Friedrich Johann Overbeck
1789-1869 German German religious painter. Expelled from the Vienna Academy because of his opposition to its classicism, he went to Rome and with Peter von Cornelius, Veit, Schadow-Godenhaus, and others, formed the group known as the Nazarenes. His first real successes were his frescoes for the Casa Bartholdy (now in Berlin) and for the Villa Massimo. Among his notable paintings are Christ Entry into Jerusalem and Christ Agony in the Garden. Overbeck sought to make his art serve religion. His influence was due more to the purity of his doctrine than to the power of his work, which is often lacking in pictorial appeal and in color.

 

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Friedrich Johann Overbeck Joseph Being Sold by His Brothers oil painting   

Painting ID::  1085
Friedrich Johann Overbeck
Joseph Being Sold by His Brothers
1816

   
   
     

 

 

Friedrich Johann Overbeck The Adoration of the Magi 2 oil painting   

Painting ID::  1091
Friedrich Johann Overbeck
The Adoration of the Magi 2
1813

   
   
     

 

 

Friedrich Johann Overbeck The Adoration of the Magi (nn03) oil painting   

Painting ID::  23445
Friedrich Johann Overbeck
The Adoration of the Magi (nn03)
1813 Oil on panel 49.7 x 66 m 19 1/2 x 26 in Kunsthalle Hamburg

   
   
     

 

 

Friedrich Johann Overbeck Italia and Germania oil painting   

Painting ID::  33904
Friedrich Johann Overbeck
Italia and Germania
mk87 1828 Oil on canvas 94.4x104.7cm Munich,Neue Pinakothek

   
   
     

 

 

Friedrich Johann Overbeck Italia and Germania after oil painting   

Painting ID::  62819
Friedrich Johann Overbeck
Italia and Germania after
1828 Oil on canvas, 95 x 105 cm Gemeldegalerie, Dresden This is a copy by the artist of the original (presently in the Neue Pinakothek, Munich) painted in Rome between 1811 and 1828.

   
   
     

 

 

Friedrich Johann Overbeck Morning in the Riesengebirge oil painting   

Painting ID::  62851
Friedrich Johann Overbeck
Morning in the Riesengebirge
1810-11 Oil on canvas, 108 x 170 cm Nationalgalerie, Berlin With his friend Kersting he had made a tour of the mountainous area near Dresden known as 'Saxon Switzerland', in the summer of 1810. Morning in the Riesengebirge, painted shortly afterwards, is another exposition of his theme of the cross on a peak. It may be seen as a sort of continuation of the Tetschen Altar. The planes of earth and sky, representing the bodily and the infinite, are bridged by the crucifix, lit by the morning sun. Artist: FRIEDRICH, Caspar David Title: Morning in the Riesengebirge , painting Date: 1801-1850 German : landscape

   
   
     

 

 

Friedrich Johann Overbeck The Cross in the Mountains oil painting   

Painting ID::  62852
Friedrich Johann Overbeck
The Cross in the Mountains
1812 Oil on canvas, 45 x 37 cm Museum Kunst Palast, Desseldorf Visions of Gothic architecture appear regularly in the artist's work from Winter Landscape with Church (1811, Dortmund), rising like a man-made enigma in a mysterious landscape scenario. An example is provided by The Cross in the Mountains, which can be dated fairly confidently to 1812, and which has long been viewed as a further development of the Tetschen Altar. The rough and rocky terrain of the foreground surrounds a spring, behind which, within an indeterminate space, rise a dark wall of fir trees and the gabled faeade of a Gothic church, reduced to a shadowy silhouette. A wayside calvary marks the border between foreground and back- ground. The logic of space and time seems to have been abandoned in this painting in favour of the unreality of a dream. Artist: FRIEDRICH, Caspar David Title: The Cross in the Mountains , painting Date: 1801-1850 German : landscape

   
   
     

 

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Friedrich Johann Overbeck
1789-1869 German German religious painter. Expelled from the Vienna Academy because of his opposition to its classicism, he went to Rome and with Peter von Cornelius, Veit, Schadow-Godenhaus, and others, formed the group known as the Nazarenes. His first real successes were his frescoes for the Casa Bartholdy (now in Berlin) and for the Villa Massimo. Among his notable paintings are Christ Entry into Jerusalem and Christ Agony in the Garden. Overbeck sought to make his art serve religion. His influence was due more to the purity of his doctrine than to the power of his work, which is often lacking in pictorial appeal and in color.