Varvara Rimskaya-Korsakova
Victoria, Princess Royal, 1842
Wienczyslawa Barczewska, Madame de Jurjewicz, 1860
William Douglas Hamilton, 12th Duke of Hamilton, 1863
Young Italian Girl by the Well
Zofia Potocka, Countess Zamoyska, 1870

Notes

Jump up ^ Paul Getty, J. . The J. Paul Getty Museum . J Paul Getty Trust . Retrieved 20 November 2015 .
^ Jump up to:^a ^b Ormond & Blackett-Ord, Franz Xaver Winterhalter and the Courts of Europe , p. 18.
Jump up ^ Ormond & Blackett-Ord, Franz Xaver Winterhalter and the Courts of Europe , p. 19.
Jump up ^ Ormond & Blackett-Ord, Franz Xaver Winterhalter and the Courts of Europe , p. 20.
Jump up ^ Ormond & Blackett-Ord, Franz Xaver Winterhalter and the Courts of Europe , p. 21.
^ Jump up to:^a ^b Ormond & Blackett-Ord, Franz Xaver Winterhalter and the Courts of Europe , p. 25.
Jump up ^ Ormond & Blackett-Ord, Franz Xaver Winterhalter and the Courts of Europe , p. 185.
Jump up ^ Cholewianka-Kruszyńska, Aldona (2001). Panny Branickie z Białej Cerkwi na portretach F. X. Winterhaltera . 9. Gazeta Antykwaryczna. pp. 14–21.
^ Jump up to:^a ^b Ormond & Blackett-Ord, Franz Xaver Winterhalter and the Courts of Europe , p. 217.
Jump up ^ . WikiArt (WikiPaintings) . WikiArt Visual Art Encyclopedia . Retrieved 20 November 2015 .