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Oswald Achenbach — news, coverage & facts — IJR

Early years

In 1835, at the age of eight, Achenbach was enrolled in the elementary class of the Kunstakademie Düsseldorf (Art Academy). This was technically in violation of the academy's bylaws, which required a minimum age of twelve. He continued there until 1841. He was a student in the elementary class, where he was instructed in the basics of drawing, and then spent a year in the architecture class. This also did not correspond to the normal curriculum as described in the bylaws. The reasons for Achenbach's treatment are not fully known. Possibly, the bylaws were in practice mere guidelines and exceptions were made often, or perhaps only for highly gifted students like Achenbach.

It is also not clear why Achenbach left the academy in 1841. From his sketchbooks, we know that during this period he had undertaken intensive nature studies in the area around Düsseldorf.

In 1843, the sixteen-year-old Achenbach began a journey of several months through Upper Bavaria and North Tyrol during which he continued his nature studies. His earliest known works in oil also come from this period. In 1845. Achenbach undertook a journey with his friend and later student Albert Flamm to northern Italy. The paintings that Achenbach completed from this period predominantly consist of Italian landscape motifs.

Few of Achenbach's paintings from before 1850 survive today. However, those that do indicate that his early choices of subject matter and technique were heavily influenced by the ideas being taught at the art academies of the time. The influence of Johann Wilhelm Schirmer and Carl Rottman can be seen in these paintings. In the oil studies that Achenbach completed during these trips, he adhered closely to the landscape and concerned himself with the details of the typical Italian vegetation. Architectural motifs and figures play a much smaller role than they would in his more mature work.

Until well into the 19th century, artistic education in Germany and much of Europe was strongly influenced by the "Kunstakademien", or art academies. However, particularly in the 19th century, these academies had become overly formal and rigid and were not very responsive to new artistic directions. The academies also organized the big art exhibitions, through which artists primarily sold their work. Artists whose styles were opposed to the ideas of the academies were not exhibited and therefore generally had very few opportunities to sell their work. At the beginning of the 19th century, individual artists and representatives of entire artistic movements began to stand in opposition to the culture and concepts of the Academies.

Achenbach was one of the artists who opposed the Kunstakademie Düsseldorf and became an early member of two Düsseldorf associations, which many like-minded artists had joined. The first was the "Association of Düsseldorf Artists for Mutual Support and Help" and the association "Malkasten" ("Paintbox") which was founded on 11 August 1848 with Achenbach as one of the original signatories of the founding document. These Associations jointly staged plays, organized music evenings, and put on exhibitions. At many events, Achenbach took an active part, directing, playing or staging plays. Achenbach was particularly attached to "Malkasten" and remained connected with it until the end of his life.

In 1850, his paintings were displayed in the exhibitions of the newly founded Düsseldorf gallery of Eduard Schulte. Schulte's gallery showed the works of artists who were independent of the academy and played an important role in Achenbach's early economic success. It developed into one of the leading German galleries and later established branches in Berlin and Cologne.

Professor for Landscape Painting

After 1860, his technique underwent a change into what is considered his mature style. The paintings were more tactile, the paint was applied with more texture and the brushstrokes were less dependent on the subject matter represented. In parts of some paintings, Achenbach increasingly dispensed with detailed figures. This change in technique may have to do with the influence of Gustave Courbet. His favorite subjects continued to be Italian landscapes and peasant scenes, which he enhanced and idealized with his lighting.

In March 1863, Achenbach became the Professor for Landscape Painting at the Kunstakademie Düsseldorf. Accepting this represented a social elevation and also financial security. It also appears to be in contradiction to his earlier opposition. However, since Friedrich Wilhelm Schadow had left the office of Director in 1859, the conflicts both within the academy and also between the academy and the independent artists had diminished. The appointment of Achenbach to a position was a conscious political decision reflecting the new direction of the Düsseldorf Academy, to bring about a conciliation with the independent artists.

In the same year, Achenbach was named a Knight of the Legion of Honour by Napoleon III and from 1863 to 1868 his painters were shown at the Salon in Paris. Alongside the Order of Guadelupe from Emperor Maximilian I of Mexico i 1866 and the Knights Cross, First Class from the Order of St. Michael from the jury for the International Art Exhibition in Munich in 1869, this was among the greatest honors hof his career. Such recognition for artists during this period was not uncommon, but they contributed significantly to Achenbach's fame, confirmed his recognition as an artist and were important for his commercial success.

Achenbach followed Hans Gude as professor of landscape painting at the academy. After 1866 he taught one of the highly regarded "Master Classes." Among his best-known students are Gregor von Bochmann, Arthur Calame, Themistokles von Eckenbrecher, Arnold Forstmann, Theodor Hagen, Louis Kolitz, Ascan Lutteroth, and Carl Seibels. To his students, he emphasized above all the decisive role of light and dark for the composition of paintings. For him it was more important than the choice of subject. Consequently, he advised his students to familiarize themselves with the paintings of J. M. W. Turner. He also recommended the works of his brother Andreas.

During his professorship, Achenbach continued to undertake many trips. These included long stays in the Teutoburg Forest and Switzerland. In 1871 he and his family spent almost nine months in Italy, including Castellammare di Stabia, Amalfi, Capri, and Ischia, and several weeks in Sorrento. During this time Theodor Hagen and Albert Flamm took his place at the academy.

After 1860, his technique underwent a change. The paintings were more tactile, the paint was applied with more texture and the brushstrokes were less dependent on the subject matter represented. In parts of some paintings, Achenbach increasingly dispensed with detailed figures. This change in technique may have to do with the influence of Gustave Courbet. His favorite subjects continued to be Italian landscapes and peasant scenes, which he enhanced and idealized with his lighting.

Oswald Achenbach

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Oswald Achenbach

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Oswald Achenbach across IJR

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Life

Family

Early years

First major Italian trip

Marriage and growing recognition

Professor for Landscape Painting

Later years

Later works

Oil studies and sketches

Influences

Schirmer and Andreas Achenbach

Turner and Courbet

Classification of Achenbach's work

Oswald Achenbach across IJR