ITTENBACH; FRANZ
1813 K鰊igswinter - 1879 D黶seldorf

Mater Christi. Mixed media on wood. 30 x 20cm. Signed and dated lower left: F. Ittenbach / 1875. Framed.

Provenance:
Private collection; Rhineland.

Although it is known that Ittenbach made different versions of his motifs; one rarely has the possibility to compare two versions of the same subject directly. Here; we are able to present one of his last Madonnas that he created in his inimitable; acribic technique. Due to this technique he already established his reputation during his lifetime. As different as they may be in terms of size and technique - one of them monumentally on the basis of a watercolour; the other in the style of a small house altar with elaborately embossed gold ground - both of them reflect the model of Italian painting which influenced the art of the 19th century in a sustained manner.

Early on Franz Ittenbach; who studied at the D黶seldorf Academy under Hildebrandt and son; received the order for painting the neo-Gothic church St. Appolinaris in Remagen. In preparation for these extensive and programmatic works he traveled to Rome together with Schadow from 1839 until 1842. There he joined the Nazarene movement. The paintings in Remagen kept him occupied for the entire decade and were the basis for his reputation as a master of religious painting. Consequently he specialized in religious motifs and particularly in the depcition of Mary. "His small devotional pictures with individual figures of a saint or Sacra Conversazione depictions were appreciated by the contemporary critics and they were also thought to be Ittenbach's true talent. The simplicity of his motifs; in the style of Italian models; and their composition in connection with the contoured shaping and the use of non-vibrant colours met the contemporary concept of an expression of deep religiosity. Therefore; he was already appreciated during his lifetime."
(quoted after: Otto; Andreas: Franz Ittenbach. In: Lexikon der D黶seldorfer Malerschule.
ed. vom Kunstmuseum D黶seldorf and Galerie Paffrat; D黶seldorf; Munich 1998; vol. 2; p.
164f.)Art trade; Van Ham.