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  • Re-Reading Vittoria Caldoni: Friedrich Overbeck's Portrait in The Neue Pinakothek

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    charlesDAVIS
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    Re-reading Vittoria Caldoni: Friedrich Overbeck’s ‘Portrait’ in the Neue Pinakothek by CHARLES DAVIS One of the indubitable masterpieces of the paintings displayed in the Neue Pinakothek in Munich is Johann Friedrich Overbeck’s seemingly perfect Vittoria Caldoni. In the conclusion to his brief commentary upon this painting in his seminal book of 1964, The Nazarenes, Keith Andrews remarks, “The frontal disposition draws the spectator into the picture and forces him, intentionally, to seek a meaning beyond mere portrait representation.” This observation, if inadvertently, corresponds to the agendum of the present essay. It attempts to answer a question that, in another context, Overbeck himself posed: “was denn das Bild eigentlich vorstelle?” (‘What does the picture really mean?’). Overbeck’s Vittoria Caldoni is universally referred to as her portrait, but, paradoxically, in his representation Friedrich Overbeck is at pains to attribute to the young girl from Albano a social rôle in the world of work which she did not perform. This rôle is that of a worker in the wheat fields. The circumstance is made clear first by the simple clothing that she wears, and then by the sickle, by the grain sack on which she sits, and by the field of wheat behind her, all images conceived, in the realm of the painting, as timeless pictorial attributes to identify the figure represented. Upon its arrival in Munich in late 1821, very soon after its completion, the painting was identified simply as the “Bäuerin”. In most of the very numerous portraits of Vittoria Caldoni, she is shown as a fairly fine young lady, although her father was identified by contemporaries as poor. Among the portraits of Vittoria, Overbeck’s is an absolute exception: he depicts her as a field labourer, an almost plebeian ‘working girl’. In reality, the young Vittoria Caldoni was the daughter of a vineyard keeper, a wine-maker. In Overbeck’s portrait every plausible attribute that earlier paintings might have suggested for a daughter of the vineyard are missing: no grapes, no wine, no grape vines, stalks or leaves; and further there is no wine-fiasco or bottle, no glass of wine in hand, nor a wine cask, nor even a setting in an osteria or a cantina di vino; or at the very least some grapes or a few grape leaves, and possibly a slightly plunging neckline, all of which might be associated with a Wine-Princess. The economy of Albano is overwhelmingly tied to the production of wine and to the cultivation of vineyards, as it has been in most of its long history. Even if Vittoria were merely cast, inexplicably, as a field worker, her task would be to cut the stalks of wheat and to bind them into sheaves. Why then does she sit on a grain sack? The bundle or sack containing wheat belongs instead to gleaners. Overbeck’s ‘authorised’ biographer observes that prior to her ‘discovery’ Vittoria never left her parents’s house except to go to church, or to work in the vineyard (Howitt, 1886). In 1850, August Kestner, who claims to have discovered her in 1820, had reported more extensively: “Sie hatte außer einigen weiblichen Arbeiten nie etwas gelernt, als die Gebete in ihrem Gebetbuch zu lesen, und denn die Hacke im Weingarten zu führen und die Weinranken im Juni abzupflücken” (Römische Studien). Thus the question: why does a daughter of a vineyard keeper sit before a field of wheat instead of before a vineyard? And why beneath a fig tree, and not under a grape arbour? Why is she not „Vittoria, die schöne Winzerin von Albano“, as August Kestner, “Ph. D.”, identified her in his Römische Studien. Certainly artists of the time were not at a loss to find images suitable to identify a daughter of the vineyard. It is often mentioned in passing that Overbeck’s portrait occupies an exceptional position among the many portraits of Vittoria Caldoni: his portrait appears different from the others – although the differences are seldom specifically identified. In the present context

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    Re-reading Vittoria Caldoni: Friedrich Overbeck’s ‘Portrait’ in the Neue Pinakothek by CHARLES DAVIS One of the indubitable masterpieces of the paintings displayed in the Neue Pinakothek in Munich is Johann Friedrich Overbeck’s seemingly perfect Vittoria Caldoni. In the conclusion to his brief commentary upon this painting in his seminal book of 1964, The Nazarenes, Keith Andrews remarks, “The frontal disposition draws the spectator into the picture and forces him, intentionally, to seek a meaning beyond mere portrait representation.” This observation, if inadvertently, corresponds to the agendum of the present essay. It attempts to answer a question that, in another context, Overbeck himself posed: “was denn das Bild eigentlich vorstelle?” (‘What does the picture really mean?’). Overbeck’s Vittoria Caldoni is universally referred to as her portrait, but, paradoxically, in his representation Friedrich Overbeck is at pains to attribute to the young girl from Albano a social rôle in the world of work which she did not perform. This rôle is that of a worker in the wheat fields. The circumstance is made clear first by the simple clothing that she wears, and then by the sickle, by the grain sack on which she sits, and by the field of wheat behind her, all images conceived, in the realm of the painting, as timeless pictorial attributes to identify the figure represented. Upon its arrival in Munich in late 1821, very soon after its completion, the painting was identified simply as the “Bäuerin”. In most of the very numerous portraits of Vittoria Caldoni, she is shown as a fairly fine young lady, although her father was identified by contemporaries as poor. Among the portraits of Vittoria, Overbeck’s is an absolute exception: he depicts her as a field labourer, an almost plebeian ‘working girl’. In reality, the young Vittoria Caldoni was the daughter of a vineyard keeper, a wine-maker. In Overbeck’s portrait every plausible attribute that earlier paintings might have suggested for a daughter of the vineyard are missing: no grapes, no wine, no grape vines, stalks or leaves; and further there is no wine-fiasco or bottle, no glass of wine in hand, nor a wine cask, nor even a setting in an osteria or a cantina di vino; or at the very least some grapes or a few grape leaves, and possibly a slightly plunging neckline, all of which might be associated with a Wine-Princess. The economy of Albano is overwhelmingly tied to the production of wine and to the cultivation of vineyards, as it has been in most of its long history. Even if Vittoria were merely cast, inexplicably, as a field worker, her task would be to cut the stalks of wheat and to bind them into sheaves. Why then does she sit on a grain sack? The bundle or sack containing wheat belongs instead to gleaners. Overbeck’s ‘authorised’ biographer observes that prior to her ‘discovery’ Vittoria never left her parents’s house except to go to church, or to work in the vineyard (Howitt, 1886). In 1850, August Kestner, who claims to have discovered her in 1820, had reported more extensively: “Sie hatte außer einigen weiblichen Arbeiten nie etwas gelernt, als die Gebete in ihrem Gebetbuch zu lesen, und denn die Hacke im Weingarten zu führen und die Weinranken im Juni abzupflücken” (Römische Studien). Thus the question: why does a daughter of a vineyard keeper sit before a field of wheat instead of before a vineyard? And why beneath a fig tree, and not under a grape arbour? Why is she not „Vittoria, die schöne Winzerin von Albano“, as August Kestner, “Ph. D.”, identified her in his Römische Studien. Certainly artists of the time were not at a loss to find images suitable to identify a daughter of the vineyard. It is often mentioned in passing that Overbeck’s portrait occupies an exceptional position among the many portraits of Vittoria Caldoni: his portrait appears different from the others – although the differences are seldom specifically identified. In the present context

    Copyright:

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    248 Ansichten102 Seiten

    Re-Reading Vittoria Caldoni: Friedrich Overbeck's Portrait in The Neue Pinakothek

    Hochgeladen von

    charlesDAVIS
    Re-reading Vittoria Caldoni: Friedrich Overbeck’s ‘Portrait’ in the Neue Pinakothek by CHARLES DAVIS One of the indubitable masterpieces of the paintings displayed in the Neue Pinakothek in Munich is Johann Friedrich Overbeck’s seemingly perfect Vittoria Caldoni. In the conclusion to his brief commentary upon this painting in his seminal book of 1964, The Nazarenes, Keith Andrews remarks, “The frontal disposition draws the spectator into the picture and forces him, intentionally, to seek a meaning beyond mere portrait representation.” This observation, if inadvertently, corresponds to the agendum of the present essay. It attempts to answer a question that, in another context, Overbeck himself posed: “was denn das Bild eigentlich vorstelle?” (‘What does the picture really mean?’). Overbeck’s Vittoria Caldoni is universally referred to as her portrait, but, paradoxically, in his representation Friedrich Overbeck is at pains to attribute to the young girl from Albano a social rôle in the world of work which she did not perform. This rôle is that of a worker in the wheat fields. The circumstance is made clear first by the simple clothing that she wears, and then by the sickle, by the grain sack on which she sits, and by the field of wheat behind her, all images conceived, in the realm of the painting, as timeless pictorial attributes to identify the figure represented. Upon its arrival in Munich in late 1821, very soon after its completion, the painting was identified simply as the “Bäuerin”. In most of the very numerous portraits of Vittoria Caldoni, she is shown as a fairly fine young lady, although her father was identified by contemporaries as poor. Among the portraits of Vittoria, Overbeck’s is an absolute exception: he depicts her as a field labourer, an almost plebeian ‘working girl’. In reality, the young Vittoria Caldoni was the daughter of a vineyard keeper, a wine-maker. In Overbeck’s portrait every plausible attribute that earlier paintings might have suggested for a daughter of the vineyard are missing: no grapes, no wine, no grape vines, stalks or leaves; and further there is no wine-fiasco or bottle, no glass of wine in hand, nor a wine cask, nor even a setting in an osteria or a cantina di vino; or at the very least some grapes or a few grape leaves, and possibly a slightly plunging neckline, all of which might be associated with a Wine-Princess. The economy of Albano is overwhelmingly tied to the production of wine and to the cultivation of vineyards, as it has been in most of its long history. Even if Vittoria were merely cast, inexplicably, as a field worker, her task would be to cut the stalks of wheat and to bind them into sheaves. Why then does she sit on a grain sack? The bundle or sack containing wheat belongs instead to gleaners. Overbeck’s ‘authorised’ biographer observes that prior to her ‘discovery’ Vittoria never left her parents’s house except to go to church, or to work in the vineyard (Howitt, 1886). In 1850, August Kestner, who claims to have discovered her in 1820, had reported more extensively: “Sie hatte außer einigen weiblichen Arbeiten nie etwas gelernt, als die Gebete in ihrem Gebetbuch zu lesen, und denn die Hacke im Weingarten zu führen und die Weinranken im Juni abzupflücken” (Römische Studien). Thus the question: why does a daughter of a vineyard keeper sit before a field of wheat instead of before a vineyard? And why beneath a fig tree, and not under a grape arbour? Why is she not „Vittoria, die schöne Winzerin von Albano“, as August Kestner, “Ph. D.”, identified her in his Römische Studien. Certainly artists of the time were not at a loss to find images suitable to identify a daughter of the vineyard. It is often mentioned in passing that Overbeck’s portrait occupies an exceptional position among the many portraits of Vittoria Caldoni: his portrait appears different from the others – although the differences are seldom specifically identified. In the present context

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    AUF DEN SPUREN DER NAZARENER:

    Re-reading Vittoria Caldoni: Friedrich Overbecks Portrait in the Neue Pinakothek by Charles Davis

    One of the indubitable masterpieces of the some hat uneven collection of paintings displayed in the Neue Pinakothek in !unich is "ohann Friedrich Overbecks seemingly perfect Vittoria Caldoni# $uring a recent %unday morning visit to the museum& undertaken ith the intention of looking at the Na'arene paintings in the collection& the portrait of (ittoria )aldoni e*ercised its curious fascination& and& as pictures often do& it appeared increasingly pu''ling upon prolonged inspection# Only much later did + come across ,eith -ndre ss conclusion to his brief commentary upon this painting in his seminal book of ./01& The Nazarenes& a ork instrumental in reviving a more idespread interest in these long-neglected and often disparaged painters# Of Overbecks Vittoria Caldoni& the author rites: 23he frontal disposition dra s the spectator into the picture and forces him& intentionally& to seek a meaning beyond mere portrait representation4 5pp# ..6-..17# No here does -ndre s enlarge upon hat this meaning might be& but nevertheless his observation& if inadvertently& corresponds to the agendum of the present essay# -lthough a book published in 89.. by the -kademie (erlag in :erlin describes -ndre s as a %cottish scholar and a non-;erman art historian& it might be remembered that he as born as ,urt -ufrichtig in <amburg on .. October ./89#

    Friedrich Overbeck& Vittoria Caldoni& .=8.# Neue Pinakothek& !>nchen

    Overbecks Vittoria Caldoni is universally referred to as her portrait& but& parado*ically& in his representation the artist is at pains to attribute to the young girl from -lbano hom he portrays a social r?le in the orld of ork hich she& in reality& did not perform# 3his r?le is that of a orker in the heat fields& and this circumstance is made clear first by the simple clothing that she ears& and then by the sickle& by the grain sack on hich she sits& and by the field of heat behind her& all three images conceived& in the realm of the painting& as timeless pictorial attributes to identify the figure represented# @pon its arrival in !unich in .=8.& very soon after its completion& the painting as identified simply as the

    2Buerin 4 +n most of the very numerous portraits of (ittoria )aldoni& she is sho n as a fairly fine young lady& although her father as identified by contemporaries as poor# -mong the portraits of (ittoria& Overbecks is an absolute e*ception: he depicts her as a field labourer& an almost plebeian orking girl#

    Overbeck& Vittoria Caldoni& .=8.# Neue Pinakothek& !>nchen

    +n reality& the young (ittoria )aldoni as the daughter of a vineyard keeper& a ine-maker 5!inzersto"hter7& as she is sho n in her portrait from .=80 by Paul Amil "acobs#

    Paul Amil "acobs& Vittoria Caldoni in einer !einlau#& .=80# Private )ollection& Csterreich

    3heodor Rehbenit'& Vittoria Caldoni& .=09# !useum :ehnhaus& B>beck

    +n Overbecks portrait every plausible attribute that earlier paintings might have suggested for a daughter of the vineyard are missing: no grapes& no ine& no grape vines& stalks or leaves# - simple internet image search& ith search terms such as !inzersto"hter& !ein$rinzessen& or !ein%&ni'en& et"#& suggests& in addition to these& other images that might have occurred to Overbeck to portray (ittorias r?le and status in orld of ork: a ine-fiasco or ine bottle& a glass of ine in hand& a ine cask& a setting in an osteria or a "antina di vinoD at the very least some grapes or a fe grape leaves& and possibly a slightly plunging neckline# :ut all of this is missing# - further consideration is that the economy of -lbano 5after .=E8& -lbano Ba'iale7 is over helmingly tied to the production of ine and to the cultivation of vineyards& as it has been in most of its long history# Fheat plays no important r?le# !argaret <o itt& the young Anglish lady to hom Overbecks adoptive daughter entrusted the riting of her fathers authorised biography& observes that prior to her discovery (ittoria never left her parentss house e*cept to go to church& or 2zur Ar#eit in den !ein'arten4 5.==0& +& p# 1=97# +n .=G9& -ugust ,estner& ho claims to have discovered her in .=89& had reported more e*tensively: 2Sie hatte au(er eini'en )ei#li"hen Ar#eiten nie et)as 'elernt* als die +e#ete in ihre, +e#et#u"h zu lesen* a#er au"h diese Ue#un' verloren* na"hde, sie diesel#en aus)endi' )u(te - und denn die .a"%e i, !ein'arten zu /0hren und die !einran%en i, 1uni a#zu$/l0"%en4 5R&,is"he Studien& p# =67#

    3hus the Huestion: hy does a !inzersto"hter sit before a field of heat instead of before a vineyardI -nd hy beneath a fig tree& and not under a grape arbourI Fhy is she not 2Vittoria* die s"h&ne !inzerin von Al#ano4& as -ugust ,estner& 2Ph# $#4& identified her in the title of the ninth essay in his R&,is"he Studien 5:erlin .=G97# )ertainly artists of the time ere not at a loss to find images suitable to identify a !inzersto"hter# Beafing through !arianne :ernhards Deuts"he Ro,anti%: .andzei"hnun'en 5!>nchen: Rogner J :ernhard& ./E67& for instance& one sees many e*amples that testify to this fact& in dra ings by artists such as Fran' <orny& Friedrich Nerly& 3heodor von

    Friedrich Nerly& 3d"hen unter !einran%en# 2)antiduggia !ampieri a Olevano4 ,unsthalle& :remen

    Friedrich Nerly& 2talienerin# 2Ornella E (enerdK Ottobre )aLano4 !useum der bildenden ,>nste& Beip'ig

    Rehbenit'& "ohann -nton Rambou*& and )arl Rottmann# Nerlys 3d"hen unter !einran%en 52)antiduggia !ampieri a Olevano4& :remen& circa .=697 belongs to this group& as does his 2talienerin 52Ornella E (enerdK Ottobre )aLano47#

    +t is often mentioned in passing that Overbecks portrait occupies an e*ceptional position among the many portraits of (ittoria )aldoni: his portrait appears different from the others M although the differences are seldom specifically identified# +n the present conte*t& it seems significant that (ittoria )aldoni is& in comparison ith other portraits of her& de-individualised in Overbecks painting M the marks of specific identity are erased# Not only are the features of her face far more idealised than in most other portraits& but they are rendered ith greater monumentality and ith an emphatic volumetric plasticity# 3hus (ittoria )aldoni appears at first much older than her fifteen years#

