Andreas Achenbach

Andreas Achenbach (Sep 29, 1815 – Apr 1, 1910) was a German landscape painter of the Romantic period It is added to the Düsseldorf painting school

The theme of his landscaping paintings were, above all, seascape His brother Oswald Achenbach, on the other hand, concentrated on the representation of the landscape of Italy The two brothers were therefore jokingly referred to as the “A and O of the landscape painting”

Andreas was born in Kassel as the son of Hermann and Christine Achenbach, born Zilch Little could be drawn from the fact that from this family two painters important for the 19th century would emerge Hermann Achenbach worked in a number of different professions He worked as a beer and vinegar brewer, and in the meantime owned an inn in Dusseldorf and later worked as an accountant

On 18 August 1848 Andreas Achenbach married Maria Louisa Josephina Hubertina Catharina (1827-1889), called Luise, a born light stroke They had five children: Emma Christina (* 1849), Maximilian Franz (1851-1898), Lucia Karoline Hubertina (* 1852), Helena Franziska (* 1854) and Gregor (1855-1897) The son Maximilian Achenbach was first architect, then opera singer and known under the name Max Alvary

Andreas Achenbach received drawing lessons as a child and began his art education in 1827, at the age of twelve, at the Kunstakademie Düsseldorf with Wilhelm von Schadow, Heinrich Christoph Kolbe and Carl Friedrich Schäffer The first fourteen-year-old Achenbach achieved his first major success at an exhibition of the “Kunstverein für die Rheinlande und Westfalen”, founded by Schadow in 1829, when he was not only one of the exhibiting painters but also sold one of his paintings The first sales success was quickly followed by more In The Old Academy in Dusseldorf Achenbach chose the view from a window of his parents’ home in the Burgplatz 152 The choice of this sober subject emphasized the artist’s independence, for the description of “reality” was regarded as inartistic in the academy Only a solid artist’s personality could dare to make a “picture-immaculate” subject the subject of a painting

In 1832 and 1833 he and his father undertook an extensive study trip to Rotterdam, Scheveningen, Amsterdam and Riga The journey offered him the opportunity to discuss more intensively the Dutch and Flemish landscapes The paintings by Jacob Isaacksz were particularly significant for him Van Ruisdael and Allart van Everdingen From the time of this voyage, Setecke dominated his work, where he was artistically concerned with the experience of the sea and the coast

His later teachers included Johann Wilhelm Schirmer Achenbach’s early work was marked by the pseudo-idealism of the German romantics, but after his new move to Munich in 1835, Louis Gurlitt gave the young talent a decisive turn, and Achenbach became the founder of German realism The occasion for the departure from the Kunstakademie Düsseldorf was the growing debate within this academy about artistic training In 1885 Andreas Achenbach became an honorary citizen of Düsseldorf He was also admitted to the Prussian Order Pour le Merite for Science and Arts on January 24, 1881

He belonged to the preferred selection of contemporary artists, who proposed the “comité for the procurement and evaluation of stollwerck pictures” to the Cologne chocolate producer Ludwig Stollwerck for commissioning designs

Similar to his brother Oswald, Andreas Achenbach has also undertaken numerous study trips during his life, which he mainly used for natural studies In 1835 he undertook a greater journey to Denmark, Norway and Sweden He returned to Norway in 1839 In 1836, however, the Bavarian Alps and Tyrol were also among his destinations From 1843 to 1845 he stayed in Italy, especially in the Campagna and on Capri In later years he was a regular guest in the seaside resort of Ostende In 1846 he returned to Dusseldorf, lived on Flinger Steinweg , and from 1847 was a member of numerous clubs that belonged to the artistic life of the city, including the artist’s association Malkasten Thus it is said in a newspaper in Düsseldorf in 1856:

“Both brothers Achenbach are, above all, the animating principle of society; They are lifelike, funny and enjoy an enviable independence ”

Andreas Achenbach surrounded himself with the leaders of the urban society from politics, economy and culture and resided princely The apartment and the studio differed little from the middle-class salons or the city palace of the nobles Achenbach also belonged to the co-founders of the artist “Malkasten” in 1848, and together with other well-to-do patrons, made a significant contribution to the purchase of the former Landgut of the Jacobi family in Pempelfort After Andreas Achenbach’s death on 1 April 1910, he had been laid out in the “Malkasten”, where the Duesseldorfers were able to take leave of him for several days They did it in overwhelming measure When the funeral procession from the “Malkasten” to the Nordfriedhof set in motion, Düsseldorf experienced a funeral like that of a Baroque prince The tomb for Andreas Achenbach was created by the artist’s colleague, Karl Janssen

The influence of Achenbach as a teacher:
Although his landscapes make an effort to make a picture, he is a master of technology and a historically significant reformer Due to his intensive activity in painting, he has trained only a few pupils during his life These include his twelve-year-old brother Oswald Achenbach, Albert Flamm, Marcus Larson, William Stanley Haseltine and William Trost Richards It is disputed how intense the art education of his younger brother was It is just that in the 1840s he gave recommendations on pictorial composition and painting techniques in letters and thus indirectly familiarized him with the art of Schirmer

