1800s Gabriel Max Antique Woodcut "illustration To Wieland's" Framed Signed Coa
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1800s Gabriel Max Antique Woodcut "illustration To Wieland's" Framed Signed Coa:
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Artist:Gabriel Max (Gabriel Cornelius Ritter von Max)(Prague-born Austrian, Wieland's Oberon (Illustration to Wieland's Oberon)
Medium:Antique woodcut on wove paper after the original drawing by master wood engraver Adolf Closs (German, 1864-1938).
Publisher:K.K. Farm- And Staatsdruckerei
Signature: Signed in the Plate
Framed dimensions:Approximately 19 x 22 inches.
Framing:This piece has been professionally matted and framed using all new materials.
Thisis not a modern print. This woodcut is more than 125 years old. The strike is crisp and the lines are sharp.
Oberon is an epic poem by the German writer Christoph Martin Wieland. It was based on the epic romance Huon de Bordeaux, a French medieval tale, and influenced by Shakespeare's A Midsummer Night's Dream and Alexander Pope's version of Geoffrey Chaucer's The Merchant's Tale. It first appeared in 1780 and went through seven rewrites before its final form was published in 1796.For the slaying of Karl the Great's despicable son, Charlot, Huon duke of Guienne, is condemned to go to Babylon (or Bagdad) and demand four molars and a tuft of the beard of the kalif after kissing the latter's daughter and slaying her intended. This feat is accomplished through the friendship of Oberon and the magic power of his horn, a blast of which causes all wicked persons to dance, and of a certain ring, which had been abstracted from its owner, Titania, and to which all the spirit world was subject. Commanded to go to the Pope at Rome before consummating marriage with the kalif's daughter, Huon yields to temptation and the couple are thrown on a desert isle by Oberon, who had deserted his Titania with the vow never to return to her unless a human couple should be found who were absolutely faithful, since she had championed the faithless girl wife of an aged dotard. About the invented quarrel of Oberon and his queen, Titania, is centred the whole conception of Wieland's poem. Thrown by the instrumentality of Titania into captivity in Tunis, Huon and Rezia withstand the first test of temptation and, reunited, return to Paris and reconcile Karl. It had a major influence on many musical and poetic works of the time, such as Schiller's Don Carlos, Goethe's Faust: The Second Part of the Tragedy and Mozart's The Magic Flute, as well as on the Portuguese poet Francisco Manoel de Nascimento. An adaptation of the poem by Sophie Seyler, titled Hüon und Amande, was re-adapted by Karl Ludwig Giesecke to provide a libretto for Paul Wranitzky, without crediting her. Its English translators include Matthew Lewis, William Sotheby and John Quincy Adams. The libretto of The Magic Flute by Emanuel Schikaneder was evidently greatly inspired by Giesecke's and thus on Seyler's version of Oberon. Carl Maria von Weber used the poem as the basis for his last opera, Oberon, in 1826. The artist Gustav Paul Closs provided illustrations for it.
Gabriel Cornelius Ritter von Max was a Prague-born Austrian painter. He was born Gabriel Cornelius Max, the son of the sculptor Josef Max and Anna Schumann. He studied between 1855 and 1858 at the Prague Academy of Arts with Eduard von Engerth. His studies included parapsychology (somnambulism, hypnotism, spiritism), Darwinism, Asiatic philosophy, the ideas of Schopenhauer, and various mystical traditions. The spiritual-mystical movement was emphasized by the writings of Carl du Prel, and the Munich painter Albert Keller was also an influence. His first large canvas was painted in 1858 while he was a student at the Prague Academy. He continued his studies at the Viennese Academy of Art with Karl von Blaas, Karl Mayer, Christian Ruben and Carl Wurzinger. From 1863 to 1867 he studied at the Munich Academy with Karl Theodor von Piloty, and also Hans Makart and Franz Defregger. His first critical success was in 1867 with the painting "Martyr at the Cross": that painting transformed the "Unglücksmalerei" (dark palette) of Piloty into a religious-mystical symbolism using a psychological rendering of its subject. Still Life (Girl at a Spinet) (1871) He continued to use the dark palette of the Piloty school well into the 1870s, later moving toward a more muted palette, using fewer,clearer colors. From 1869, Gabriel von Max had his studio in Munich; in the summer, he was in the Ammerland at Starnberger Lake. From 1879-1883, Gabriel Max was a professor of Historical Painting at the Munich Academy; he also became a Fellow of The Theosophical Society. In 1900 he was ennobled and became a Ritter. He died in Munich in 1915. His interest in anthropological studies also showed in his work. He owned a large scientific collection of prehistoric ethnological and anthropological finds: the collection and his correspondence now reside in the Reiss-Engelhorn-Museen in Mannheim. At his residence in Starnberger Lake, Gabriel Max surrounded himself with a family of monkeys, which he painted often, sometimes portraying them as human. Max, along with his colleagues, often used photographs to guide painting. The great number of monkey photographs in his archive testify to their use as direct translation into his paintings. In 1908, his painting "The Lion's Bride" became celebrated, and was depicted in motion pictures as an hommage in the Gloria Swanson film, Male and Female, (1919), directed by Cecil B. de Mille. Gabriel von Max was a significant artist to emerge from the Piloty School, because he abandoned the themes of the Grunderzeitliche (genre and history), in order to develop an allegorical-mystical pictorial language, which became typical of Secessionist Art. Characteristic of the ethereal style of Gabriel Max is "The Last Token" (in the Metropolitan Museum), and "Light" (in the Odessa Museum of Western and Eastern Art, Ukraine). The largest collection of the work of Gabriel von Max in the United States is held by the Jack Daulton Collection in Los Altos Hills, California.
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