    <er& according to all reports& too slender and delicate body appears in the painting sturdy and earthbound# - concrete indication of the de-individualisation that has taken place is the omission of her red coral-bead necklace in the painted portrait# (ittorias o n necklace is still present in Overbecks preparatory study of her head& no belonging to the %taatliche ;raphische %ammlung 5!>nchen7& as it is in numerous other portraits of her# Further& Overbeck seems to have emphasi'ed the essential volumes of her forms so as to produce an idealisation of his sitter# :eauty& for Overbeck& is 2purity of all accidental or inessential faults& hich interrupt the form too minutely or hich disturb or eaken the impression4 5Diario& .#.9#.=..& in: <o itt& .==0& +& p# .=8: 2S"h&nheit4 d h Reinheit von allen zu/lli'en oder au(er)esentli"hen 3n'eln* die die For,en %leinli"h unter#re"hen und den Eindru"% st&ren oder s"h)"hen 47#

    Overbeck& Vittoria Caldoni& preparatory study of head# ;raphische %ammlung& !>nchen

    +t is also often emphasi'ed that Overbecks Buerin ears the local costume 5Tra"ht7 of -lbano& as she does in very many other portraits of her# :ut it can scarcely be overlooked that the broad surfaces of the materials from hich her clothes are fashioned are dra n& that is& painted in a flat and unspecific manner& all e*ecuted in Overbecks favoured contrasting local colours& and the costume is portrayed in terms of generalised outlines and universal features# 3he relatively small picture M less than a metre high M sho s a full-figure in an almost unreal close-up vie & although the figure is no here truncated by the frameD despite her closeness& she remains complete and some hat removed# +n her entirety (ittoria appears monumental and slightly abstract& the latter Huality reflected even in her remote& abstract& almost absent mental state M all this as if Overbeck has declined portraying the figure he represents in a conventional portrait& as if he has sought to transform her into someone else# -lthough the figure is often described M in early te*ts as ell as in Huite recent ones M as almost life-si'e& this is far from true#

    For the moment& let us look for signs of a ne identity& first in terms of simple pictorial attributes& the signs and symbols of identity# 3he field of heat behind (ittoria functions as a classic landscape or background attribute: closest to us& the stalks of heat still gro highD further distant the field appears to have been reaped& but this may be only an illusion# 3he heat field is the place of the maidens ork# 3his is confirmed by the presence of an instrument of labour at her side: the sickle for harvesting grain& represented in the foreground large and nearly ithin our reach# 3he hite sa""o 5sack7 beneath her& on hich she half- ay sits& at the same time& shielding it from pilferers& is her sack of grain& containing the fruits of her ork# +t should be noted that she& in fact& sits and supports her eight upon a lo halfcircle step-like ledge of earth& hich rises from the ground upon hich her feet rest# 3he position of <agar in Overbecks .a'ar in the Desert is Huite similar#

    Ludwig Gruner after Overbeck, Hagar in the Desert (1837-1841)

    3he various small plants and fruits 5t o figs& an apple& t o melons& or& Lust possibly& zu""he7 that Overbeck has painted are conceivably meant to convey some meaning& but M plant symbolism aside M they are perhaps simply pictorial accessories& beautiful to see& and ones that lend colour& tone& and atmosphere to the picture#

    On the other hand& the trunk of the fig tree& to the left& is Huite large& and it occupies a notably significant portion of the picture surface# +n the painting in the Neue Pinakothek& the fig tree is not easy to see in all its details# <ere strongly lit photographs may help& as can also a painted reduction of Overbecks Vittoria Caldoni& no in Fuppertal& probably e*ecuted by 3heodor Rehbenit'& as ell as a Na"hzei"hnun' by Rehbenit' from the year .=19 5,iel& ,unsthalle7# +n all these visual testimonies one sees hat appears to be an unhealthy& asting tree: a large gaping fissure e*tends vertically from the ground far up the length of the trunk# 3he outer layer of the trunk bends around the edges of this cleft& still bereft of bark# -bove& at the right side of the trunk& a branch has broken off& leaving the ra substance of the tree e*posed#

    Overbeck& Vittoria Caldoni& !>nchen

    3heodor Rehbenit'& Vittoria Caldoni& .=19# !useum :ehnhaus& B>beck

    .9

    Vittoria Caldoni& (on der <eydt-!useum& Fuppertal

    Rather than follo ing immediately the implications of this circumstance& let us turn our attention first to the concrete historical circumstances in hich Overbecks painting of (ittoria )aldoni as made: to Overbeck and his circle& to (ittoria )aldoni& to her portrait in !unich and others of her& and to her many admirers in Rome# 3o begin& let us ask about the painting in the Neue Pinakothek the Huestions& hoI& hatI& hereI& henI& hyI& and ho I# :rief ans ers to these Huestions ill consolidate the basis of information for re-reading Overbecks picture#
    F<O +% +N 3<A P+)3@RAI

    -s already mentioned several times& e see the fifteen-year-old (ittoria )aldoni# %he as born in .=9G in -lbano Ba'iale& southeast of Rome& and& in the .=89s& as unHuestionably 2la ,odella $i5 /a,osa di Ro,a 4 +n .=89 (ittoria as discovered before her house door by -ugust ,estner& the %ecretary of the ;erman ambassador to the (atican# 3hat& at least& is hat ,estner claims& although there are a fe indications that (ittoria as not then a complete

    ..

    unkno n 5cf# ,oelt'& 89.9& p# 89 and fig# .87# +n any event& her discoverer describes (ittoria as 2eine S"h&nheit* so voll%o,,en* )ie seit 3ens"hen'eden%en hier ni"hts 'esehen )ar4 5R&,is"he Studien& .=G9& p# =.7# !argaret <o itt& the Anglish biographer of Overbeck& describes her as 2die To"hter ar,er !inzerleute4 5+& p# 1=97# ,estner counted forty-four portraits of her that he had seen ith his o n eyes# -s a pictorial subLect& (ittoria as especially beloved by the Na'arene painters in Rome& among others by M besides Overbeck M %chnorr von )arolsfeld& Rehbenit'& Allenrieder& <ess& and %ettegast#
    F<-3 +% 3<A P-+N3+N;I

    +t is a painting by "ohann Friedrich Overbeck 5B>beck .E=/-Rome .=0/7 that at least by .=G6 as found in the Neue Pinakothek& and hich is still e*hibited there today# Oil on canvas& some hat less than a metre high 5=/&G : 0G&= cm7# 3he painting in the Neue Pinakothek is by far the best kno n of the portraits of (ittoria )aldoni#
    F<ARA -N$ F<AN F-% +3 P-+N3A$I

    3he early history of the painting takes place in Rome& beginning in the Finter of .=89-.=8.# On the reverse side of the painting& the stretcher frame 56eilrah,en7 bears a slip of paper ith the hand ritten inscription: 2Vittoria Cardoni NO )aldoniP von Al#ano 7 89 1ahre alt 7 von 1oh Friedri"h :#er#e"% aus ;0#e"% 7 'e,ahlt zu Ro, i, 1ahre 8<=8 4
    <OF $+$ 3<A P-+N3+N; )O!A 3O :AI

    )ro n Prince Bud ig + of :avaria& ho kne Overbeck as early as .=.=& ordered& apparently in late .=89& on the occasion of a subseHuent Roman soLourn& an oil painting by Overbeck of the already celebrated beauty& (ittoria )aldoni# )ontemporary reports about the commission are sparse# +t is sometimes suggested that Bud ig merely bought Overbecks painting after it as finished& but the ork as& in fact& e*pressly made on commission for the )ro n Prince& as& among other testimonies& a letter of )arl Friedrich von Rumohr to Overbeck 5.8#9/#.=8.7 makes clear: 2!ie steht es ,it de, Bilde /0r den 6ron$rinz>4 5Friedrich %tock& 2Brie/e Ru,ohrs4& in: 1ahr#u"h der Preussis"hen 6unstsa,,lun'en& :eiheft 'u :and 01& ./16& pp# 66& ..E7#
    F<Q F-% 3<A P-+N3+N; !-$AI

    3his is a Huestion difficult to ans er completely& and + shall attempt only a provisional ans er in hat follo s 5see in/ra7# Fhether Prince Bud ig thought first of a painting by Overbeck& or hether a desire for a portrait of (ittoria )aldoni came first is not entirely clear from the contemporary testimonies that

    .8

    survive and have been identified# 3he portrait of (ittoria appears to be Bud igs single direct commission to Overbeck& although he did buy Overbecks +er,ania und 2talia in .=66& and later& in .=G.& he acHuired a dra ing by the artist 5<o itt& ++& p# 18G7& and& in .=GE& Overbecks 3aria and Elisa#eth )ith their Children& although again not directly from the artist# On the other hand& the Prince bought a portrait bust of the 2s"h&nen Al#aneserin2 5(ittoria )aldoni7 from the estate 5Na"hlass7 of the sculptor Rudolf %chado & ho had died only shortly earlier in Rome 5;old& 3odell%ult& 899/& p# .GED ;laser& et al & 8991& vol# .R6& pp# 666-66GD cf# also $oc# 06ED .& 6: Brie/)e"hsel* ;ud)i' 2 u 6lenze& 8991D .=69 in the Neue Pinakothek7# +n .=8G& he purchased a further bust of (ittoria from the sculptor Amil Folf 5Fagner& Brie/e No# 601& 6/0& 6/=D Deuts"he 60nstler& ./=.7# Bud ig also commissioned single portraits of +talian ladies& most notably of his friend& !arianna !archesa Floren'i 5from the -utumn of .=86: <einrich <essD see (ignau-Filberg& 8996& pp# .0=-.E.7# possible conne*ion of the )aldoni portrait ith Bud igs S"h&nheiten'alerie 5.=86-.=G9D first mentioned in !ay .=8.7 ill be e*amined belo #

    -RR+(-B +N !@N+)<:

    @nder pressure from the North& the painting as apparently completed more rapidly than Overbeck ished and then consigned to the )ro n Princes agent in Rome for shipment to !unich in November .=8.# - contemporary rote in the 6unst#latt 5Nr# .=& 1#96#.=88& pp# E9 f# 7: 2S"hade* da( unser 60nstler 'en&thi't )ar* dieses Bild au/ einen #esti,,ten Ter,in a#zulie/ern* und er den .nden ni"ht die?eni'e Vollendun' 'e#en %onnte* )el"he sonst i, +anzen +e,lde so er/reut 4 3he contributor of the 2Na"hri"hten aus Ro,4 signs his report 21oh v F 4& hich is& in reality& a pseudonym used by "ohann $avid Passavant 5"ohannes vNonP# FNrankfurtP#D see also: Overbeck to RumohrD G#9.#.=88: 2als i"h 'en&thi't )ar* das Bild aus den .nden zu 'e#en4D %tock& p# 66& no# 867# On .E# November .=8. the notice of receipt in !unich reads: a 2Buerin von Al#ano4 5;old& 899/D <agen& ./80& p# ./D <o itt& +& p# 1=.& note 8D ++& p# 19E7# +n -ugust .=86 a frame for the painting as made: 2F0r die Al#aneserin4 5!esserer& ./00& p# G//& No# G.1R17# -lso in .=86: Overbecks 2Al#anerin4 5!esserer& ./00& p# GE0& No# 1/0R07# 3hus it appears that the picture as M rather than as a portrait of a specific& kno n person M vie ed as a characteristic representative of a place-specific 5-lbano7 or a ork-specific type# No here is the painting mentioned as a portrait of (ittoria )aldoni& or even (ittoria& as a distinct and ell-kno n cult figure 5see: ;old& 3odell%ult& 899/& pp# .00 ff#7#

    .6

    O(AR:A), -RO@N$

    .=89:

    +n .=89 Overbeck had been in Rome for a decade# <is closest friend& Fran' Pforr& had died ten years earlier# 3he height of the ;u%as#und is long past# Fith the )asa :artholdy frescoes the first public artistic success has been attained# 3 o years earlier& Overbeck had married& and his son& -lfons& as born on 86 -ugust .=./# 3he ork on the )asa !assimo frescoes is proceeding in a desultory fashion& not least o ing to Overbecks d indling enthusiasm for 3assos +erusale,,e li#erata& hich as proving to be ill-adapted for treatment as a religious allegory 5-ndre s& ./017#

    O(AR:A), -N$ POR3R-+3@RA:

    -side from self-portraits& family-portraits& and friendship-portraits 5all personal concerns of the artist7& Overbeck as seldom active as a portraitist# -lthough his dra ings sho Overbeck to have been gifted in capturing likenesses& he appears to have painted no formal portraits on commission# +n later years& he as& ho ever& illing to undertake a portrait of Pius +S& and around .=G0 the Pope granted sittings for his portrait 5-tkinson& .==8& p# 1G7# :ut Pius +Ss portrait as eo i$so a )hristian picture# +n her e*tensive list of his orks& Overbecks early biographer& !argaret <o itt& mentions only four portraits& all from Overbecks first years in Rome# +t as in these early years that :arthold ;eorg Niebuhr& the Prussian ambassador to the (atican& mentions Overbecks less than favourable financial circumstances& in a letter to Overbecks father 5.6#90#.=.=7 ritten to recommend the young painters engagement to Nina <artl# Niebuhrs hope is that Overbeck ill persuade his present patron& the !archese !assimi& 2ih, zu erlau#en* von Zeit zu Zeit Portrts zu ,alen* eine Ar#eit* die einen sol"hen 60nstler hier sehr rei"hli"h #ezahlt )ird 5###74 5+ hope that !archese !asimi can be induced to allo him to paint portraits from time to time& a task for hich such an artist is very ell paid here# N<asse& .===& pp# .E6-.E1D Frank& 899.& p# E8P7# :ut even Niebuhr thought that the 2#e)underns)0rdi'en Cartone der 3assi,is"hen 3alere@en4 ere vastly more important# +t is not clear that Overbecks ishes in this matter corresponded to Niebuhrs hopes# +n Overbecks situation& portraits ere to be painted to achieve financial independence and not to achieve greatness in art# Overbeck looked upon himself as a history painter 5.istorien,aler: -ndre s& ./01& p# G67& and he subscribed to the traditional hierarchy of genres 5%tock& ./16& p# .1: Rumohrs Vertra' ith Overbeck& dra n up by Overbeck: 2N###P z)is"hen .errn Friedri"h :ver#e"% .istorien 3aler 'e'en)rti' in Ro,4& .=./7#

    .1

    +n reality& Overbeck appears to have avoided portrait commissions# +n later years he did not even ant his orks to be sho n in e*hibitions& as he e*plained in a letter to ;raf Rac'yTski 5(alentin& .===7# Overbecks credo as e*pressed in his Triu,$h der Reli'ion in den 60nsten 5.=19D %tUdelsches ,unstinstitut7#

    Overbeck& Triu,$h der Reli'ion in den 60nsten&.=19# %tUdelsches ,unstinstitut& Frankfurt am !ain

    +n the time around .=8.R88& hen the Na'arene painter "ulius %chnorr von )arolsfeld as enthusiastically preparing to paint his portrait of the beautiful 2Al#aneserin4 for "ohann ;ottlob von Vuandt& %chnorrs letters cast a ne light on Overbecks vie s concerning such a portrait commission# %chnorr approached his commission ith his typical engagement and industrious& optimistic enthusiasm# -fter a first attempt to paint his portrait of (ittoria )aldoni& one in hich the girl as sho n ith a spindle in her hands and had momentarily interrupted her ork& looking out from the picture to ards the beholder& %chnorr attempted to formulate a ne conception for the portrait# +n October .=88& %chnorr rote to Vuandt about a conversation he had lately had ith Overbeck about the portrait he as painting: Overbeck had called %chnorrs attention to the circumstance that %chnorrs first idea for the portrait& in its overall 2Anordnun' si"h ni"ht ,it de, )ahren Portrtstile vertra'e 4 22n de, er ,ir die vorz0'li"hsten Portrts ver'e'en)rti'te* zei'te er ,ir* da( die 'r&(ten 3eister in diese, Fa"h es ver,ieden* die $ortrtierte Person in

    .G

    ir'endeiner .andlun' zu zei'en Es ist ni"ht* als she ,an diese Personen zu/lli'* sondern als stellten sie si"h de, Bes"hauer 'e/lissentli"h in de, +runde ihres !esens dar4 5p# 1.G7# 3hereby Overbeck comes close to :urckhardts conception of the EAistenz#ild M 2ohne 0#er/ra"htende erzhleris"he 3o,ente4: the representation of a 2ruhi'en Daseins4 as an almost universal and timeless moment& rather than a picture of character# -lthough Overbeck rites in his diary on .. %eptember .=..& 2Bei, Portrait,alen soll der Endz)e"% sein* den Chara%ter der vorzustellenden Person ri"hti' au/zu/assen und ,it ,&'li"hster Treue na"hzu#ildenB dies zu errrei"hen %ann au"h die Be%leidun' und sel#st der ein/a"hste .inter'rund ,it)ir%en4 5<o itt& .==0& +& pp# .E6-.E17& in the painting in the Neue Pinakothek& Overbeck appears studiously to avoid portraying the girls nature and character# Aven her youth is veiled# +n the commission for a portrait of (ittoria )aldoni for a royal ;erman patron& Overbecks evasion of classical portraiture in the sense of the likeness of a specific person& characteri'ed as an individual& goes far beyond the escape into essentiality that defines EAistenz,alerei# +f perhaps in her picture (ittoria )aldoni remains a model& she is a model ho at the same time seems to become someone else& in an image that proposes a shift& or shifts in genre#

    RUT. AND B:AZ& .=.=& OR <OF N+N- O(AR:A), +% R@3<:

    Overbecks engagement and marriage took place in Rome& distant from his parents and family in B>beck# <is parents ere destined never to see his fiancWe Nina <artl& ho became Overbecks ife in October of .=.=& and& indeed& they never sa their son again& after his departure for +taly in the %pring of .=.9# <aving earlier promised his parents a portrait of Nina& by mid-$ecember .=.= Overbeck had prepared an elaborate and very finished dra ing depicting the story of Ruth and :oa'& associating the theme ith his o n marriage and taking Nina as the model for the figure of Ruth#

    .0

    Friedrich Overbeck& Ruth in the Fields o/ Boaz& .=.=# !useum :ehnhaus& B>beck

    3o introduce his ife to his parents& Overbeck sent this dra ing to B>beck as a gift& riting upon the dispatch of the dra ing that 2eine +estalt darin na"h ,einer Nina 'ezei"hnet ist - Es ist Ruth au/ de, A"%er des Boas* die i"h ei'entli"h /0r Nina zei"hnete* die Sie als +es"hen% von 2hr anzusehen ha#en#4 On its arrival in B>beck& Overbecks overLoyed father rote to his son: 2Sie ist ein'etro//en* die s0(e NinaCRuth* sa,t Boas de, )eidli"hen 3anne4 : )ie ha#en )ir 'es"h)ei't* )ie ha#en Freunde und Be%annte 'es"haut* #e)undert4 !ie sind )ir seli' in diese, Besitz44 5<o itt& +& p# 1197# +n applying the epithet )eidli"h 5 ell-to-do7 to :oa'& )hristian -dolph Overbeck appears to have held the :iblical description of :oa' in his memory& or perhaps he had inspected his sons dra ing in light of the :ook of Ruth#
    2As ar auch ein !ann& der Naemi !annes Freund& von dem ;eschlecht Alimelechs& mit Namen :oas& der ar ein eidlicher !ann#4 5Ruth 2: 1; Luther Bible, 1545).