Selected works:
“The old academy in Düsseldorf”, 1831, Düsseldorf, Kunstmuseum Düsseldorf
“Father Hermann Achenbach”, 1834, presented for the first time 2006, private ownership
“Mother Christine Achenbach born Zilch”, 1834, presented for the first time in 2006, private ownership
“Hardanger Fjord” 1835 Düsseldorfer Gallery
“Trollhätte-Fälle” 1836, Greifswald, the Pommersches Landesmuseum
“Seesturm”, 1836, Munich, New Pinakothek
“A Sea Storm on the Norwegian Coast”, 1837, Städelsches Kunstinstitut, Frankfurt am Main
“Ebbe”, 1837, Lower Saxony State Museum Hannover
“Norwegian Landscape”, 1838, Karlsruhe, State Kunsthalle
“Fall of the steamship ‘The President'” 1838, private possession, as a loan at the museum kunstpalast Düsseldorf
“Landscape with the Church of Schwarzrheindorf”, 1839, Dortmund, Museum of Art and Cultural History
“Am Meerstrand”, 1852, Freiburg im Breisgau, Augustine Museum
“Westphalian Landscape” 1863, Greifswald, Pommersches Landesmuseum
“Dutch Landscape”, 1865, Stuttgart, Staatsgalerie Stuttgart
“Dutch Harbor” 1866 New National Gallery Berlin
“Mountain landscape”, 1866, Cologne, Wallraf-Richartz-Museum
“In the port of Ostend”, 1866, Berlin, National Gallery
“Westfälische Wassermühle”, 1869, Leipzig, Museum of Fine Arts
“Lighthouse at Ostend” 1887
“Pilot change” 1896, Bremerhaven, German shipping museum
“Fischkutter” 1896 North Sea Museum Husum
“Amsterdamer Gracht”? Dresden?

Digitized editions of the Universitäts- und Landesbibliothek Düsseldorf
In: Aquarelle Düsseldorf artist: dedicated to the art-loving ladies Arnz, Düsseldorf 1861 Digitized edition
In: Düsseldorfer Lieder-Album: 6 Songs with Pianoforte accompaniment Arnz, Düsseldorf 1851 Digitized edition
In: Esaias Tegnér: Frithiofsage Translated by Julius Minding Cornelius, Berlin (ua) 1842 Digitized edition
In: Bernhard Endrulat: An Emperor’s Feast in the “Malkasten” at Düsseldorf: and 11 original drawings executed in woodcut Voß, Düsseldorf 1878 Digitized edition
In: Robert Reinick: Songs of a painter with marginal drawings of his friends Between 1836 and 1852
Songs of a painter with marginal drawings of his friends Schulgen-Bettendorff, Dusseldorf 1836, Probedruck Digitized output
Songs of a painter with marginal drawings of his friends Schulgen-Bettendorff, Düsseldorf 1838, colored portfolio edition Digitized output
Songs of a painter with marginal drawings of his friends Schulgen-Bettendorff, Düsseldorf 1838 Digitized edition
Songs of a painter with marginal drawings of his friends Buddeus, Düsseldorf between 1839 and 1846 Digitized edition
Songs of a painter with marginal drawings of his friends Vogel, Leipzig, circa 1852 Digitized edition
In: Ludwigsbund (eds) Lieder der Heimath: A collection of the most important poems in the imagery of German art Breidenbach, Düsseldorf 1868 Digitized edition
In: K Stieler, H Wachenhusen, F W Hackländer: Rheinfahrt: From the sources of the Rhine to the sea Kröner, Stuttgart 1875 Digitized edition
In: Collection of Original Radirungen Düsseldorfer Künstler Schulgen, Düsseldorf, 1850 Digitized edition
Hermann Achenbach: Diary of my trip to the North American Freistats or: The new Kanaan Beyer, Düsseldorf 1835, 2 volumes Digitized edition
In: Christmas Album Arnz, Düsseldorf 1853 Digitized edition
Twelve original radiations Schwan & Stifensand, Düsseldorf 1885 Digitized edition
The Ewl Mirror and the Three Blind Digitized Output
The fools of the Count of the Lipp, or the vanquished drummer Digitized output
Reneaudin, Bollinger et Comp 1857 Digitized edition
On the occasion of the 80th birthday of our honorary member of Professor Doctor Andreas Achenbach on 29 September 1895 in the Malkasten zu Düsseldorf: 1815-1895 Bagel, Düsseldorf 1895 (Digitized Edition)
A hostel in the mill: comic opera in 2 acts after a poem from the 16th century; Theater performance in the Malkasten January 1856 Düsseldorf, 1856 (digitalisat)
The Ewlenspiegel and the three blinds: very beautiful beautiful Tragedi, Commedi and Schimppff Spil, spiritual and secular, vil beautiful old warhafftiger histori, also short-lived history auff the most clearly in the day ; Theatrical performance in the Malkasten, March 7, 1857 in Düsseldorf