拍品專文
The work of Moritz von Schwind epitomises the overriding sentiments of the Romantic era in Germany and Austria. Born in Vienna, he studied at the Academy under Ludwig Schnorr von Carosfeld and Peter von Cornelius. Thereafter Von Schwind worked and travelled extensively throughout Germany before settling in Munich. In 1846 he was made a member at the Dresden Academy, followed by further memberships at the Vienna and Berlin Academies, both in 1866.
Von Schwind was amongst the most celebrated of his contemporaries to evoke a notion of "Sehnsucht" in his work, so prevalent in the artistic outlook of the day. He drew his inspiration from historical and legendary subject matter; the distant past of the old countries, with all its nostalgia and chivalry. Von Schwind employed a narrative style, using the large illustrations for his fairytale cycles for this very purpose. In the 1850's and 1860's he composed and drafted three cycles, Aschenbrödel (1852-54), Das Märchen von den sieben Raben (1857) and Die Schöne Melusine (completed in 1869). Our work is a preparatory drawing for the second cycle, of which further illustrations are recorded in G. Keyssner Schwind Eine Auswahl aus dem Lebenswerk des Meisters, Stuttgart, 1921, pp.52-54.
Von Schwind was amongst the most celebrated of his contemporaries to evoke a notion of "Sehnsucht" in his work, so prevalent in the artistic outlook of the day. He drew his inspiration from historical and legendary subject matter; the distant past of the old countries, with all its nostalgia and chivalry. Von Schwind employed a narrative style, using the large illustrations for his fairytale cycles for this very purpose. In the 1850's and 1860's he composed and drafted three cycles, Aschenbrödel (1852-54), Das Märchen von den sieben Raben (1857) and Die Schöne Melusine (completed in 1869). Our work is a preparatory drawing for the second cycle, of which further illustrations are recorded in G. Keyssner Schwind Eine Auswahl aus dem Lebenswerk des Meisters, Stuttgart, 1921, pp.52-54.