    - separate study of Overbecks ife Nina as Ruth& made at this time 5no National ;allery of )anada7& as e*hibited at the Frankfurt Na'arene e*hibition in ./EE 5p# 8GE& No# A G97# +nscribed& 2Villa Palo,#ara d Dth Nov 8<8<4& it

    .E

    sho s Nina& 2)ie sie ein,al zu/lli' ,it au/'es"h0rzte, Ro"% aus de, +arten heraus%a,#4

    Friedrich Overbeck& Nina :ver#e"%: Stud@ /or the /i'ure o/ Ruth National ;allery of )anada& Otta a

    +n the finished dra ing& still in B>beck& the head of Ruth as not Huite a portrait& but still recognisably Nina& as Overbeck rote: 2!enn 'lei"h der 6o$/ 'erade %ein Portrait zu nennen ist* do"h das 0#ri'e so 'etreu na"h ihr 'ezei"hnet ist* da( ?eder,ann sie darin er%ennt 4 Overbeck further promises to send a proper portrait dra ing ith the 2Z0'e ihres +esi"hts4 5"ensen& ./08& p# 6017# 3his may be the pencil dra ing& Portrait o/ the ArtistEs !i/e 5.=.=D -shmolean !useum& O*ford7 identified by -ndre s 5Nazarenes& ./01& p# .99& No# .=b7#

    Overbeck& Portrait o/ the ArtistEs !i/e* Nina# -shmolean !useum& O*ford

    .=

    Overbeck& 3he -rtist and his ife& Nina# $etail from: The ArtistEs Fa,il@# !useum :ehnhaus& B>beck

    +f Ninas features e*hibit a slightly plainer ;ermanic beauty in the -shmolean portrait than in the B>beck Ruth and Boaz& the portraits of the t o dra ings are not very different& both e*pressions of Overbecks ideal female type# %imilarly& Ninas face often seems to lie behind Overbecks images of the !adonna& in particular& in that in )openhagen#

    Overbeck, 3adonna and Child& .=./# 3horvaldsen !useum& ,Xbenhaven

    ./

    - further instance in hich Overbeck represents his ife 5and son7 in a biblical illustration& Das S"her/lein der ar,en !it)e& is found in a pencil dra ing 5Private collection& circa .=897 sho n at B>beck in the Overbeck e*hibition of ./=/ 5cat# no# .967# +n the biblical-historical dra ing sent to his parents in B>beck& Overbeck has obLectified the likeness of his ife to assimilate her into the Old 3estament narrative# Ruths reception by :oa' in his grain field in :ethlehem and their subseHuent marriage constitutes the resolution of her story in the :ook of Ruth& and transforms her into a central figure of the )hristian narrative as the progenitri* 5Sta,,,utter7 of the royal house of +srael& the great-grandmother of ,ing $avid& the founder of the <ouse of $avid& ho as chosen to become ,ing from among the sons of "esse of :ethlehem& and ho as ultimately the royal ancestor of )hrist#
    GENEALOGY: THE DESCENT OF DAVID FROM RUTH

    Alimelech

    Naomi

    :oa'

    Ruth

    !ahlon

    Orpah

    )hilion

    Obed

    "esse

    $avid

    Represented is the scene here Ruth& ho& having come ith Naomi to :ethlehem from her native !oab& has gleaned grain left by the reapers in :oa's

    89

    heat fields# +t is the moment hen :oa' first sho s his favour to Ruth# +n Overbecks dra ing :oa' elcomes the young ne comer& receiving her in the circle of his orkers#
    G# 3hen said :oa' unto his servant that as set over the reapers& Fhose damsel is thisI 0# -nd the servant that as set over the reapers ans ered and said& +t is the !oabitish damsel that came back ith Naomi out of the country of !oab: E# -nd she said& + pray you& let me glean and gather after the reapers among the sheaves: so she came& and hath continued even from the morning until no & that she tarried a little in the house# =# 3hen said :oa' unto Ruth& <earest thou not& my daughterI ;o not to glean in another field& neither go from hence& but abide here fast by my maidens: /# Bet thine eyes be on the field that they do reap& and go thou after them: have + not charged the young men that they shall not touch theeI and hen thou art athirst& go unto the vessels& and drink of that hich the young men have dra n# 5Ruth& 8:G7

    Aven in the landscape of the background the t o levels of meaning M biblical narrative and topical reference to the present M are maintained# 3he t o to nscapes to the left and right do not sho the <oly Band# -t the left& behind :oa'& is an +talian mountain to n& apparently referring to Overbecks spiritual home in +taly& and& at the right& behind Ruth& a ;othic ;erman city& hich some have identified ith (ienna& here Nina <artl as born& dual topographical references to the present-day actors in the scene# 3hus the story of Ruth assumes a Huasi-universal character& as a marriage-picture& applicable to Overbecks o n life# +n the ords ritten about the dra ing by Overbeck and by his father& there is no suggestion that the double-identity of Nina-Ruth presented either of the men a problem& either of presentation or of comprehension# 3he image had simply t o levels of reality# Nina provided the model for Ruth& and& ithin the narrative& she is Ruth& but Ruth as enacted by Nina& and& cast in this r?le& she is& at the same time& recogni'ably Nina# Nina is also more than a model& for her portrait ithin the narrative allo s the beholder to apply the story to her marriage# Ruth& Ruth and Boaz& and Ruth and Nao,i: all these ere or became& perhaps in Overbecks ake& subLects beloved by the Na'arenes& depicted especially in the .=89s& and& in particular& by "ulius %chnorr von )arolsfeld and Philipp (eit&

    8.

    both men close to Overbeck& and also by "oseph -nton ,och& ho represented the meeting of Ruth and :oa' in dra ings and paintings at least si*teen times#

    "ulius %chnorr von )arolsfeld& Ruth and Boaz& .=8E# ,upferstichkabinett& ,unsthalle& <amburg

    "oseph -nton ,och & ;ands"a$e near :levano )ith Ruth and Boaz# Private )ollection& .=86R.=8G

    Returning to Overbecks Vittoria Caldoni& it has doubtlessly occurred to some readers that Overbeck may have cast her in the r?le of Ruth# - closer

    88

    e*amination of the painting ill yield a number of confirmations for this conclusion# Fhen Overbeck completed his 2talia and +er,ania 5Neue Pinakothek7 in .=8=& he rote to "ohann Friedrich Fenner& the man ho as buying this ork begun in Overbecks youth& in .=..& that in completing the painting 5 hich initially as to represent %hulamit and !aria7& he had felt the need to clarify his youthful conception by settling upon a more definite meaning& as if to ans er the often asked Huestion& Fhat does this painting actually make visibleI Fhat does it meanI 52Es trat n,li"h in s$terer Zeit der Ausar#eitun' nat0rli"h das Bed0r/ni( ein* der ?u'endli"h un%laren Vorstellun' eine #esti,,tere Bedeutun' unterzule'en* )ozu s"hon die hu/i'e Fra'e: )as denn das Bild ei'entli"h vorstelle> veranla(te 47#

    !AS DENN DAS B2;D E2+ENT;2C. V:RSTE;;E>

    -s noted above& heat fields are the site of Ruths ork& as she gleans on the lands of :oa'#

    8# -nd Ruth the !oabitess said unto Naomi& Bet me no go to the field& and glean ears of corn after hi, in hose sight + shall find grace# -nd she said unto her& ;o& my daughter# 6# -nd she ent& and came& and gleaned in the field after the reapers: and her hap as to light on a part of the field #elon'in' unto :oa'& ho )as of the kindred of Alimelech# 5Ruth& 8: 8-67

    86

    "# -# ,och& ;ands"a$e )ith Ruth and Boaz& ca# .=86-8G# !il aukee -rt !useum

    5$etail7

    Aduard :endemann& Ruth in the !heat Fields o/ Boaz& .=69#

    81

    ;ustave $orW& RuthD detail from: Boaz and Ruth& after .=G9#

    %talks of heat become Ruths primary attribute:

    <ugues !erle& Ruth& .=E0#

    Ruth

    Bouis :ruck-BaLos& Ruth

    %ome of the representations of Ruth could as easily be a personification of %ummer& as in this dra ing by Overbecks friend& Ad ard von %teinle& hich belongs to a set of Die Vier 1ahreszeiten 5.=0.7 5-# !# von %teinle& Ed)ard von Steinle& ./.9& no# 6087:

    8G

    <ugues !erle& Ruth& .=E0#

    Ad ard von %teinle& Su,,er& .=0.#

    -le*andre )abanel& Ruth& .=00R0=#

    80

    +n the modern visual imagination& heat fields or stalks of heat alone have provided almost a logogramm of Ruth:

    3he hand-held sickle ith a curved blade 5sometimes depicted as a scythe7 is not strictly speaking a proper attribute for Ruth& for the activity that she performed in :oa's fields as not that of reaping& or harvesting& using a sickle to cut the stalks of heat& binding them in sheaves& and piling the sheaves in conical heaps& but that of gleaning& that is& collecting the remains of grains& spiklets& and stalks of heat left behind by the reapers# Nevertheless& the sickle serves as a referential attribute to identify the locale of the story in Overbecks Ruth und Boas 5B>beck& .=.=7 and "ulius %chnorr von )arolfelds subseHuent

    8E

    representations of the same theme 5(adu'& .=8GD <amburg& ,unsthalle& .=80 and .=8ED Bondon& National ;allery& .=8=7 and thereby to reveal the identity of the main actors#

    "ulius %chnorr von )arolsfeld& Ruth and Boaz& .=8=# National ;allery& Bondon

    Paintings are not photographs of biblical histories& and painters avail themselves of visual e*pedients in their e*position# -s such& Overbeck has placed the sickle prominently in the foreground& to the right# +ts blade points to the hite sack or bundle& over hich (ittoria )aldoni sits and hich she partly conceals#

    +f the sickle is not an instrument of ork that Ruth is sho n holding in her hand in biblical histories 5but single figures of Ruth do sometimes hold a sickle7& the bundle or heat sack is not sensu stri"to something that pertains to omen

    8=

    orking in the field to harvest heat# +f (ittoria is merely cast as a field orker& her task is to cut the stalks and bind them into sheaves# Fhy then does she sit on a grain sackI 3he bundle or sack containing heat belongs instead to gleaners# %ometimes it assumes the form of the gleaners apron& dra n up ard to collect the spiklets and grains of heat# Ruth is the archetypical gleaner#

    "ean-FranYois !illet& The +leaners& .=GE# !usWe dOrsay& Paris

    Pieter Frans'# de ;rebber& Ruth and Nao,i# !useum der :ildenden ,unste& ,Xpenhagen

    -ntonio )ortina FarinZs 5.=1.M.=/97& Ruth# !useu de :elles -rts& (al[ncia

    8/

    "an (ictors& Boaz and Ruth& .0G6# -rt !arket& Ne Qork

    +n the fields of :oa'& Ruth gleans the remains of the heat harvest& and finds favour and protection from :oa' 5Ruth 87:
    =# 3hen said :oa' unto Ruth& <earest thou not& my daughterI ;o not to glean in another field& neither go from hence& but abide here fast by my maidens: /# ;et thine eyes #e on the field that they do reap& and go thou after them: have + not charged the young men that they shall not touch theeI and hen thou art athirst& go unto the vessels& and drink of that hich the young men have dra n# .9# 3hen she fell on her face& and bo ed herself to the ground& and said unto him& Fhy have + found grace in thine eyes& that thou shouldest take kno ledge of me& seeing + a, a strangerI ..# -nd :oa' ans ered and said unto her& +t hath fully been she ed me& all that thou hast done unto thy mother in la since the death of thine husband: and ho) thou hast left thy father and thy mother& and the land of thy nativity& and art come unto a people hich thou kne est not heretofore# .8# 3he BOR$ recompense thy ork& and a full re ard be given thee of the BOR$ ;od of +srael& under hose ings thou art come to trust# .6# 3hen she said& Bet me find favour in thy sight& my lordD for that thou hast comforted me& and for that thou hast spoken friendly unto thine handmaid& though + be not like unto one of thine handmaidens#

    69

    Rembrandt& Ruth /inds Favour )ith Boaz& circa .06E-19# ,upferstichkabinett der %taatlichen !useen& :erlin

    Bater& at Naomis urging& Ruth returned at night to :oa'& to the threshing floor here he slept:
    .1# %o she lay at his feet until morning& but got up before anyone could be recogni'edD and he said& 2No one must kno that a oman came to the threshing floor#4 .G# <e also said& 2:ring me the sha l you are earing and hold it out#4 Fhen she did so& he poured into it si* measures of heat and placed the bundle on her# 3hen he returned to his house in the to n# 5Ruth& 8: .1-.G7

    3hus :oa' confirms his promise to marry Ruth by casting grain into her veil# Rembrandt represents this scene from the :ook of Ruth& sho ing :oa' filling Ruths veil or sha l& hich& rapped into a bundle or heat sack& he placed upon her# From this union issues the 3ree of "esse#

    6.

    Rembrandt& Boaz "astin' +rain into RuthEs Veil& ca# .01G# RiLksmuseum& -msterdam

    3he visual prominence of the sa""o beneath (ittoria )aldoni is o ed to its hiteness& a colour determined first of all by Overbecks pictorial Re'ie in the painting& a ork of unusual colouristic brilliance# -lthough today heat sacks are often hite& in Overbecks day ordinary ones ere bro n& made of fibres such as hemp& as in "ulius %chnorrs Ruth and Boaz in Bondon 5su$ra7#

    -ndrea $el %arto& ;a 3adonna del Sa""o# %%# -nnun'iata& Firen'e

    68

    +n the realm of pictures& so present in the imagination of a retrospective artist such as Overbeck& it is difficult not to recall -ndrea $el %artos 3adonna del Sa""o& hich is also identified as a Ri$oso and here the hite sack is a travel sack& perhaps suggesting an association of the Lourneys of )hrists parents ith the Lourney of Ruth and Naomi from !oab to :ethlehem& Naomis native to n and the place here :oa's fields ere located#

    <endrick ;olt'ius& :r$ah leavin' Ruth and Nao,i& .GE0#

    66

    - further painting called the 3adonna del Sa""o as found in Florence& here Overbeck visited for a length stay in the summer of .=8.& and here he as initially a guest of )arl Friedrich von Rumohr:

    Pietro Perugino& 3adonna del Sa""o& .G99 circa# ;alleria Palatina 5Pitti7& Firen'e

    -le*ander :ida& Fli'ht into E'@$t& .=E1#

    61

    Other paintings of the Fli'ht into E'@$t in hich the sa""o di via''io figures prominently are:

    Fra -ngelico& .1G.-G6 )aravaggio& .G/0-.G/E !useo di %# !arco& Firen'e $oria-Pamphili& Roma

    !urillo& .01E-.0G9 $etroit

    )avaliere d-rpino !F-& :oston

    3he heat field& the sickle& and the sack or bundle of grain all relate to the locale of Ruths meeting ith :oa' in his heat fields and to their subseHuent union and issue# 3he same elements are found in "ulius %chnorrs depictions of this subLect& seen above: Ruth and :oa'& the heat field& the sickle& and Ruths bundle of heat# %chnorr also includes the ater vessel from hich& follo ing :oa's instructions& Ruth is to drink#

    "ulius %chnorr von )arolsfeld& Ruth in the Fields o/ Boaz& .=8E# ,upferstichkabinett 5+nv#-No# ./G1R8..7& ,unsthalle& <amburg

    Ruth& 8& /: Bet thine eyes be on the field that they do reap& and go thou after them: have + not charged the young men that they shall not touch theeI and hen thou art athirst& go unto the vessels& and drink of that hich the young men have dra n#

