Franz Winterhalter
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Franz Xavier Winterhalter (April 20, 1805 – July 8, 1873) was a German painter and lithographer, known for his portraits of royalty in the mid-nineteenth century. His name has become associated with fashionable court portraiture. Among his most well known works are: Empress Eugénie Surrounded by her Ladies in Waiting (1855) and the portraits he made of Empress Elisabeth of Austria (1864).
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[edit] Early Years
Franz Xavier Winterhalter was born in the small village of Menzenschwand in the Black Forest, Grand-Duchy of Baden. He was the sixth child of Fidel Winterhalter, a farmer and resin producer in the village, and his wife Eva Meyer, a member of a long established Menzenschwand family. His father was of peasant stock and was a powerful influence in his life. Of the eight brothers and sisters, only four survived infancy. Throughout his life, he remained very close to his family in particular to his brother Hermann Fidel Winterhalter (1808-1891), who was also a painter.
After attending school at a Benedictine monastery in Blasien, Winterhalter left Menzenschwand in 1818 at the age of thirteen to study drawing and engraving. He learned the occupation of graphic artist from 1818 to 1824 in Freiburg. With a scholarship, he studied painting at the Academy of Arts in Munich. During this time, he worked in the studio of the painter Joseph Karl Stieler and was active as lithographer.
Winterhalter entered court circles when in 1828 he became drawing master to Sophie, margravine of Baden at Karlsruhe. A travel stipend in 1833-1834 took him to Italy, where he composed romantic genre scenes in the manner of Leopold Robert (1794-1835). On his return to Karlsruhe, he painted the portraits of the Grand Duke Leopold of Baden and his wife and was appointed painter to the grand-ducal court.
Nevertheless, he left Baden to move to France where his Italian genre scene Il dolce Farniente attracted notice at the Salons of 1836. Il Decameron a year later was also praised; both paintings are academic compositions in the style of Raphael. In the salon of 1838 he exhibited a portrait of the Prince of Wagram with his young daughter. His career as a portrait painter was soon secured when in the same year he painted Louise Marie of Orleans, Queen of Belgium and her son. It was probably through this painting that Winterhalter came to the notice of Louis-Philippe of France, father of the Belgian Queen.
[edit] Court Painter
In Paris, Winterhalter quickly became fashionable. He was appointed court painter of Louis-Philippe, the king of France, who commissioned him to paint individual portraits of his large family. Winterhalter would executed more than thirty commissions for him.
This success earned the painter the reputation of a specialist in dynastic and aristocratic portraiture, skilled in combining likeness with flattery and enlivening official pomp with modern fashion.
However, Winterhalter’s reputation in artistic circles suffered. The critics, who had praised his debut in the salon of 1836, dismiss him as a painter that could not be taken seriously. This attitude persisted trough out Winterhalter's career, condemning his work to a category of his own in the hierarchy of painting. Winterhalter himself regarded his first royal commissions as temporary intermission before returning to subject painting and the field of academic respectability, but he was a victim of his own success and for the rest of his life he would work almost exclusively as a portrait painter. This was a field in which he was no only very successful but also made him rich. Winterhalter became an international celebrity enjoying Royal patronage.
Among his many regal sitters was also Queen Victoria. Winterhalter first visited England in 1842, and returned several times to paint Victoria, Prince Albert and their growing family, he did at least 120 works for them. Winterhalter also painted a few portraits of the aristocracy in England, mostly members of court circles. The fall of Louis-Philippe in 1848 did not affect the painter reputation. Winterhalter went to Switzerland and worked in commission in Belgium and England.
Persistence saw Winterhalter survived from the fall of a dynasty to the rise of another. Paris remained his home until a couple of years before his death. A halt in portrait commissions in France allowed him to return to subject painting with : Florinda (1852)(Metropolitan Museum of Art, New York) a joyous celebration of female beauty, inspired by a Spanish legend. In this same year he made a marriage proposal but was rejected, Winterhalter remained a bachelor committed to his work.
After the accession of Napoleon III, his popularity grew. From then on, under the second Empire, Winterhalter became the chief portraitist of the imperial family and court of France. The beautiful French Empress Eugénie became a favorite sitter and she treated him generoulsy. In 1856 Winterhalter painted his masterpiece: Empress Eugénie sourrended by her ladies in waiting. He set the French Empress a in a pastoral setting gathering flowers in a harmaoiuos circle with her ladies in waiting. The painting was acclaimed and exhibit in the universal exposition in 1853. This painting remains Winterhalter most famous work.
