Kronprinz Ludwig in der Spanischen Weinschänke zu Rom
Franz Ludwig Catel (1778-1856)

Kronprinz Ludwig in der Spanischen Weinschänke zu Rom,

1824
Material / Technology / Carrier
Öl auf Leinwand
Dimensions of the object
63,2 x 75,5 cm
Displayed
Not on display
Department
19. Jahrhundert
Genre
Malerei
Inventory number
WAF 142
Acquisition
1824 durch Kronprinz Ludwig vom Künstler erworben
Stock
Bayerische Staatsgemäldesammlungen - Neue Pinakothek München
Citation
Franz Ludwig Catel, Kronprinz Ludwig in der Spanischen Weinschänke zu Rom, 1824, Bayerische Staatsgemäldesammlungen - Neue Pinakothek München, URL: https://www.sammlung.pinakothek.de/en/artwork/gR4k3EJ4Ee (Last updated on 22.01.2024)
This painting from 1824 was commissioned by Crown Prince Ludwig, and is described by Catel in a letter to the collector and critic Gottlob von Quandt, "[...] recently completed a small bamboccia painting for the Bavarian Crown Prince. His Royal Highness, who graciously organized a small déjeuner at Ripa Grande near Cathedral St. Raphael for Herr von Klenze, who is taking his leave from us, commissioned me to capture this moment for posterity with my paintbrush [...] Depicted are, from left to right: the proprietor, Crown Prince Ludwig, Thorwaldsen, Leo von Klenze, Graf Seinsheim, Johann Martin Wagner (standing), Philipp Veit, Dr. Ringseis (standing), Julius Schnorr von Carolsfeld, Catel, Baron Gumppenberg. Through the open door one can see the Aventine hills on the other side of the Tiber [...]" The painting was conceived as a private memento commemorating the meeting of the artists with their royal patron and his travelling companions and is, therefore, free from lofty elements. The Crown Prince is depicted as "primus inter pares" surrounded by artists and friends. That, which separates him from the rest of the group is his contact to the proprietor, apparently concerning the wine choice. Catel's true-to-life portrait-like painting of the cheerful group was done in the Flemish bamboccia style or folk-genre. At the same time he ties in the Roman setting by opening up the interior view onto the Tiber and the Aventine hills.

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