    6G
    3<A F+; 3RAA:

    :ut hat are e to make of the fig tree before hich (ittoria )aldoni sitsI Fig trees gro in vineyards& as many Na'arene paintings& dra ings& and prints testify& but the maiden is not sho n in a vineyard# $oes the fig tree have a conne*ion ith the story of RuthI - striking trait of Na'arene paintings are large symbolic trees planted beside or behind the principal actor or actors in a picture# 3he allegorical& attributive or referential significance of such trees is often associated ith places or ith nationality# +n the mural paintings of the )asa :artholdy& Filhelm %chado sho s "acob as the (ine of +srael& represented almost gro ing from his shoulders#

    Filhelm %chado & Die 6la'e 1a%o#s u, 1ose$h& .=.0-.=.E# -lte Nationalgalerie& :erlin 5formerly )asa :artholdy& Roma7

    60

    3he same motive recurs in the (ine of +srael that gro s up ard on the centre illo tree in Aduard :endemanns 1e)s 3ournin' in EAile 5.=6.R.=667#

    Ferdinand Rusche eyh after Aduard :endemann& 1e)s 3ournin' in the Ba#@lonian EAile#

    Aduard :endemann& 1e)s 3ournin' in the Ba#@lonian EAile& .=6.R.=68# Fallraf-Richart'-!useum& ,\ln +nscription in the angles of the lunette: 2An den !assern zu Ba#ilon sa(en )ir und 7 )einten* )enn )ir an Zion 'eda"hten 4

    6E

    +n Philipp (eits lunette of Die Sie#en /etten 1ahre& an allegory of plenitude& the palm tree ith dates in the centre stands for Agypt& the scene of the Agyptian captivity of the )hildren of +srael in Agypt#

    Philipp (eit& Die sie#en /etten 1ahre 5formerly )asa :artholdy& Roma7& .=.E# -lte Nationalgalerie& :erlin

    Philipp (eit& dra ing: Die sie#en /etten 1ahre 5five assembled sheets7# %old at auction& 8.#91#899E: (an <am& ,\ln

    6=

    -fter (eit returned to ;ermany& prominent trees function as national or nationality attributes:

    left: 2tal@& .=61# %tUdelsches ,unstinstitut& Frankfurt am !ain# Baurel& )ypress& Pine# right: +er,an@& .=61# %tUdelsches ,unstinstitut& Frankfurt am !ain# Oak#

    +n Overbecks EA$ulsion o/ .a'ar and 2sh,ael #@ A#raha, 5-ltona !useum& Norddeutsches Bandesmuseum in <amburgD .=69R61-.=1.7& the vine in the centre symbolises the line of +srael hich ill no pass through +saac& hile& at the left& the large fig tree identifies the land and nation of +srael from hich the Agyptian handmaiden of %arah and her son must depart for the $esert of Paran

    6/

    in -rabia# 3he closed contour and intimate emotional relationship of the group of %arah seated upon the floor ith +saac both closely recall !ichelangelos ancestors of )hrist of the %istine )eiling#

    Overbeck& EA$ulsion o/ .a'ar and 2sh,ael #@ A#raha,& .=69R61-.=1.# -ltona !useum& Norddeutsches Bandesmuseum& <amburg

    "oseph von F>hrichs 1a"o# and Ra"hel at the !ell 5Fien& Csterreichische ;alerie :elvedere& .=607 sho s& at the right& the flight of Asau& and& at the centre and left& the meeting of "acob and Rachel& from hich issued "oseph and the continuation of the line of +srael& indicated by the fig tree at the left border# 3he vine& the fig tree and the olive are all associated ith +srael& and the fig tree is a fit emblem of the nation of +srael& for in many biblical references& the fig and the fig tree constitute a reference to +srael#

    19

    "oseph von F>hrich& 1a"o# and Ra"hel& .=60# Csterreichische ;alerie :elvedere& Fien

    PARAB;ES:

    - sturdy oak tree anchors the composition of Overbecks illustration of the Parable of the Fheat and 3ares 5+lei"hnis vo, Un%raut unter de, !eizen7# 3he tare 5#i#li"al7 is a darndel& a no*ious grass& or eed& that gro s in grain fields#

    .E# Overbeck& Para#ola de #ono se,ine et de zizaniis 5$as ;leichniss vom gutem %amen und vom @nkraut7& n# d# Ncirca .=G9P# 2Franciscus NFran'P ,eller sculpt#4

    1.

    3his image appears in Overbecks Darstellun'en aus den Evan'elien 519 plates7& hich as published in ;erman& French& +talian& and Anglish editions in the .=19s and .=G9s& beginning in .=16# +n the parable of the heat and tares 53atthe) .6: 81-697& the ,ingdom of <eaven is likened unto a man ho so ed good seed in his heat field# :ut& 2 hile men slept& his enemy came and so ed tares among the heat& and ent his ay4 53atthe) .6: 8G7# 3he o ner of the field instructed his orkers to let both heat and tares gro until harvest& and& only then& first reap the tares and burn them& bringing then the heat to his barn# Fhen )hrists disciples asked for an e*planation of the parable of the tares of the field& in )hrists e*plication 53atthe) .6: 60-117& the %o er of tares is the devil& the %o er of good seed& the %on of !anD the good& the )hildren of <eaven& are the heat& the icked& the tares# 3he harvest is the day of Ludgement& hen the children of the ,ingdom ill be saved and the evil burned# 3he significance of the large tree has not been identified& but in -braham :loemarts !heat and Tares 5:altimore7& the sleepers lie beside four large oaks supporting a ooden house ith doves& perhaps a reference to the <ouse of ;od& or the ,ingdom of <eaven 5Rei"hF+ottesD .i,,elrei"h7& although the :altimore museum sees it as an allegory of sloth#

    -braham :loemart& Para#le o/ the !heat and the Tares& .081# Falters -rt !useum& :altimore

    3he oak is& ho ever& a sacred tree& and the birds may simply be the birds of heaven& as "oseph Ritter von F>hrich portrayed them in his +lei"hnis von den ;ilien des Feldes und den V&'eln des .i,,els 5!atthe 0: 80-6.7& a minutely dra n sheet from .=E6& here )hrist and his disciples sit under a massive oak

    18

    on hich come to rest the :irds of <eaven# 3he birds so not& and reap notD they have neither storehouse nor barn#

    "oseph von F>hrich& +e#et die ;ilien des Feldes und die V&'el des .i,,els& .=E6# $ra ingD inscribed: 2Na"h 3atthius Ca$ G Vers =GFH8 F0hri"h inv I del A D 8<JH#4

    F>hrichs massive oak nearly seems inspired by Overbecks representation of the !heat and Tares in his Evan'elien& and perhaps it& too& should seen as a reference to the ,ingdom of <eaven# 3he episode of the Fheat and 3ares as included in Overbecks Evan'elien& and& although it might seem a some hat obscure event& 3atthe) .6 contains one of the central ans ers of )hrist in the scriptures about the use of parables in his teaching 5.6: .9-.E and 61-6G7# Fhen his disciples asked hy he spoke in parables& )hrist ans ered 5.6: ..7: 2:ecause it is given unto you to kno the mysteries of the ,ingdom of <eaven& but to them it is not given4& thus fulfilling the prophecy of Asaias#4 61: 2-ll these things spake "esus unto the multitude in parables& and ithout a parable spake he not unto them#4 6G: 23hat it might be fulfilled hich as spoken by the prophets& saying& + ill open my mouth in parablesD + ill utter things hich have been kept secret from the foundation of the orld4 5.6: 61-6G7# Overbecks fascination ith parables& in particular& and that of the Na'arenes& in general& can scarcely be over-estimated# 3he study of this topic as begun in a ground-breaking article by Frank :>ttner in ./E/#

    16

    +n Overbecks VittoriaCRuth& if the fig tree is meant to suggest a reference to the nation or people of +srael& it is also an attribute of place& of the <oly Band# +ts function is as a 3ree of "esse& standing for the ;enealogy of )hrist& for the rene al of the line of Alimelech by Ruth and :oa'& and for their establishment of the <ouse of $avid through their son Obed& the father of "esse& ho& in turn& fathered $avid& the ,ing of +srael& of hom "esus of Na'areth as a descendant# Possibly Overbeck intended ith his image of the asting& fissured& and broken tree to suggest an allusion or symbolic reference to the parable of the barren fig tree 5+lei"hnis vo, Fei'en#au, ohne Fru"ht7 and its parallel in the story of the broken line of Alimelech and Naomi& hich& through Ruth& as rene ed and became fruitful again# +n both the rene al symbolised is that of +srael#
    3<A P-R-:BA OF 3<A :-RRAN F+; 3RAA:

    )arl Rahl 5.=.8-.=0G7& The Para#le o/ the Barren Fi' Tree# Csterreichishe ;alerie :elvedere& Fien 2;u"as Ca$ 7 8H Vers J < 4

    +n the brief parable of the :arren Fig 3ree& the planter of a vineyard sought figs on a barren fig tree and& finding none& ordered it to be cut do n# :ut the vineyard keeper appealed to allo the tree another year to bear fruit 5;u%e .6: 0/7& holding out hope that a barren fig tree ill bear fruit ne*t year#
    E-=: 2-nd he ans ered unto him& Bord& let it alone this year& till + shall dig about it& and dung it#4

    11

    "ames "acHues "oseph 3issot& The Vine Dresser and the Fi' Tree& .==G-/G# 3he :rooklyn !useum

    Para#le o/ the Fi' Tree& from: 3others Stories /ro, the Ne) Testa,ent& Philadelphia ./90#

    Christ and the Barren Fi' Tree& "ames "acHues "oseph 3issot& .==G-/G# 3he :rooklyn !useum

    Christ and the Fi' Tree& from: 3other Stories /ro, the Ne) Testa,ent& Philadelphia ./90#

    3he planter is usually seen as a figure of the Bord 5or )hrist7& and the vineyard keeper& as )hrist# 3he parable& as reported by Buke& is often identified ith )hrists curse of a barren fig tree 53ar% ..: .8-897& that it never bear fruit again& an incident that follo s Lust after his entry into "erusalem# !ark gives another

    1G

    version of the incident 5.8-.17: )hrist 2found nothing but leaves& for the time of figs as not yet#4 The Para#le o/ the Buddin' Fi' Tree: 3his eHually brief parable of a second fig tree 5+lei"hnis vo, Fei'en#au,7& no a budding one& is a sign of the imminent coming of the ,ingdom of ;od or& alternatively& of the re-establishment of the nation of +srael& in hich the fig tree is an image of the nation of +srael# 3he nation of +srael as a representation of the true ,ingdom of ;od# .osea /:.9 sho s the link bet een the nation of +srael and the fig tree# 3he parable of the fig tree teaches that a ne tree ill spring from the root& that is& the nation of +srael ill revive#
    .osea /:.9: 2+ found +srael like grapes in the ildernessD + sa your fathers as the first ripe in the fig tree in its first season#4

    3<A %3ORQ OF N-O!+:

    Fhen Naomi returned to :ethlehem ith Ruth& her husband and sons dead& the line of her family as at its end# Naomi as old and childless& and not fertile& but bitter and barren& not unlike the fig tree in "esuss parable of the barren fig tree 5a figure of the )hildren of +srael7# Only through Ruth& her sons ido & and :oa'& a relative of her dead husband& Alimelech& could it be re-established#

    Nao,i and Ruth in Bethlehe, 5Ruth .:./-887

    :y marrying Ruth& :oa' preserved the name of Alimelech& Naomis deceased husband& and his line# 3he first born of Ruth and :oa' as considered a son of Alimelechs lineage# :oa' had purchased the family lands that Naomi had sold& and restored them to Alimelechs lineage 5Ruth 6& EM.97# Fhen Obed& the son of Ruth and :oa'& as born& it as perceived that a son had been born to Naomi 5Ruth 1:.6M.E7:

    10

    .1# -nd the omen said unto Naomi& :lessed be the Bord& hich hath not left thee this day ithout a kinsman& that his name may be famous in +srael# .G# -nd he shall be unto thee a restorer of thy life& and a nourisher of thine old age: for thy daughter in la & hich loveth thee& hich is better to thee than seven sons& hath born him# .0# -nd Naomi took the child& and laid it in her bosom& and became nurse unto it# .E# -nd the omen her neighbours gave it a name& saying& 3here is a son born to NaomiD and they called his name Obed: he is the father of "esse& the father of $avid#

    3hen are recited the generations of )hrist& in a genealogical appendi* that reads almost as a magical liturgical chant 51:.=M887:
    .=. No these are the generations of Phare': Phare' begat <e'ron& ./. -nd <e'ron begat Ram& and Ram begat -mminadab& 89. -nd -mminadab begat Nahshon& and Nahshon begat %almon& 8.. -nd %almon begat :oa'& and :oa' begat Obed& 88. -nd Obed begat "esse& and "esse begat $avid#

    %imeon %olomon& Ruth* Nao,i* and :#ed& Pen and bro n ink over pencil& .=09# :irmingham !useums and -rt ;allery

    2Nao,i and the Child :#ed4 R 2%# %olomon& del4& ca# .=08D published in DalzielEs Bi#le +aller@& .==.#

    1E

    1=

    Amil B[vy& Ruth and Nao,i )ith :#ed& .=G/# !usWe des :eau*--rts& Rouen

    +n its significance the parable of the barren fig tree forms an apposite parallel to the story of Naomi and Ruth and the rebirth of the line of Naomi and her husband through the birth of the son of Ruth and :oa'& hich yields the family tree of )hrist& the 3ree of "esse# -fter :oa' and Ruth are married& they have a son named Obed 5 ho by Bevirate customs is also considered a son or heir to Alimelech& and thus to Naomi7# +n the genealogy hich concludes the story& it is pointed out that Obed is the father of "esse& and thus the grandfather of $avid# Ruths position as the origin of the 3ree of "esse makes her the greatgrandmother of ,ing $avid& and a progenetri* of the line of )hrist# 3he childless Naomi becomes through Ruth fertile again# Overbecks fig tree thus stands in the place of the 3ree of "esse& from hich issues )hrist# +t bears fruit again#

    1/

    Tree o/ 1esse& !aster of "ames +( of %cotland& Flemish& .G.9-.G89# ;etty 5!s# Bud ig +S .=& fol# 0G7

    )<R+%3 +% 3<A %@))A%%OR OF $-(+$:

    @pon the ascension of ,ing $avid& Nathan prophesied the coming !essiah 58 Sa,uel E:.-.E7 ho ould come from the seedbed of future descendants# Paul rites& 2-l ays remember that "esus )hrist& a descendant of ,ing $avid& as raised from the dead 58 Ti,oth@ 8:=7#4 3herefore& )hrist is rightly called 23he %on of $avid4 53atthe) 88:187 and ill one day return and reign physically in "erusalem#

    $O;!-:

    -s religious artists the Na'arenes ere intensely serious& first among them& Overbeck# :ehind appearances they sa spiritual meanings in a kind of covert symbolism# 3he fig tree as a preferred motive of Overbeck& hich he employed& at times& hen another species of tree might have appeared a more obvious choice# One instance is his Rest on the Fli'ht into E'@$t 5original .=./D <o itt& ++& p# 1907#

    G9

    Ferdinand Rusc ewe! & after Friedrich Overbeck& Ruhe 5Flight into Agypt7& .=80 5.=./7#

    3raditionally the Ri$oso sho s "oseph gathering dates from a bo ing palm tree& but Overbeck follo s a much more obscure tradition& and& in the engraving& "oseph gathers figs in a basket from the branches of a fig tree# - biblical& apocryphal& or legendary source for the fig tree in the conte*t of the Flight into Agypt does not appear to e*ist# 3here are& ho ever& pictorial and literary precedents for the fig tree from the later fourteenth century 5cf# !eister der !adonna von )ovarrubias& Ri$oso& .G )#& %tUdelD RealleAi%on zur deuts"hen 6unst'es"hi"hte& ad vo"e, Flucht nach ]gypten& col# ..1/7# +n Overbecks picture& !aria sits ith the )hild& resting against the massive trunk of a fig tree& as if it ere the tree of +srael# 3his composition is reflected in Overbecks (ittoria )aldoni& painted about t o years later#

    3he covert symbolism of the fig tree indicating the land of +srael as seen earlier in Overbecks painting& A#raha, verst&sst .a'ar und 2s,ael& .=1.& -ltona !useum& Norddeutsches Bandesmuseum 5Dauerleih'a#e7& <amburg#

    G.

