‘Occasional works that he enjoyed doing in the best sense of the word: depictions of his family members, friends and acquaintances,’ is how catalogue raisonné author Irmgard Wirth describes the rare portraits by the important architectural painter Eduard Gaertner. The pedantic realist never allowed himself to be half-hearted or superficial in his art. He always strove for an exact and unembellished reproduction of everything visible. This form of objective representation down to the last detail usually captured the true essence of the sitter very well and also revealed something of their character (sometimes with a wink). Gaertner generally preferred small formats for portraits. This was also in keeping with the zeitgeist of the self-confident bourgeoisie, who liked to have their portraits painted. In 1844, the artist found himself face to face with a young woman, whose portrait he captured as a half-length figure. The soft corkscrew curls, pearl earrings and arsenic-green dress with an off-the-shoulder neckline were in keeping with the latest fashion. Nevertheless, it is her gaze that captivates the viewer almost en face. Her blue eyes are alert and attentive, her mouth framed by a reserved smile. A reflection of calm and clarity. If we were unfamiliar with Gaertner's painting style, we would assume this to be an idealised portrait of a Biedermeier lady. But as it is, we are faced with true beauty. LJM
Oil on canvas. 33 × 24,5 cm
(13 × 9 ⅝ in.). Monogrammed and dated lower right: EG 1844. Not in the catalogue raisonné by Wirth. [3255] Framed
Provenance
Private Collection, Bavaria
Addendum/Erratum
We would like to thank Prof. Dr. Helmut Börsch-Supan, Berlin, for confirming the authenticity of the painting and for providing additional information.
‘Occasional works that he enjoyed doing in the best sense of the word: depictions of his family members, friends and acquaintances,’ is how catalogue raisonné author Irmgard Wirth describes the rare portraits by the important architectural painter Eduard Gaertner. The pedantic realist never allowed himself to be half-hearted or superficial in his art. He always strove for an exact and unembellished reproduction of everything visible. This form of objective representation down to the last detail usually captured the true essence of the sitter very well and also revealed something of their character (sometimes with a wink). Gaertner generally preferred small formats for portraits. This was also in keeping with the zeitgeist of the self-confident bourgeoisie, who liked to have their portraits painted. In 1844, the artist found himself face to face with a young woman, whose portrait he captured as a half-length figure. The soft corkscrew curls, pearl earrings and arsenic-green dress with an off-the-shoulder neckline were in keeping with the latest fashion. Nevertheless, it is her gaze that captivates the viewer almost en face. Her blue eyes are alert and attentive, her mouth framed by a reserved smile. A reflection of calm and clarity. If we were unfamiliar with Gaertner's painting style, we would assume this to be an idealised portrait of a Biedermeier lady. But as it is, we are faced with true beauty. LJM