The royal families of England, France, and Belgium all commissioned their portraits from Winterhalter. In 1852, he went to Spain to paint Queen Isabella II and worked for the Portuguese royal family. Russian aristocratic visitors to Paris also liked to have their portraits executed by the famous master. As the "Painter of Princes”, Winterhalter was thereafter in constant demand by the courts of Britain (from 1841), Spain, Belgium, Russia, the German courts, and France. In the following years Winterhalter was very in demand, he went to Poland in 1856 painting for the aristocracy there and in 1857 in Upper Bavaria he painted the tsarina Maria Alexandrovna. Over the course of the next years he painted many russian comitions troug the 1860s. To deal with the pressure of portrait commissions, many of them calling for multiple replicas, Winterhalter made extensive use of assistants. No portrait painter ever enjoyed such an extraordinary royal patronage as Winterhalter, only Rubens and Van Dyck worked as he did in an international network.
[edit] Last Years
Winterhalter sought respite from the pressures of his work with holidays abroad in Italy, Switzerland and above all in Germany. In spite of his many years living in France, he remained deeply attached to his native country. For all his success and popularity, Winterhalter continued to live simply and abstemiously. In 1859 he bought a villa in Baden-Baden, his favorite vacation spot.
In 1864 Winterhalter made his last visit to England. In the autumn of that year he traveled to Vienna to execute the portraits of Emperor Franz Joseph and Empress Elisabeth that remain among his most well-known works. As he grew older, Winterhalter links with France weakened while his interest in Germany grew. He was taken a cure in Switzerland at the outbreak of the Franco-Prussian War that ended the second Empire in September of 1870. After the war, the painter did not return to France going instead to Baden. Without traumatism, he decided to retire in Germany. He was officially still accredited at the court of Baden and he settle in Karlsruhe. During the last two years of his life Winterhalter painted very little. During a visit to Frankfurt am Main in the summer of 1873 he contracted typhus and died on July 8, 1873. He was sixty-eight years old.
[edit] Style
Winterhalter came into his own as a portrait painter during the second Empire and he painted his best work during the last two decades of his life. He matched his style to the luxury and relaxed atmosphere of the age, its hedonism and gaiety. His female sitters of the 60s and 50s inhabit a different physiological climate from those he painted earlier, they are not reticence and reserved. His male sitters inspired few original or memorable compositions.
Winterhalter never received high praise for his work from serious critics, being constantly accused of superficiality and affectation in pursue of popularity. However, he was highly appreciated by his aristocratic patrons. The royal families of England, France, Spain, Russia, Portugal and Belgium all commissioned him to paint portraits. His monumental canvases established a substantial popular reputation, and lithographic copies of the portraits helped to spread his fame.
Winterhalter's portraits were prized for their subtle intimacy; the nature of his appeal is not difficult to explain. He created the image his sitters wished or needed to project to their subjects. He was not only skilled at posing his sitters to create almost theatrical compositions, but also was a virtuoso in the art of conveying the texture of fabrics, furs and jewellery, to which he paid no less attention than to the face. He painted very rapidly and very fluently, designing most of his compositions directly in the canvas. His portraits are elegant, refined life-like and pleasantly idealized.
His style was suave, cosmopolitan and plausible. As an artist he remained a difficult figure to place, there are few painters with whom to compare him and he does not fit into any school. His early affinities were neoclassical but his style can be described as Neo-Rococo. After his death his painting failed out of favor being considered romantic, glossy, and superficial. Little was known about him personally and his art was not taken seriuosly until recently. However, a major exhibition of his work at the National Portrait Gallery in London and the Petit Palais in Paris in 1987 brought him into the limelight again. His paintings are exhibited today in leading European and American museums.
[edit] References
- Richard Ormond and Carol Blackett – Ord, Franz Xaver Winterhalter: And the Courts of Europe, 1830-70, Exh. cat. National Portrait Gallery, London, 1987. ISBN 0810939649
 Sophie Margravine of Baden, 1828 |
 Louise-Marie, Queen of the Belgians, 1841 Royal Collection |
 Roman Genre Scene, 1833 |
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 Florinda, 1852 Metropolitan Museum of Art, New York |
 Portrait of Charlotte of Belgium (retrato de Carlota de México), 1864 |
 Portrait of Princess Alice of the United Kingdom, second eldest daughter of Queen Victoria, 1862 Royal Collection |