    Overbeck& A#raha, verst&(t .a'ar und 2s,ael# %old %othebys !>nchen& 8/#..#./=/

    Friedrich -ugust Budy& after Friedrich Overbeck& .a'ar and 2sh,ael

    G8
    $O;!-:

    :ver#e"% the Christian artist

    -s early as .=89& )arl Friedrich von Rumohr rote of Overbeck that 2seine E,$/indun'sart i, reinsten Sinne "hristli"h ist4& and that he 2ni"ht selten* u, si"h deutli"her zu ,a"hen* zu s@,#olis"hen Be@)er%en Zu/lu"ht ni,,t* die er ,it Sinn )hlt* und ,it +es"h,a"% unterzuordnen )ei(4 56unstCBlatt& No# GG& .9 "uly .=89& p# 8./7# +n .==8& the Anglishman "oseph :eavington -tkinson published a some hat neglected book about Overbeck in Anglish& in a series dedicated to great artists# Overbeck as still deemed orthy of inclusion in a series alongside the greats of +taly from ;iotto to !ichelangelo& Raphael& and 3itian& together ith such contemporaries and near contemporaries as Filkie& (ernet& $elaroche& Bandseer& and !illet# :eavington -tkinsons book preceded !argaret <o itts Friedri"h :ver#e"%: Sein ;e#en und S"ha//en by four years#

    +f -tkinson did not have access to Overbecks papers& he had an advantage that !iss <o itt did not have: he kne the artist personally and freHuented his studio& and :eavington -tkinson also rote about the art of his time& as Overbecks authorised biographer did not# -mong other books: :eavington -tkinson& An Art Tour to Northern Ca$itals& Bondon: !acmillan .=E6D The S"hools o/ 3odern Paintin' in +er,an@& Ne Qork .==.# Overbeck converted to )atholicism in .=.6& and -tkinson describes him and his ife as fanatic )atholics: 2Overbeck gre more and more the recluseD he shortly became a proselyte to the Romish )hurch& shut himself out from other associations& and thus after a time devoted his pencil e*clusively to )hristian -rt4 5p# .07# +n time& 2certain commissions could not be entertained& secular subLects had been long esche ed& religion and the )hurch ere alone accounted orthy of service4 5p# 1.7#

    G6

    -tkinson rites& 2Overbeck and his adherents declared that they sought for nothing else than truth& only they held that nature should not be studied superficially& but ith the end of deciphering her hidden meanings4 5p# ..7& describing Overbeck as 2a spiritual and esoteric artist4 5p# 867# <e ascribes shortcomings in Overbecks later orks to t o causes: 2first& advancing age& ith increasing loss of po erD secondly& the confirmed habit of slighting art and ignoring nature in order to magnify some favourite dogma4 5p# 167# Of Overbecks %even %acraments& -tkinson rites: 23he scheme embodies types in the Old 3estament ith their fulfilment in the Ne D both conLoined are brought to bear on the teachings of the )hurch concerning the %acraments# %ome of the analogies may appear& at least to outsiders& rather fanciful and far-fetched4 5p# 11D cf# Fasert& .//07# -n instance of the centrality of )hristian symbolism in Overbecks ork is this image of the Annun"iation from the Darstellun' aus den Evan'elien na"h vierzi' :ri'inalzei"hnun'en von Friedri"h :ver#e"%& im :esit'e des Freiherrn -lfred von Bot'beck auf Feyhern& gestochen von :# :artoccini& Prof# "os# ,eller& Fr# ,eller& F# Budy& F# !assau& <# R>sser& F# -# Pflugfelder& S# %teifensand u# -#& $>sseldorf& (erlag von -ugust Filhelm %chulgen& n# d#

    Overbeck& An'elus +a#riel annuntiat 3ariae Con"e$tione, 1esu 5$er Angel ;abriel verk>ndet !ariU die AmpfUngis "esu7& .=1G# 2Fried# Budy sculpt#4

    G1

    3he holy event is almost subordinated to a )hristian symbol set in the very near foreground and in the precise centre of a highly symmetrical composition: a lily in a vase placed on an overturned composite& or Roman capital# 3he sacred history is thus nearly over helmed by its symbolic interpretation# 3his e*plicit image possibly reflects discussions hich led to the proclamation of the dogma of the +mmaculate )onception of the (irgin by Pius +S in .=G1# +n Overbecks Assu,$tion in the )athedral at )ologne& he includes elements generally found in the +mmaculate )onception: the forefathers& prophets& kings& and omen of the Old 3estament& hose ords and deeds prefigured the +mmaculate )onception#

    Overbeck& Assu,$tion& .=GG# $om& ,\ln

    GG

    O(AR:A),% V2TT:R2A CA;D:N2 -N$ !+)<AB-N;ABO% S2ST2NA:

    3he early Na'arene painterss admiration of -lbrecht $>rer is testified to by many sources& among them Fran' Pforrs D0rer and Ra$hael #e/ore the Throne o/ Art:

    Fran' Pforr& D0rer and Ra$hael #e/ore the Throne o/ Art& .=9=# Atching by )arl <off %tUdelsches ,unstinstitut& Frankfurt am !ain 5cf# Overbeck& D0rer und Ra//ael vor de, Throne der 6unst& -lbertina& +nv# No# 86#0/17

    $>rers 3elan"holia 2 is almost universally invoked as the visual model for Overbecks Vittoria Caldoni& and the print is often considered the key to reading the psychological state of Overbecks figure: sad& eary& gloomy& desolate& in short& melancholic#

    Overbeck& Vittoria Caldoni

    $>rer& 3elan"holia 2& .G.1

    $espites $>rers undeniable appeal for the Na'arenes& upon closer e*amination this comparison appears to be a sort of red herring that distracts attention from Overbecks real inspiration# - figure actually modelled upon $>rers

    G0

    famous 3elan"holia might look more like that of Die 6unst dra n by Ad ard von %teinle& ith& inter alia& her cro n of leaves& her long strands of hair& and her head supported on a closed hand#

    Ad ard von %teinle& Die 6unst& .=6G& Pencil dra ing 5after -# !# von %teinle& Steinle& ./.9& before No# 8E17

    +n point of fact& Overbeck had painted only a fe years earlier a figure ho closely resembles his (ittoria )aldoni# 3his is figure of !ary& clad in red and hite& hose pose is little more than that of (ittoria )aldoni& seen from the side& one in hich the positions of arms and legs are reversed# %he is inspired by !ichelangelos pensive& self-contained seated figures on the lunettes and spandrels of the )appella %istina# +mmediately behind and above her is an apostle of )hrist& %t# Peter& hose features are patterned on those of !ichelangelo himself# :ehind him& the apostle "acob& ho is a portrait of Raphael# %een through the open door ay is the parable of the ;ood %amaritan#

    GE

    Overbeck& Christ )ith 3ar@ and 3artha& .=.8M.=.0# Nationalgalerie& :erlin

    !ore directly relevant to Overbecks painting of (ittoria )aldoni as the study of the early Roman Na'arenes in the )appella %istina& and specifically the figure hich 3olnay identifies as the young mother of "esse and found in the spandrel above the lunette ith the central inscription 2+A%%A R $-(+$ R%-BO!ON4# <er resemblance to Overbecks (ittoria )aldoniRRuth is striking# 3olnays description of this spandrel could almost be a description of Overbecks Vittoria Caldoni: 2%taring steadily into space and sitting in a full frontal vie ith her legs crossed& the young mother of "esse is resting her face on her left hand hile her right arm falls passively across her knees#4 +n the spandrels of the %istina the pose& sitting on the ground& becomes a visual attribute of the ancestors of )hrist& for in the eight spandrels all of the fifteen adult ancestors of )hrist are sho n sitting& or occasionally reclining on the bare ground#

    G=

    -fter Restoration: the details of the eyes ere removed#

    :efore restoration#

    3he three figures of this spandrel are identified by 3olnay as Obed& the mother of "esse& and the child "esse& but identifying the ancestors of )hrist on the %istine )eiling is a comple* e*ercise in iconographic interpretation that must account for all the fourteen lunettes and eight spandrels# <istorically

    G/

    identifications have been highly variable& and no complete consensus has been reached# +n light of the inscription in the lunette above 522esse 7 David 7 Salo,on47& Overbeck may ell have seen here in the old man& :oa'& in the young oman& Ruth& and in the child& Obed#

    - plan of the pictorial elements of the ceiling sho s the locations of the representations that are here of interest#
    "esse

    :oa'-Obed Plan of the pictorial elements of the %istine )eiling

    -minadab

    09

    3he interest of the early Roman Na'arenes for !ichelangelos art has received less attention than that for early ;erman painting and for +talian painters such as Perugino and the early Raphael# Qet the impact of the prophets and sibyls of the )appella %istina is very evident in the paintings of the )asa :artholdy& not only in those by Overbeck but also in others by his companions& such as Peter von )ornelius#

    Friedrich Overbeck& Die sie#en ,a'eren 1ahre& .=.0# -lte Nationalgalerie& :erlin

    +n .=89R.=8.& hen in Rome& -thanasius )ount Rac'yTski ordered from Overbeck a painting of a 2Si#@lle 4 +t as never delivered& but the only remaining visual testimony to this commission& a pen and ink dra ing in Po'naT& sho s Overbecks deep indebtedness to the contrasting and contraposed placement of limbs& hich constitutes a so prominent aspect of the %istine prophets and %ibyls# Overbecks dra ing applies !ichelangelos principles of figural dise'no to a more slender figural canon& rather than simply retracing !ichelangelos motives#

    0.

    Overbeck& Si#@lle# !u'eum Narodo e& Po'naT

    +n .=.9 Overbecks closest companion& Fran' Pforr made a dra ing sho ing a sort of apotheosis of the three M for Pforr M greatest artists of +talian )hristendom& in an unusual threesome& comprised by a standing Raphael and Fra -ngelico& accompanied by a seated !ichelangelo& the latter clothed in a typically %istine attire#

    08

    Fran' Pforr& Ra$hael* Fra An'eli"o* and 3i"helan'elo on a "loud over St PeterEs in Ro,e& .=.9# %tUdelsches ,unstinstitut& Frankfurt am !ain

    Fran' Pforrs interests in !ichelangelos paintings at the (atican may be follo ed more closely in a dra ing he made in the )appella %istina in !arch .=..& hich he inscribed& 2Zu, Anden%en an den s"h&nen 3or'en in der 6a$ella SiAtina und an 2hren Freund 7 Ro, d =8 5I7 3arz 8<88#4& and signed& 2Franz P/orr4& apparently before Pforr gave the dra ing to an unidentified dedicatee& ho had brought a friend along#

    06

    !ichelangelo& A,inada# Fran' Pforr& A,inada#& .=..# -fter !ichelangelo& %eated figure from a lunette in the )appella %istina# ,upferstichkabinet& :erlin

    +n the %istine )hapel& Fran' Pforr has dra n the figure of A,inada#& taken from the lunettes sho ing the ancestors of )hrist# +t is possible that& on this or a similar day& Pforr as accompanied by his closest friend and constant companion of these years& Friedrich Overbeck# From the opposing all of the )hapel& the A,inada# lunette faces the lunette of "esse-$avid-%alomon& nearly directly opposite it at the same end of the ceiling# Pforrs image and inscription thus reveal here in the )hapel he and his friends ere dra ing after !ichelangelo on a cold !arch morning# - letter of 8/ %eptember .=.9 from Overbeck to his father records at great length his e*traordinary enthusiasm for !ichelangelos %istine )hapel& as ell as his resolve to return there to dra and study every fourteen days 5<asse& .==E& pp# 6/-1.7# 23i"helan'elo NsollP ,eine h&"hste Autoritt sein 3i"helan'elo der Einzi'e* der Unver'e(li"her44D 26urz in alle, ist er 3uster44# Of the %istina: 2!ahrli"h es ist das .&"hste und .errli"hste* )as vorhanden ist 4 +n the %istina the group of young artists may also have noticed the lunette no identified as representing the figures of Ruth and :oa'& although the inscriptions ere then far less legible than they are today#

    01

    3he depth of Overbecks concern ith the ancestors of )hrist in the %istina is evidenced again his composition of the 3assa"re o/ the 2nno"ents& here not only the central grouping of figures but other figures as ell are inspired by the passionate actions and groupings of the lunettes and spandrels of !ichelangelos )hapel#

    =# Overbeck& 2n/anti"idiu, 5$er ,indermord7& .=16# 2Fran'# !assau scuplt#4

    0G

    RA)AP3+ON +N ;AR!-NQ:

    -s e have seen& among the many artists ho portrayed (ittoria )aldoni& Friedrich Overbeck as alone in sho ing her seated on the ground& and he as alone in sho ing her in a full-figure representation 5although "ulius %chnorr& ho kne Overbecks painting& made a sketch for a full-length seated portrait: circa .=88D $resden& %B@:7# +s this another indication of Overbecks resistance to the royal commission to paint a pretty modelI <o the cro n prince reacted to the portrait is unkno n& but a letter of )arl Friedrich Rumohr to Overbeck on the pictures arrival in !unich suggests that the appearance of the painting came as something of a surprise# 3his and t o other little-regarded contemporary te*ts place the Huestion of (ittoria )aldonis portrait in a some hat ne and different focus 5cf# ,oelt'& 899/& p# ..6f#7# @pon his return to ;ermany after his second 2talienreise& Rumohr took up residence for a time in !unich& here he apparently enLoyed an influential voice in matters of art at the court# %oon he resumed riting letters to Friedrich Overbeck# 3he correspondence of these years survives only fragmentarily and is dispersed among several repositories 5%tock& ./167# On .8 %eptember .=8.& Rumohr rote to Overbeck in Rome& adding& almost parenthetically near the end of his letter& 2!ie steht es ,it de, Bilde /0r den 6ron$rinzen>4 -s the editor of the letter& Friedrich %tock& recognised 5./16& p# 667& the picture for the Prince is the Vittoria Caldoni& no in the Neue Pinakothek# 3his is the first direct indication of Rumohrs interest in the picture& and of his possible involvement in the commission# Overbecks ans er to Rumohrs Huestion is apparently lost& and eighteen eeks pass before there appears Overbecks response to a subseHuent letter from Rumohr& hich he had received only the day before# -t this point in time& on G "anuary .=88& Overbecks painting has only recently arrived in !unich& and Overbecks letter indicates that its appearance has raised Huestions# Overbeck responds immediately& he rites& because the painting has arrived in !unich so une*pectedly early: 2Es ist ne,li"h das so uner)artet /r0he Eintre//en ,eines Bildes in 30n"hen* )as diese ,eine Eile veranla(tB 'anz /ris"h* und ohne Firni(* au/ #esti,,te :rdre trotz ,einer Vorstellun'en* hier ein'e$a"%t und /ort'es"hi"%t* %ann es )ohl ni"ht anders als s"hin%en'el# an'e%o,,en se@nB )eshal# i"h Di"h* ,ein theurer Freund4 au/s Drin'endste 'e#eten ha#en )ill* so'lei"h da/0r zu sor'en* da( es an ;i"ht und ;u/t 'estellt )erde* u, die Far#e )ieder auszu/ris"hen* und sodann ,it eine, 3ast@AFFirni( 0#erzo'en -- Vor Deine, Urtheile ist ,ir nun herzli"h #an'e* so )ie vor de, der dorti'en )a"%ern 60nstler* denn i"h /0hle 'ar )ohl* )ie )eni' i"h in diese, ,ir dur"haus neuen Fa"he leisten %onnte und 'eleistet ha#eB da( i"h a#er 'eleistet ha#e* )as i"h e#en leisten %onnte* inde, i"h es an 'e)i(enha/tester Anstren'un' ni"ht ha#e /ehlen la(en* 'a# ,ir allein

    00

    ein'e Beruhi'un' als i"h 'en&thi't )ar* das Bild aus den .nden zu 'e#en Also ver/hrt 'ndi' da,it4 -- !ie eine 'anze Fi'ur daraus 'e)orden> Ei'entli"h zu/lli'B na"hde, i"h einen /r0hren ,islun'enen Versu"h ver)or/en hatte* 'lau#te i"h das erste #este er'rei/en zu ,0(en* )as ,ir vors"h)e#te* und so )ard es denn e#en so )ie es 'e)orden istB au"h hatte ,i"h die Rivalitt ,it Phili$$s Kvortre//li"he,L Bilde von Fr Stein ein'es"h0"htert* und i"h )ollte de, Ver'lei"h ,&'li"hst aus)ei"hen -- 4 5%tock& ./16& p# 667# 3he arrival of the picture in !unich earlier than Overbeck had anticipated has caused the artist alarm# Avidently the picture as taken from the painters hands 52als i"h 'en&thi't )ar* das Bild aus den .nden zu 'e#en47 and packed up and sent to !unich& against his ill& but& as ordered by the court there& before it received its finishing touches# Fithout a coat of varnish it must have arrived looking as yello ed as an old ham 5s"hin%en'el#7# Overbeck entreats his friend Rumohr to see that the painting is set out in the sun and fresh air to brighten the colours& and then see that it receives an appropriate application of 23ast@AF Firni(4 53astiA/irnisD mastic varnish7# From the te*t of Overbecks letter it appears that Rumohr is in a position to accomplish all this& and that he is the logical person to satisfy Overbecks reHuests& hich are not atypical of artistss concerns about their ne orks# -ll this seems to indicate that Rumohrs involvement in the commission as much deeper than has been recogni'ed# +ndeed& Overbeck makes clear the importance he attaches to Rumohrs Ludgement of the picture& as ell as that of enlightened artists in !unich# -pparently in a missing letter Rumohr has& hile not passing a full Ludgement upon the painting& raised a Huestion about it& one hich casts light on its initial reception in !unich# Fhen Overbeck rites& 2!ie eine 'anze Fi'ur daraus 'e)orden>4 5<o did it turn out to be a full figureI7& he is clearly responding to a Huestion Rumohr has asked# +t is implicit that a full figure is not hat as e*pected on the part of the commissioner& 6ron$rinz Bud ig& that is& not a portrait sho ing the portrayed from head to foot& but a more conventional bust or a half-length portrait# Overbecks ans er to the Huestion& 2!ie eine 'anze Fi'ur daraus 'e)orden>4& is remarkable& and& to say the least& evasive# <o did it come aboutI -ctually Lust by chance& ans ers the artist to Rumohrs challenge# 3hen Overbeck reports that he made a first design for the ork& hich he Ludged to be a failure# 3hen& in his desperation& he felt he must follo the first idea that came into his head& and so& dear friend& the picture turned out to be hat it turned out to be# Overbeck thereby disclaims responsibility& and it might appear that he does not really feel that he need be asked such Huestions# 3hen he adds& rather lamely& that he has been intimidated by Philipp (eits 5e*cellent7 ne portrait of Fraulein von %tein& and he anted to avoid rivalry and comparison of his ork

