Friedrich Gauermann - 1820–1870

((Miesenbach, 1807 – Vienna, 1862))

Born 1807 in Miesenbach, died 1862 in Vienna. His father Jakob, who was also a painter, encouraged him and he began painting from nature at a very early age. From 1824 to 1827 he was a pupil of Josef Mössmer at the Viennese Academy, in the landscape department. His older brother Carl was also a student at the Academy. His models among the old painters were Paul Potter and Jacob van Ruisdael. Alone and with colleagues from the Academy he went painting in the environs of the Schneeberg, a mountain in Lower Austria, and in the Salzkammergut. In 1827 he copied Ruisdael in Dresden, in 1829 he was in Munich, with his brother-in-law Josef Höger, Franz Steinfeld and Johann Fischbach he was active in Salzburg. In 1836 he became a member of the Viennese Academy, in 1838 and 1843 he visited Venice, Milan and the Tyrol. He had friends among his fellow painters and Viennese literary figures, such as Johann Nestroy and Ferdinand Raimund. Gauermann depicted life on the farms and in mountain areas, fights between animals and hunting scenes which extended his fame also beyond the borders of Austria.

Lit.: Ruprecht Feuchtmüller, Friedrich Gauermann: 1807-1862, Rosenheim 1987; Gerbert Frodl, Wiener Malerei der Biedermeierzeit, Rosenheim 1987, pp. 249-250, passim.

Bidermajer in romantika

Močno cenzurirano družbeno življenje v obdobju med dunajskim kongresom in pomladjo narodov, oslabljeno cerkveno naročništvo in vzpenjajoči se srednji razred so zaznamovali čas umika v zasebnost, k individualni samozavesti in občutenju pripadnosti; v srednjeevropski umetnosti se spremembe v družbi in v duhovnih sferah izražajo v slogu, poimenovanem bidermajer, ki sobiva z romantičnim pogledom na naravo. V tem času je največji razcvet doživelo portretno slikarstvo. Matevž Langus, Jožef Tominc, Mihael Stroj in Anton Karinger so se uveljavili kot profilirani portretisti, ki so svojo stanovsko samozavest izkazovali tudi z avtoportreti. Slikarji so se sprva opirali na formalne značilnosti neoklasicizma. Pozni Strojevi, predvsem pa Karingerjevi portreti opuščajo bidermajersko razpoloženje in prevzemajo bolj realistične poteze. Zanimanje za krajino se je kazalo najprej na ozadju portretov, proti sredini stoletja pa dobijo pomembno vlogo samostojne mestne vedute. Bidermajerska krajina je idilična, opisna, dopolnjena s štafažnimi figurami. Slikarje so pritegnile turistične in z domovinsko identiteto povezane lokacije: Triglav, Bohinjsko jezero, Bled. Kot izrazita krajinarja sta se uveljavila Anton Karinger in Marko Pernhart, ki je zaslovel z večdelnimi panoramskimi razgledi z gorskih vrhov. Mikaven okras meščanskega salona so bila tihožitja, ki so privlačila tudi ljubiteljske slikarke, med njimi Marijo Auersperg Attems.
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