Lot Essay
A favourite theme to which Spitzweg returned time and again in endless variations, the hermit had come to signify humility and asceticism during the secularization of the Catholic Church towards the end of the 18th and beginning of the 19th Centuries. In particular, Spitzweg was intrigued by the Order of the Mendicant friars who maintained that a life of obedience, chastity and poverty would bring them closer to the Gates of Heaven. As poverty was, indeed, considered one of its most vital observances, many of the Orders had to resort to the giving of alms in order to maintain their institutions. Those monks sent to the cities to collect 'donations' would be housed in shelters and this is where Spitzweg observed these simple, yet often contradictory, men. For although the ethical and intellectual sentiments for the Orders have varied greatly over the ages, in the 19th Century they were, on the whole, considered pitiable institutions. The giving of alms was still seen as a religious obligation and, ironically, many of these Orders were able to thrive in the 19th Century.
Most often Spitzweg would depict his monks in isolation, far removed from any human companionship and in an idyllic world surrounded by lush nature. Spitzweg, however, did view the Orders, and the monks specifically, with a critical eye. On the one hand he saw their withdrawal from society as honourable. Yet on the other hand, with industrial advancement and the ever-increasing importance of private wealth, the goodwill with which these Christian institutions were able to flourish was seen as a dubious matter.
In our work Spitzweg employs a favourite theme in the 19th Century, that of coupling doves, symbolizing the worldly happiness and unity of people in love. Here, juxtaposed to the seated hermit, the image becomes a symbol for his departure from life in general. Strangely devoid of longing or melancholy, the hermit is wholly unaware of the love-making which is taking place in the foreground, reading whilst deeply absorbed in his own reverie.
According to Professor Wichmann, Spitzweg painted two versions of this particular image. One version is in the National Gallery in Prague (G. Roennefahrt, Carl Spitzweg, Munich, 1960, p. 272, no. 1228 (illus. p. 111)). An old label on the reverse, with an inventory number, indicates that our work was, at one time, also in the National Gallery of Prague.
This lot is sold with a certificate of authenticity and accompanying text by Professor Siegfried Wichmann.
Most often Spitzweg would depict his monks in isolation, far removed from any human companionship and in an idyllic world surrounded by lush nature. Spitzweg, however, did view the Orders, and the monks specifically, with a critical eye. On the one hand he saw their withdrawal from society as honourable. Yet on the other hand, with industrial advancement and the ever-increasing importance of private wealth, the goodwill with which these Christian institutions were able to flourish was seen as a dubious matter.
In our work Spitzweg employs a favourite theme in the 19th Century, that of coupling doves, symbolizing the worldly happiness and unity of people in love. Here, juxtaposed to the seated hermit, the image becomes a symbol for his departure from life in general. Strangely devoid of longing or melancholy, the hermit is wholly unaware of the love-making which is taking place in the foreground, reading whilst deeply absorbed in his own reverie.
According to Professor Wichmann, Spitzweg painted two versions of this particular image. One version is in the National Gallery in Prague (G. Roennefahrt, Carl Spitzweg, Munich, 1960, p. 272, no. 1228 (illus. p. 111)). An old label on the reverse, with an inventory number, indicates that our work was, at one time, also in the National Gallery of Prague.
This lot is sold with a certificate of authenticity and accompanying text by Professor Siegfried Wichmann.