    0E

    ith that of (eit# <e is ne & rites Overbeck& to the genre of portraiture& fully a are of ho little he can accomplish in this genre& and of ho little he has accomplished& despite his conscientious e*ertions& but then the picture as taken a ay from me before + as finished# <ere Overbeck invokes typical topoi of modesty in his defence# Fhat emerges is that in !unich a much more conventional portrait as e*pected& and that Overbeck has painted something Huite different on his o n initiative# Other contemporaries underline that Overbeck has painted the girl as a full figure: 2Das Bild ist ni"ht sehr 'ro(* denno"h ist das 3d"hen in 'anzer Fi'ur )eni' unter ;e#ens'r&(e 'e,alt4 5"ulius %chnorr von )arolsfeld& .0#..#.=8.7D 2Es ist eine 'anze Fi'ur* et)a hal#e ;e#ens'r&(eB das 3d"hen sitzt et)as 'e#0"%t 5###74 5"ohann $avid Passavant& 1#96#.=887# 3he impression that all as not ell ith the picture in !unich is supported by a further& some hat later letter from Rumohr& no in Rothenhaus near B>beck& ritten on 81 November .=86# 3his letter appears to have been overlooked in comments about Overbecks Vittoria# 2CornNeliusP# NPeter von )orneliusP hat zu 30n"hNenP Dein Bildnis sehr vertheidi't* )as ,i"h /reut* o#'lei"h i"h de(hal# da,als An'ele'enheit hatte 2"h sehe daraus* da( er dir herzli"h anhn't#45Peter von )ornelius has greatly defended your portrait NVittoria CaldoniP in !unich& hich + am happy about& although + already had had earlier occasion to do so# 3hereby + see ho sincerely he is attached to youD %tock& ./16& pp# 6E-6=7# Overbecks painting as e*hibited at the ,unstausstellung der k\niglichen -kademie der bildenden ,>nste in !unich in .=86 5No# G897# 3hus Rumohrs letter affords a very direct testimony to a critical and clearly in part negative reception of Overbecks Vittoria Caldoni in !unich& a reaction hich as still alive a year after the painting arrived& to ards the end of .=88#
    F<-3 F-% 3<A PRO:BA!I:

    3he most common complaint of laymen about portraits is that the likeness is unsatisfactory: the portrait does not look like the sitter& and& if Bud ig had seen (ittoria )aldoni& as is entirely possible& this factor may have played a r?le# :ut& in attempting to identify more closely the problem that Overbecks Vittoria Caldoni presented in !unich& it may be useful to e*amine t o other early responses to the painting& the one by "ulius %chnorr von )arolsfeld& and the other by "ohann $avid Passavant& before considering hat the e*pectations of the )ro n Prince might have been#

    0=

    1U;2US SC.N:RR V:N CAR:;SFE;D:

    "ulius %chnorr von )arolsfeld rote about Overbecks Vittoria Caldoni in a letter to "ohann ;ottlob von Vuandt& ritten from Rome on .0 November .=8.& at the point in time in hich the painting had Lust been completed and shortly after %chnorr sa it for the first time# <e describes the painting& concentrating upon the guise in hich Overbeck has sho n her& sitting at rest upon the ground# 2Das Bild ist ni"ht sehr 'ro(* denno"h ist das 3d"hen in 'anzer Fi'ur )eni' unter ;e#ens'r&(e 'e,alt Sie ist 'anz treu* )ie sie lei#t und le#t* 'e,alt 3it ihrer +estalt )ar ni"hts anzu/an'en* denn sie ist 'anz unansehnli"hB do"h /0r"htete :ver#e"% aus de, Chara%ter zu /allen* )enn er si"h hierin Mnderun'en erlau#te* er )hlte daher eine +e#erde NO ;ebUrdeP* #ei )el"her die %leine Person in ihrer ei'ensten Ei'ent0,li"h%eit do"h sehr an,uti' ers"heint Er ,alte sie n,li"h* als o# sie von der Feldar#eit ausruheB lie#li"h zusa,,en'edu"%t sitzt sie unter eine, Fei'en#au,* st0tzt ,it der re"hten .and das +esi"ht* die lin%e lie't au/ de, S"ho( .inter eine, nahen 6orn/eld zieht si"h die r&,is"he Ca,$a'ne na"h de, 3eer zu* )el"hes ,it eini'en /ernen +e#ir'en den .orizont s"hlie(t Dieser .inter'rund 'ie#t voll%o,,en den Eindru"%* den die Aussi"ht von Al#ano na"h de, 3eere zu au/ uns ,a"ht Trotz der 3an'elha/ti'%eit dieser Bes"hrei#un' )erden Sie* #ei 2hrer le#ha/ten Ein#ildun's%ra/t* von der ;ie#li"h%eit des Bildes si"h lei"ht einen Be'ri// ,a"hen* so da( es %einer )eitern Beteurun'en #edar/ 4 5%chnorr von )arolsfeld& Brie/e aus 2talien& .0#..#.=8.& pp# 6E9-6E.7# +n his letter to Vuandt& %chnorr continues& raising doubts about the success of Overbeck in rendering the e*ceptional beauty of (ittorias face: 2Der !ahrheit zulie# ,u( i"h a#er au"h dessen 'eden%en* )as ,ir an de, Bilde ni"ht lie# ist Das +esi"ht ist n,li"h dur"h die st0tzende .and au/ der re"hten Seite un'0nsti' u,rissen* die Nase zu 'ro(* so da( die 'lnzende S"h&nheit des 6o$/es ni"ht 'anz #e/riedi'end 'e'e#en ist4 5p# 6E.7# Possibly this obLection as echoed in !unich& for in Overbecks painting& (ittorias face is characteri'ed ith a heavy volumetric emphasis# 3his and her statuesHue Huality have been likened to the omen of Picassos neo-classical phase 5;ert %chiff& in: +er,an 3asters o/ the Nineteenth Centur@& Ne Qork: !etropolitan& ./=.& p# .E7# )ontemporaries compared the perfection of her features to ancient statuary heads# %chnorrs o n interpretation of her beauty leaned far more to ards slenderness and elegance#

    0/

    1:.ANN DAV2D PASSAVANT:

    - further episode in the broader reception of Overbecks painting in his homeland is found in an again little-noticed report from Rome& published in the 6unst#latt on 1 !arch .=88# +t has not been recogni'ed that the author of this very early discussion of the painting& ho signs himself 2"oh# von F#4 5sometimes 2"ohannes v# F#4 N2v# F#4 O von FrankfurtP is "ohann $avid Passavant 5cf# ADB& vol# 8G& .==E& pp# ./=-8967& ho as a young artist in Rome had by this time become a friend of Overbeck& and had& in .=89& already ritten favourably about the artist in his Ansi"hten 0#er die #ildenden 60nste 5<eidelberg und %peier .=897: 2:ver#e"% ni"ht )eni'er rei"h Nals P# )orneliusP in der Arfindung* zei"hnet si"h hau$ts"hli"h dur"h et)as sehr +e,0thli"hes ausB da#ei hat er ein dur"h alles dur"h'ehendes S"h&nheits'e/0hl* )el"hes si"h in -usdruck* ;ebUrde* Form und -nordnung 'lei"h anziehend auss$ri"ht# 5###74 5p# /97# +n the 6unst#latt& No# .=& 1# !arch .=88& in Na"hri"hten aus Ro, 5:eschlu^D pp# 0/-E8& signed 2"oh# von F#47& at page E9& Passavant rites# 22n dieser* und no"h in vielen anderen .insi"hten sehr #e/riedi'end ist das Bildni( der s"h&nen Vittoria aus Al#ano* )el"hes :ver#e"% /0r Se 6&n'l .oheit den 6ron$rinzen von Ba@ern 'e,alt hat Es ist eine 'anze Fi'ur* et)a hal#e ;e#ens'r&(eB das 3d"hen sitzt et)as 'e#0"%t* si"h ,it de, 6nie au/ de, Ell#o'en st0tzend* unter eine, Fei'en#au, Die Si"hel und Feld/r0"hte lie'en ne#en ihrB h&"hst an,uthi' %o,,t der Bli"% de, Bes"hauer ent'e'en und es ist sel#st et)as Reines und 6lares darin* )as ,ir ,ehr de, 60nstler* als de, :ri'inal des Bildnisses anzu'eh&ren s"heint Die /eine Nase* der zarte 3und* so )ie das 'anze :val des 6o$/es sind au"h von 'ro(er S"h&nheit und au/ vortre//li"hste aus'e/0hrt Da( :ver#e"% der Carnation ein /ris"heres Colorit 'e'e#en hat* als die et)as %rn%li"hC#lasse Far#e des 3d"hens* )ird )ohl Nie,and tadelnB au"h #esonderes ;o# verdient unser 60nstler* da( er dur"h die sitzende und 'anz /0r ein ;and,d"hen $assende Stellun'* ihre et)as unansehnli"he Npage E.:P +estalt zu ver#er'en )u(te Die an si"h s"h&ne Frauentra"ht in Al#aner'e#ir'e hat 0#ri'ens :ver#e"% ,it viel +es"h,a"% #ehandelt* denn nur allzuhu/i' sieht ,an sie von 60nstlern so #enutzt* da( das ;and,d"hen zu einer vorneh,en Da,e )ird* oder theater,(i' aussieht Die Be@)er%e* so )ie die ;ands"ha/t* ein !aizen/eld ,it der 'ro(en E#ene vor Al#ano und endli"h das 3eer sind vortre//li"h aus'e/0hrt S"hade* da( unser

    E9

    60nstler 'en&thi't )ar* dieses Bild au/ eine, #esti,,ten Ter,in a#zulie/ern* und er den .nden ni"ht die?eni'e Vollendun' 'e#en %onnte* )el"he sonst i, 'anzen +e,lde so sehr er/reut 4 3he first part of Passavants Beri"ht as found in the previous number of the 6unst#latt& dated 0 February .=88& and the entire report as probably ritten before this earlier date# Passavant sees the (ittoria cra'e and its obLect ith a certain distance& and in this he as possibly influenced by Overbecks o n vie s# <e also confirms that the artist as constrained to consign the painting earlier than he ished# <is remark that the hands ere not Huite finished is some hat mysterious& for they seem as finished as the remainder of the painting# :ut %chnorr had observed that the raised hand interrupted the perfect outline of (ittorias face& and a dra ing of her full-figure in :erlin 5NationalgalerieD ill# in %tock& ./16& p# 617 sho s the fingers of her left hand in slightly different positions 5cf# in/ra7# %everal observations suggest that Overbeck has not aimed at an e*act likeness& but at an ideal likeness& according to his o n lights 52et)as Reines und 6lares darin* )as ,ir ,ehr de, 60nstler* als de, :ri'inal des Bildnisses anzu'eh&ren s"heint47# <e has also improved on her pale& sallo colouring& and through her sitting pose has disguised fla s in her figure# -nd& lastly& in his treatment of her traditional -banese dress& he has sho n good taste& avoiding e*cessive particulars and an e*aggerated stage-like costume& ith the result that much of the local colour and characteristic details are lost#
    O(AR:A),% PRO:BA! F+3< POR3R-+3@RA:

    +n Overbecks letter of G "anuary .=88 to Rumohr& cited above& he rote that he had little e*perience as a painter of portraits& adding& 2au"h hatte ,i"h die Rivalitt ,it Phili$$s Kvortre//li"he,L Bilde von Fr Stein ein'es"h0"htert* und i"h )ollte de, Ver'lei"h ,&'li"hst aus)ei"hen 4 Philipp (eits portrait of 3herese vom %tein 5..6 * == cm& %ummer .=8.& %chlo^ )appenberg7 is a fairly conventional three-Huarter length portrait& but it possesses a distinctly Na'arene air& o ing to the screen of trees in the background and the some hat severe dress& sometimes described as altdeuts"h& and the +talianate note of the laurel foliage# - friend of the commissioner& )hristian ,arl Freiherr von :unsen& rote from Rome& in a letter of ./ February .=88& that the portrait 2/indet all'e,einen Bei/all #ei 60nstlern und Ni"ht%0nstlern* #ei 6ennern und Ni"ht%ennern4 5%uhr& Veit& .//.& p# G67#

    E.

    Philipp (eit& Fraulein Therese vo, Stein& .=8.# -lbrecht ;raf von ,anit'& %chlo^ )appenberg 5bei $ortmund7

    3he critical reception on the part of the 6enner as prompt# +n a report from Rome in -ugust .=8.& e read: 2Eine andere neuere Ar#eit des Veit ist das Portrit der Frulein von S * )el"hes als eines der vorz0'li"hsten ,u( #etra"htet )erden* die in der neueren Zeit entstanden sind Die Stellun' ist h&"hst ein/a"h* ein rothes 6leid ,it )ei(en Bu//en der 'anze S"h,u"%B der i, vollen ;i"ht #eleu"htete 6o$/ he#t si"h 'e'en ein Bus"h)er% von ;or#eer und Bu"hs#au, star% a#B ein St0"%"hen ;ands"ha/t und et)as .i,,el* )el"he das zarte ;au# dur"h#li"%en l(t* erh&het den Reiz des +anzenB a#er die 'etreue Na"h#ildun' des s"h&nen :ri'inals #lei#t der anziehendste Ruhe$un%t /0r das Au'e Dur"h dieses Portrt und ein /r0heres des A##N 3 hat si"h Veit als ein aus'ezei"hneter Bildni(,aler #e)hrt4 56unst#latt& No# 01& / -ugust .=8.& p# 8GG7# 3his report remained unsigned& as the promised continuation does not seem to have appeared# - further positive notice appeared in the 3or'en#latt 5No# .E1& .=8.& p# 0/07#

    E8

    Perhaps Overbeck as genuinely impressed by the public reception of Philipp (eits portrait& but it is difficult to believe that he as truly intimidated by the portrait itself# For all its merits& the portrait of 3herese vom %tein appears some hat stiff and plain hen set beside the female portraits that (eit painted later in Frankfurt# +nstead of the usual fragment of an entire person presented in bust& half-length& and three-Huarter length portraits& Overbeck presents the complete figure& isolated in her o n microcosm and divorced from the orld of modern life# <o different and abstract (ittoria )aldoni appears in her almost timeless orld apart#

    3arie von +uaita& .=60 %tUdel& Frankfurt am !ain

    Frei/rau von Bernus& .=6=# %tUdel& Frankfurt am !ain

    -s a )hristian painter the severe Overbeck may have been able to come to terms ith the 2Be@)er%4 of trees and landscape in Fraulein vom %teins portrait& but he might have balked at the lu*us and social affirmation of (eits Frankfurt portraits# 3o defend his (ittoria )aldoni in !unich& he claimed& 22"h )ollte de, Ver'lei"h ,&'li"hst aus)ei"hen4D he anted to steer clear of comparisons# Fhile there is an element of make-believe in (eits portrait of 3herese vom %tein& ith her old-fashioned dress and set against an +talianate foil of foliage& it represents a retrospective and almost escapist fantasy orld seen from today# +n his portrait of 3herese vom %tein& (eit has clearly taken his cue from "ulius %chnorrs portrait of )lara :ianca von Vuandt 5.=89D -lte Nationalgalerie& :erlin7& a similar fantasy of a visitor in +taly& dressed in a Renaissance&

    E6

    RaphaelesHue costume and placed before a !editerranean orange tree# Overbeck& in comparison& seems to sho a timeless +taly& in a picture composed ith the conventions of religious painting& and not a portrait& here sitters sit on chairs to facilitate taking their likeness& and not on the ground# (ittoria )aldoni sits on the ground at the foot of a large tree# :oth components of this constellation are dra n from the repertoire of Overbecks )hristian images#

    3<A !O$AB -N$ 3<A PR+N)A:

    "ulius %chnorr von )arolsfeld as far more engaged ith making (ittoria )aldonis likeness than as Friedrich Overbeck# !any of his letters from +taly touch upon his proLect& first undertaken for Vuandt# One of these& hich appears to have escaped notice& sho s that the )ro n Prince as involved in the making of Overbecks painting& beyond simply giving a commission for it# On .. "anuary .=88 %chnorr rites to Vuandt about his portrait of the 2Al#aneserin4& adding: 2Au"h ist es )ahr* dass :ver#e"% ihr au/ Anordnun' des Prinzen von Ba@ern ein sehr ansehnli"hes +es"hen% Ki"h 'lau#e in z)&l/ ;ouisdors #estehendL da/0r* da( sie ih, sa(* 'e,a"ht hat4 5p# 6=97# 3hus 6ron$rinz had paid handsomely for sittings& hich suggests he may have anted a genuine portrait of the famed beauty#

    -t least eleven portraits of (ittoria )aldoni by %chnorr have survived 5,oelt'& 899/& pp# 81=-81/7& and as %chnorr rote to his father& he sa his study in +taly as a preparation for his future orks of art# -s Overbecks NinaORuth& %chnorrs portraits of (ittoria found their ay into his portrayals of the biblical Ruth& although this circumstance seems to have been overlooked# - particularly clear instance is %chnorrs dra ing of Ruth alone in the fields of :oa'& ith sack and an amphora for ater at her feet# <er face is a portrait hich closely resembles %chnorrs presently lost painted portrait of (ittoria )aldoni made for "ohann ;ottlob von Vuandt and other portrait dra ings of (ittoria by %chnorr 53eichmann& 899.& pp# ..=-.867#

    E1

    %chnorr& Ruth& .=80# ,unsthalle& <amburg

    %chnorr& Vittoria Caldoni& .=88# ;raphische %ammlung& !>nchen

    EG

    "ulius %chnorr von )arolsfeld& Portrait o/ Vittoria Caldoni& .=86# Formerly :erlin 5present location unkno n7

    E0

    +n this guise (ittoria )aldoni made her ay into %chnorrs Picture :ible#

    "ulius %chnorr& Ruth and Boaz& .=8G# National ;allery& Fashington 5formerly RatLen& (adu'7

    "ulius %chnorr& Ruth and Boaz 5Ruth 8: 8-.67& .=G.-.=09# +n: Die Bi#el in Bildern& Beip'ig: ;eorg Figand& .=09

    EE

    - complete Na'arene picture bible 5Bilder#i#el7 belonged to the programme of the movement from the earliest years of the ;u%as#r0der 5cf# Overbeck& %utter& )ornelius& %chado & %cheffer& Richter& %teinle& Friedrich Olivier& and others7& but %chnorrs Bilder#i#el& completed in .=09& constituted perhaps the most comprehensive realisation of the proLects aims 5see %chnorr& Die Bi#el in Bildern& Neuss& ./=8-=67#

    Fhat )ro n Prince Bud ig appreciated at this time in a female portrait is reflected in his commission to <einrich !aria von <ess 5.=86-.=817 for the full-length portrait of his beloved& !arianna !archesa Floren'i& ho& hat in hand& sits on a stone bench& as if half- aiting upon an assignation ithin an interior& hidden in an angle of an imposing +talian architectural loggia& like that of the (illa !edici& ith a vie out onto the garden& ith a fountain and pines gro n to form an arch& through hich is seen a vista from the Pincian <ill of %t# Peters in the distance& as in the vie from the (illa !alta& a prestigious portrait of a lady& fitting for a cro n prince# $uring the e*ecution of the ork& Bud ig visited <esss studio often& together ith the !archesa& for sittings& and the pair took an active part on the progress of the ork# 3he Prince kept the rather daring painting at first in Rome& almost as a secret and to be seen by none 5%chnorr& Brie/e aus 2talien& p# 1017& but soon& by .=8/& it as in !unich 5)atalogue: Neue Pinakothek& S$t%lassizis,us und Ro,anti%& ed# 3hea (ignau-Filberg& !>nchen: <irmer& 8996& pp# .0=-.E97#

    3he idea of the portrait of the !archesa is not very different from that of a triple portrait from ten years earlier of Bud igs half-sisters& the Prinzessinnen von Ba@ern 5Alisabeth& -malie und )arolineD .=.1D <ase& ./E.& Pl# +& cat# 187& daughters of !a*imilian +& hich the 6ron$rinz ould certainly have kno n#

    E=

    <einrich !aria von <ess& 3arianna Florenzi& .=86-81# Neue Pinakothek& !>nchen

    "oseph %tieler& Prinzessinnen von Ba@ern& .=.1# Private collection& :ayern

    3he t o young t in princesses sit on a stone bench before a all& ith& above& a green bo er of vines& and& beyond& a vie onto a distant landscape& a formula Bud ig may have remembered in his instructions to his painter in Rome#

    E/

    Prinzessinnen von Ba@ern& .=.1#

    B@$F+;% SC.ON.E2TEN+A;ER2E:

    3he history of Bud igs S"h&nheiten'alerie& no housed at %chloss Nymphenburg 5earlier 30n"hner Residenz7& has been illustrated recently by ;erhard <oLer& in his Die S"h&nheiten'alerie 6&ni' ;ud)i's 2 5Regensburg: %chnell und %teiner& 899.D see also <ase& ./E.& and !i%i$edia& ith images of all the portraits7# 3he ;allery of beautiful omen consists of thirty-si* portraits& nearly all by the painter "oseph ,arl %tieler# 3he earliest surviving mention of the plans for this 2Sa,,lun' der s"h&nen 6&$/en4 is found in a letter of %tieler to the )ro n Prince of ./ !ay .=8.& that is& Lust after Bud igs return from +taly and at almost the same time as the )ro n Princes commission to Overbeck for his portrait of (ittoria )aldoni# :ut the Princes first commissions for portraits of ladies date even earlier& including that of a mistress camouflaged as a !adonna in .=.E& and a first painting for the S"h&nheiten'alerie as e*hibited in .=68# 3he Prince and later ,ing took a close interest in this proLect& most often determining the choice of models and sometimes details of their dress& as ell as making visits to %tielers atelier during the course of sittings#

    =9

    "oseph Fl>ggen 5.=18-./907& ;ud)i' and Stieler durin' an atelier sittin' )ith .elene Sedl,a@r #

    3he portraits of beautiful omen are a some hat mi*ed group& noble ladies beside the bourgeoisie& many from :avaria& but also foreign omen and royal mistresses# 3he portraits range from bust to half-lengthsD the beautiful and often fine clothing is observed in lu*urious detail# !archesa Floren'i is represented ith a broad e*panse of bare flesh#

    %tieler& 3ar"hesa 3arianna Florenzi& .=6.#

    =.

    +n at least t o instances the portraits are clearly treated as Rollen$ortrts& here the sitter is presented in the guise of a mythological& allegorical& historical& or literary personage& for e*ample& Bady 3heresa %pence 5.=6E7& ith her laurel cro n& a cithara& and a chiton ith fibula and meander border M all ;reek ornaments& hich have suggested her identity as %appho& although she might as ell be playing the part of Arato& the ;reek muse of lyric poetry#

    %tieler& ;ad@ Therese S$en"e& .=6E#

    Antonia !allin'er& .=19#

    - second Rollen$ortrt in Bud igs ;allery is that of -ntonia Fallinger 5.=197 cast as <ebe& the mythological cup-bearer of the gods and herself the goddess of youth& ho offered a popular portrait disguise in many portraits# - third& little noticed& but genuine Rollen$ortrt in a narro sense is that of the actress )harlotte von <agn dressed in her costume as 3hekla& Fallensteins daughter& in Friedrich %chillers !allensteins Tod# %tieler also portrayed the actress )aroline von <eygendorf 5.=8/7 als Porcia in the 6au/,ann von Venedi' 5<ase& Stieler& ./E.& no# .6/7 and a model named )ati :ock as the 3adonna 5.=10& no# 8697#

    3he portrait of the stunning ,atharina :ot'aris 5.=1.7 constitutes a different case& one in hich the personal beauty and identity is eclipsed by her e*otic indigenous costume and her foreign national identity& underlined by the ;reek landscape of the background# :ot'aris as the daughter of a fallen hero in the battle for freedom in ;reece# <er dark beauty is characterised as a type by her ;recian costume: her red cap ith its long heavy tassel& her fur-trimmed Lacket ith gold brocade& her hite dress# +t is her otherness that is the centre of

    =8

    interest: an e*otic beauty from a far-a ay land#

    6atharina Botzaris& .=1.#

    3he picture as a great success& a 2Tre//er4 ith the public& as $r# <einrich !er' rote in the 6unst#latt 5.=16& No# =/& p# 6E97: 2.ier )ar i,,er der 'r&(te Zudran'B ein zierli"hes +esi"ht* ein )eisser Teint* ein )eni'sa'ender Bli"%* eine zinno#errothe ;i$$e und dazu die %leidsa,e +rie"hentra"htB a#er ein s0dli"her 6o$/* ein 'rie"his"hes Au'e ist es do"h )ohl ni"ht> 2"h ha#e das :ri'inal vor z)ei 1ahren zu 30n"hen in der St Salvator%ir"he* )hrend eines 'anzen 'rie"his"hen +ottesdienstes* lan'e und 'enau 'esehen und %ann von der Far#e reden 2hr #runli"her* ni"hts )eni'er als /einer Teint* ihr ,inder o//enes* ln'li"hes Au'e und der 'anze 'rie"his"hF slavis"he T@$us %onnte zu Fall,era@ers +rie"henland ein Titel%u$/er lie/ern 4 $r# !er' as interested in ,atharina :ot'aris as a Fre,de& at pains to sho himself as e*pert in the types of otherness& to parse :ot'aris as a 2griechischslavische 3ypus4# $istance& rather than an ethnographic aspiration to see others from the inside out#

    =6

    (+33OR+- )-B$ON+ -N$ 3<A SC.ON.E2TEN+A;ER2E:

    +t seems inescapable that the 6ron$rinzs taste and his e*pectations of portraits constituted part of hat he anted from Overbeck# One must only glance though the pictures of his beauties to sense immediately that Overbecks Vittoria Caldoni simply does not fit in# %he is& ho ever& but a fe centimetres too large& and it is not simply that she has been cast in a r?le as someone else or that she might be seen as a type typical of a foreign place dressed in local Tra"ht& for both of these e*ceptions found their ay into the royal gallery of beauties# :ut a full figure does not fit the programme at all& and clearly a full figure as not hat as e*pected in !unich# -nd further there as her lo ly station& a Buerin& seated on the bare earth& ith all the connotations of this posture: humility& poverty& and primitivism M almost as a representative of an earlier& more back ard phase of civili'ation& of the primitive past of mankind# :ut (ittoria )aldoni as first of all a S"h&nheit# Bud ig arrived in Rome for a long soLourn very shortly after her discovery in the %ummer of .=89& and he certainly heard of her and may ell have seen her# Fhile the abstract perfection of her face has been preserved& her famed beauty has been concealed by a veil of plainness# <ers is a very serious appearing picture& hereas Bud ig seemed to like his girls elegant& even richly dressed& and often light-hearted and sometimes merry# !any smile& and others look at the beholder engagingly& and some are Huite sensuous and e*posed# :oth Passavant and %chnorr described (ittorias pose and bearing# Passavant observed that 2das 3d"hen sit't et as geb>ckt* si"h ,it de, 6nie au/ de, Ell#o'en st0tzend 5###7 au"h #esonderes ;o# verdient unser 60nstler* da( er dur"h die sitizende und 'anz /0r ein ;and,d"hen $assende Stellun'* ihre et)as unansehnli"he +estalt zu ver#er'en )u(te#4 %chnorr returns to the point of ho (ittorias seated& slightly bent over posture conceals her defects: 23it ihrer +estalt )ar ni"hts anzu/an'en* denn sie ist 'anz unansehnli"hB do"h /0r"htete :ver#e"% aus de, Chara%ter zu /allen* )enn er si"h hierin Mnderun'en erlau#te* er )hlte daher eine +e#erde NO ;ebUrdeP* #ei )el"her die %leine Person in ihrer ei'ensten Ei'ent0,li"h%eit do"h sehr an,uti' ers"heint Er ,alte sie n,li"h* als o# sie von der Feldar#eit ausruheB lieblich 'usammengeduckt sitzt sie unter eine, Fei'en#au, 5###74 5p# 6E97# +f one ishes to see Overbecks (ittoria )aldoni as a representative of a pictorial genre representing curious and e*otic local types& it must be admitted that this genre as flourishing and much in demand at Rome at the time# :artolomeo Pinelli had some time earlier began issuing his various prints of

    =1

    Roman and +talian lo -life& and several of his prints ere dedicated to -lbano# !oreover& Pinelli as not the first or only practitioner of this topographical or chorographical genre& focused on picturesHue local types& usages& and costumes& a genre very popular ith visitors to +taly# ,estner rote that 2+enreF3aler $/le'ten eine Buerin* ein ar,es 3d"hen oder 'ar eine 3a'd zu ,a"hen4 5;old& 3odell%ult& 899/& p# .G/D cf# ,estner& .=G9& pp# =G-=E7# 3his as not a kind of painting or a category of painter to hich Overbeck ould have felt any attractionD indeed his probable reaction as that of aversion# (ittoria )aldonis true identity seems to have consisted of only t o elements: 5.7 her famed beauty and 587 her birthplace& as a native of -lbano& that is& her personal beauty hich corresponded perfectly to an abstract and universal classical ideal and her local& but not personal identity& as typical of the inhabitants of a specific place# :oth %chnorr and Passavant identify the vie into the distance as a vie across the plain before -lbano to the 5distant7 sea# Fhat the mountains behind the sea are is an open Huestion# Possibly there is combined a memory of the nearby Bago di -lbano# -nd hile Overbeck inevitably represents her local costume& he& as Passavant ackno ledges& plays it do n& stripping a ay detail& and even almost hiding one of the most characteristic -lbano features of her dress& the high and stiff #usto 53ieder7 that (ittoria ears& of hich only a narro strip of the green underside is sho n& along ith an eHually e*iguous part of the patterned front side& both nearly concealed by the models bent-over posture# Aven (ittorias ample apron has been& unrealistically& fused ith her skirt& to form a single garment& ith a red dra n tie& from hat are in reality t o distinct pieces of fabric& but no one& for the sake of a dignified picture dress# (ittorias dress thus becomes almost as universal as the costumes of Overbecks religious histories# %he ears not fabrics& but pictorial draperies& oven of paint& much as the immaterial materiality of the timeless& universal garments of !ichelangelos %istina# Overbeck evades offering a picturesHue vision of ethnic costume#

    1ere,iah

    =G

    +t does not seem very likely that (ittorias other identity as disclosed in !unichD it ould have not helped to diminish the complaints at the court# For hat Overbeck has painted is not a portrait in the traditional sense# +n Overbecks e*ecution of his commission from the )ro n Prince& it appears that his concept of portraiture as determined by his idea of his art as a strictly )hristian art and by the conception of his religious paintings# +t has been claimed that& in his Vittoria Caldoni& Overbeck e*pands the genre of portraiture to include an allegorical dimension 52er)eiterte das NPortrUt-P+enre ins Alle'oris"he4D !ildenberger& .//.& p# /E7& but& rather than an allegory of summer or autumn& (ittoria )aldoni becomes a )hristian allegory& cast as Ruth sitting at the foot of a tree& a figure of the genesis and generations of )hrist# +f she is to be seen as a Rollen$ortrt& it is not one like the fashionable Rollen$ortrts of Bud igs S"h&nheiten'alerie# Bike many participants in Overbecks religious histories and those of other Na'arenes ho bear the features of the Na'arenes and their families and friends& (ittoria )aldoni assumes a sacred identity# %he sits before us on the ground and appears unkno ing& absorbed in her in ardness& much as many of the nomadic ancestors of )hrist of the %istina#

    Fhen all is said& Overbecks (ittoria )aldoni is not a Rollen$ortrt in the sense of those of Bady <amilton as a )irce& a :acchante& a )assandra& or an -riadne& combining classical poses ith modern allure& or in the sense of %tielers Bady %pence as Arato# Overbeck paints (ittoria as a model& as she as& as does "ulius %chnorr von )arolsfeld in his Ruth of .=80#

    =0

    "ulius %chnorr& Vittoria Caldoni as Ruth& .=80# ,unsthalle& <amburg

    :ut here %chnorr simply uses (ittoria as a model for his Ruth in the Fields& Overbeck transforms his portrait of her into a figuration of Ruth# 3he t o artists depart from opposite ends of a single spectrum& but the operation that they transact is nearly identical# Neither image fits e*actly into a conventional genre: %chnorrs Ruth finds its precedents in Na'arene sacred pictures here the sacred personages are portraits of contemporaries& above all in Overbecks dra ing of Ruth and Boaz for his family 5su$ra7# <ere& in a further ackno ledgement of indebtedness to Overbeck& as he follo s in his footsteps& %chnorr sho s Ruths sa""o hite& and not dark bro n as in the painting of Ruth and :oa' in Bondon# +f %chnorrs RuthO(ittoria is a concealed (ittoria& Overbecks (ittoriaORuth is a hidden Ruth& ho as completely lost on her public in !>nchen# One of the t o Deutun'se#enen 5levels of meaning7 of the painting has been lost# :ut the painting is also not a simple Rollen$ortrt in hich the assumption of a makebelieve identity takes the form of a sophisticated form of self-presentation& in a flattering double-identity# Overbecks (ittoria becomes a kind of pictorial Do$$el'n'erin ho loses her o n identity# "ulius %chnorr rote& 2Er ,alte sie n,li"h* als o# sie von der Feldar#eit ausruhe4& and he sees the painting as a

    =E

    Ri$oso of the s"h&ne Al#aneserin# %he sits there do as the una are ancestors of )hrist& blindly and unkno ingly aiting for the coming of )hrist# +n the relatively small gallery of the Neue Pinakothek& here the picture is no displayed on a far all& the painting of (ittoriaORuth makes a strong and uncompromising& almost commanding impression even at a relatively considerable distance#

    (+33OR+- )-B$ON+:

    (ittoria )aldoni as sho n most often in her portraits as she herself& in portraits of her legendary beauty& a beauty hich& as artists and e*perts proclaimed& as ineffable and almost impossible to capture& and thus portraying her became an artistic challenge& a problem in representation# 3he focusing of so much attention on her beauty on the part of so many artists and lovers of beauty sometimes appears as a form of collective delusion& a cra'e as a form of collective behaviour# 3he attraction as felt almost e*clusively by foreigners# Only t o +talians& both sculptors& may be counted among those ho portrayed her& Pietro 3enerani 5.E=/-.=0/7 and Raimondo 3rentanove 5.E/.-.=687# Fhat !ildenberger aptly rote of -ugust ,estners R&,is"he Studien applies to much of hat has been ritten and said about (ittoria: 2Die von 6estner 0#erlie/erten #io'ra$his"hen und %ultur'es"hi"htli"hen Details sind so t@$is"hes :tto"ento* da( ,an sie /ast /0r Zitate aus der zeit'en&ssis"hen Ro,anliteratur halten %&nnte4 5.//.& p# /07# +n reality beautiful girls can be found every here# - corollary of (ittorias ineffability as the claim that all the portraits of her looked different& and none as satisfactory# :ut girls look different at different times& perhaps especially to young men# %chnorr had at least t o visions or versions of (ittorias beautiful face# :ut& despite all this& her likenesses fall into a very fe discrete groups& although recent studies seem blind to this fact# Overbeck gives his model& ho is only a model& a true identity# 3he hand ritten inscription& affi*ed to the back of the 6eilrah,en of the painting& ith (ittorias name includes information that came from Rome& but& o ing to the haste ith hich the picture as dispatched& it is not the inscription that Overbeck as e*pected to supply& and hich he never did 5Deuts"he 60nstler& ./=.& p# 0G7#

    ==

    !any of Overbecks paintings appeared to him in need of e*planation& hich in several cases he supplied in ritten form& e ' & the Triu,$h der Reli'ion in den 60nsten#
    F<QI:

    :eyond an aversion to conventional portraiture and& possibly& a feeling that representing colourful local types as beneath the orthiness of his art& Overbecks self-image may have allo ed him to disregard the terms of his commission# - recent book by !itchell :# Frank has described Overbecks stylised public persona as the monk-artist and defined his fundamental private self-image as that of the independent man# -n aspect of this identity as Overbecks vie of himself as an artist-king& as a component of the independence to hich he aspired# <e sits before his easel as a person of the highest rankD like a king& he reigns over his brushes 5899.& pp# 1G-1=7# <e ould not e*change places ith any king on earth# 3hus Overbeck may have e*perienced ambivalence in the service of a king& or future king& as as the )ro n Prince of :ayern#

    3o ,eith -ndre ss observation that the picture forces the beholder 2intentionally& to seek a meaning beyond mere portrait representation4& students of Overbeck have& unintentionally& offered only three ans ers& some have suggested an allegory of the seasons or of plenty 5late summerRautumn& or Fru"ht#ar%eit: %pickernagel& .//07& or similarly& Pomona 5Poensgen& ./0.& p# 8G67& or !ariU 5,oelt'& 899/& p#..07# 3he first suggestions seem inadeHuate& the third& incorrect# One riter has suggested& irrefutably& that until his death Overbeck& in many letters and other ritten statements& represented his vie that art as only to serve Religion and the glorification of ;od 52Bis zu seine, Tode vertrat :ver#e"% in vielen Brie/en und s"hri/tli"hen Musserun'en die Au//assun'* dass die 6unst allein der Reli'ion und der Verherrli"hun' +ottes 'e)id,et )erden ,0sse#47#

    =/

    -B3ARN-3+(A +N3ARPRA3-3+ON%:

    !ore than ritten ords& images are susceptible to variable interpretation# +f one ishes to look in other directions& one might ask if 3heodor Rehbenit's Al#aneserin 5.=687 is not in reality a portrait of (ittoria )aldoni# 3he likeness seems to fall ithin the range of her portraits#

    3heodor Rehbenit'& 1un'e Frau in der Tra"ht von Al#ano& .=68# !useum :ehnhaus& B>beck

    /9

    3he staff behind her bears as its ape* the obscene gesture of the Fei'enhand:

    3he staff in Rehbenit's dra ing may simply be a s"ara,anzia to ard off evil& as has been maintained& for the models r?le as not ithout risks# :ut it might also be a gesture to say _"ornuto42& launched against critics of (ittorias r?le# 3he road from model to mistress& and sometimes ife as a short one& and (ittoria ultimately married an artist for hom she modelled# Fathers sometimes vigorously opposed that Bud ig might appear at %tielers studio in the course of sittings ith their daughters# (ittoria as usually accompanied by her mother to sittings# :ut the relation of artist to model leads to intimacy& the models r?le demanding obedience and submission& the artist focused for long periods on her face and body& e*ploring and attempting to fathom her secrets#

    -s seen above& Passavant rote that in Overbecks painting the hands ere not Huite finished 52er den .nden ni"ht die?eni'e Vollendun' 'e#en %onnte* )el"he sonst i, 'anzen +e,lde so sehr er/reut47# Overbecks dra ing of (ittoria in :erlin sho s all the fingers of her left hand fully e*tended do n ardD in the painting in the Neue Pinakothek instead the t o middle fingers are retracted& giving the suggestion of a slightly concealed gesture of the ,ano "ornuta 5'esto delle "ornoD sign of the hornsD .&rner7 in hat again may be an apotropaic

    /.

    gesture& but may also suggest that the vie er is a victim of cuckoldry& that his or her spouse is unfaithful# 3hus (ittoria arns that her beauty carries ith it the risk that she may prove seductive to her admirers#

    %atyr& PlaPuette& !antuan& after .1=9

    Aven Ruth as not so chaste as most artists portrayed her& for her seduction of :oa' nearly ends in an erotic adventure in the night& until :oa' saves Ruths

    /8

    good name# 3his aspect of Ruths history is manifest in the Ruth of Francesco <aye' 5.E/.-.==87& here& her breasts bared and her upper arm encircled by a golden arm bracelet& she nearly assumes the guise of Raphaels Ba%erEs Dau'hter#

    Francesco <aye'& Ruth& .=G6# )olle'ioni )omunali& Pala''o Pubblico& :ologna

    /6

    ````````````````````````````````````````````````````````````````

    FRIEDRICH OVERBECK

    5.E=/-.=0/7

    !uch material concerning Overbeck as published during his lifetime or shortly thereafter& including brief biographies in +talian 5Baderchi& .=1=D :orgia !andolini& .=E87# $ifficult to find early periodicals are sometimes to be read online 5e ' & 6unst#latt: htt$:77di'lit u# uniFheidel#er' de di'lit7%unst#lattD cf# arthistori"u, net: 3hemena 3e*tHuellen digitala ,unst- und %atire'eitschriftena !orgenblattR,unstblatt7# -lthough significant parts of Overbecks very e*tensive correspondence remains unpublished& very many of his letters and those to him have been published 5see <asse& %chnorr von )arolsfeld& RumohrR%tockD <o itt& Fikisource& )ornelius& et"#7# -lthough !argaret <o itts description of Overbecks life and orks 5.==07 as compiled 2na"h seinen Brie/en und anderen Do%u,enten des hands"hri/tli"hen Na"hlasses4& the evidential status of her reports is not al ays clear 5cf# !ichael 3himann& revie of: !itchell Frank& +er,an Ro,anti" Paintin' Rede/ined& 899.& in: 1ournal /0r 6unst'es"hi"hte& vol# E& 8996& pp# 811-81/7# 3he Overbeck Na"hlass in B>beck is presently accessibleD see Paul <agen& Friedri"h :ver#e"%s hands"hri/tli"her Na"hla( in der ;0#e"%is"hen Stadts#i#liothe%& B>beck: %chmidt-R\mhild& ./80# 3he r?le of Fran' :inder in the <o itt biography merits consideration# !argaret <o itt as the daughter of Filliam <o itt and !ary <o itt 5.E//-.===7& both very productive :ritish authors# 3he autobiography of the mother& !ary <o itt: An Auto#io'ra$h@& ed#

    /1

    !argaret <o itt& Bondon: F# +bister& .==/& contains illuminating material concerning the <o ittss relations ith the <offmann-Overbeck family 5online: ar"hive or'7#

    Friedri"h :ver#e"%& .=GG# Fotograph: Fran' <anfstaengl 5.=91-.=EE7

    "oseph :eavington -tkinson& :ver#e"%& Ne Qork 5%cribner J Felford7 and Bondon 5%ampson Bo & !arston& %earle& J Rivington7& .==8 5+llustrated :iographies of the ;reat -rtistsD online: ar"hive or'7 <o itt& .==0 O !argaret <o itt& Friedri"h :ver#e"%: Sein ;e#en und S"ha//en* ed# Fran' :inder& 8 vol#& Freiburg in :reisgau: <erdernsche (erlagshandlung& .==0 5online: @niversitUts- und Bandesbibliothek $>sseldorf bhtt$:77di'ital uniF duesseldor/ de7ihd7"ontent7stru"ture7H8JDQ<<c7 Friedrich Pecht& _Friedrich Overbeck2& in: All'e,eine Deuts"he Bio'ra$hie& vol# 8G& Beip'ig .==E& pp# E-.1 5online: !i%isour"eD also: N$:R-$: online7 Paul Ferdinand %chmidt& 2Friedrich Overbeck4& in: Thie,eFBe"%er& vol# 80& ./68& p# .9G Frank :>ttner& 2Friedrich Overbeck4& in: Di"tionar@ o/ Art& Bondon .//0& vol# 86& pp# 0EG-0E= @seful eb-pages about Overbeck are found in various languages at !i%i$edia 5 ith literature and images7#

    /G

    3here is no comprehensive modern monograph dedicated to Overbeck& but see library OP-)s for books& articles& and e*hibition catalogues& as ell as internet search engines for te*ts and images# !any of these orks have been consulted# Online is found the follo ing ork 5in large parted included in: Frank& 899.7: !itchell :enLamin Frank& Friedri"h :ver#e"% Pla@in' the Role o/ the 3on%F Artist& $issertation& @niversity of 3oronto& .//E 5in +nternet: ))) ni"F #n" "a7o#i7sQ7/=7ds%=7ta$e8G7PRDDSTTTQ7NR=JD=9 $d/7 via ;oogle# P$F: FR+A$R+)< O(AR:A), M :ibliothWHue et -rchives )anada# !itchell :# Frank7 ````````````````````````````````````````````````````````````````

    OVERBECK, VITTORIA CALDONI, NEUE PINAKOTHEK:

    +n the Bestands%atalo' of the Neue Pinakothek& S$t%lassizi,us und Ro,anti%& Overbecks Vittoria Caldoni receives an e*tensive and nearly comprehensive entry including a full citation of relevant inventories& e*hibition catalogues& and literature: 3hea (ignau-Filberg& ed#& S$t%lassizi,us und Ro,anti%& :ayerische %taatsgemUlde %ammlungen& Neue Pinakothek& ;emUldekatalog 1& !>nchen: <irmer& 8996& F-F EGE& pp# 60E-6E. 3his is the fundamental reference for the painting# %ee also: <erbert F# Rott& ;ud)i' 2 und die Neue Pina%othe%& ,\ln: $u!ont& 8996& p# 80G %ubseHuently t o orks treating portraits of (ittoria )aldoni& ritten as Hualifying papers for academic degrees& have been published& nearly simultaneously: online: -mrei +# ;old 5geb# <eitk\tter7& Der 3odell%ult u, Sarah Siddons* E,,a .a,ilton* Vittoria Caldoni und 1ane 3orris& $issertation& 8990& FestfUlische

    /0

    Filhelms-@niversitUt !>nster& 899/ 589.97 Nhttp:RRmiami#unimuenster#deRservletsR$erivate%ervletR$erivate-G61GRdiss`gold`amrei#pdfP $rint: @lrike ,oelt'& Vittoria Caldoni: 3odell und 2denti/i%ations/i'ur des 8D 1ahrhunderts& Frankfurt am !ain: Peter Bang& 89.9 5$issertation& 3echnische @niversitUt& $ortmund& 899/7 ````````````````````````````````````````````````````````````````

    Die Nazarener& ed# ,laus ;all it'& A*hibition )atalogue& Frankfurt am !ain& %tUdelsches ,unstinstitut& ./EE Die Nazarener in Ro,& ed# ,laus ;all it'& A*hibition catalogue& ;alleria Na'ionale di -rte !oderna& Roma& ./=. 5!>nchen: Prestel (erlag& ./=.7& p# .E/& No# E/ 2 Nazareni a Ro,a& ;alleria d-rte !oderna& Roma ./=.& p# 896& No# E/ +er,an 3asters o/ the Nineteenth Centur@: Paintin's and Dra)in's /ro, the Federal Re$u#li" o/ +er,an@& A*hibition catalogue: Ne Qork: !etropolitan !useum of -rt& ./=.& Ne Qork: -brams& ./=.& p# .=9& No# 0= 5Fuppertal version7 1ohann Friedri"h :ver#e"% 8J<DF8<GD Zur z)eihundertsten !ieder%ehr seines +e#urtsta'es& ed# -ndreas :l>hm and ;erhard ;erkens& A*hibition& B>beck& !useum :ehnhaus& ./=/ %taatliche ;raphische %ammlung !>nchen& 1ohann Friedri"h :ver#e"%: 2talia und +er,ania& A*hibition catalogue& !>nchen& Neue Pinakothek& 8998

    /E

    Reli'ion* 3a"ht* 6unst: Die Nazarener& ed# !a* <ollein and )hrista %teinle& ,\ln: ,\nig& 899G 5A*hibition& Frankfurt am !ain7 For POR3R-+3@RA in general& see: Borne )ampbell& Renaissan"e Portraits: Euro$ean PortraitFPaintin' in the 8Qth* 89th and 8Gth Centuries& Ne <avenBondon: Qale& .//9& ith an emphasis on the practicalities of artistic creation# ``````````````````````````````````````````````````````````````

    ```````````````````````````````````````````````````````````````` -tkinson& .==8 O "oseph :eavington -tkinson& :ver#e"%& Ne Qork 5%cribner J Felford7 and Bondon 5%ampson Bo & !arston& %earle& J Rivington7& .==8 5+llustrated :iographies of the ;reat -rtistsD online: ar"hive or'7 :astekR3himann& 899/ O UAn den !assern Ba#@lons sa(en )irE: Fi'urationen der Sehnsu"ht in der 3alerei der Ro,anti%* Ferdinand :livier und Eduard Bende,ann* ed# -le*ander :astek and !ichael 3himann& A*hibition catalogue& B>beck& !useum :ehnhaus& 899/& Petersberg: !ichael (erlag& 899/ :ernhard& ./E6 O !arianne :ernhard& Deuts"he Ro,anti%: .andzei"hnun'en& 8 vol#& !>nchen: Rogner und :ernhard& ./E6 :\rsch-%upan& ./==: <elmut :\rsch-%upan& Die deuts"he 3alerei von Anton +ra/ #is .ans von 3arNes 8JGTF8<JT& !>nchen: :eck& ./== :rieger-Pollak O -nne :rieger-Pollak& Der +othaer 3aler Paul E,il 1a"o#s K8<T=F8<<GL& ;otha 8998D A*hibition catalogue& ;otha& %chloss Friedenstein& 8998

    /=

    :>ttner& ./E/ O Frank :>ttner& 2$ie klugen und t\richten "ungfrauen im ./# "ahrhundert: dur religi\sen :ildkunst der Na'arener4& in: StdelF1ahr#u"h& N#F#& vol# E& ./E/& pp# 89E-869 :>ttner& .//0 O Frank :>ttner& 2Friedrich Overbeck4& in: Di"tionar@ o/ Art 5Bondon .//07& vol# 86& pp# 0EG-0E= )ampbell& .//9 O Borne )ampbell& Renaissan"e Portraits: Euro$ean PortraitF Paintin' in the 8Qth* 89th and 8Gth Centuries& Ne <aven-Bondon& .//9 Deuts"he 60nstler& ./=. O Deuts"he 60nstler u, ;ud)i' 2 in Ro,& ed# %taatliche ;raphische %ammlung !>nchen& A*hibition catalogue& !>nchen ./=. D0rer #is Baselitz& ./=/ O Von D0rer #is Baselitz: Deuts"he Zei"hnun'en aus de, 6u$/ersti"h%a#inett der .a,#ur'er 6unsthalle& A*hibition catalogue& <amburg& <amburger ,unsthalle& ./=/ 5De D0rer V Baselitz: Dessins alle,ands de la 6unsthalle de .a,#our'& Acole Nationale %upWrieure des :eau*--rts& .8#.9#-6.#.8#./==& ed# Ackhard %charrD A*hibition catalogue7 Fasert& .//0 O %abine Fasert& Die Sie#en Sa%ra,ente von 1ohann Friedri"h :ver#e"%& !>nchen: tuduv-(erlagsgesellschaft& .//0 5!agisterarbeit ,iel& .//G7 Frank& .//E O !itchell :enLamin Frank& Friedri"h :ver#e"% Pla@in' the Role o/ the 3on%FArtist& $issertation& @niversity of 3oronto& .//E 5onlineD see su$ra7 Frank& 899. O !itchell :# Frank& +er,an Ro,anti" Paintin' Rede/ined& -lderschot: -shgate& 899. ;eismeier& ./=1 O Filli ;eismeier& Die 3alerei der deuts"hen Ro,anti%& %tuttgart: ,ohlhammer& ./=1 +er,an 3asters& ./=. O +er,an 3asters o/ the Nineteenth Centur@: Paintin's and Dra)in's /ro, the Federal Re$u#li" o/ +er,an@& A*hibition catalogue: Ne Qork: !etropolitan !useum of -rt& ./=.& Ne Qork: -brams& ./=.& p# .=9& No# 0= 5Fuppertal version7# ;laserR$unkelRPut'& 8991 O 6&ni' ;ud)i' 2 von Ba@eren und ;eo von 6lenze& Der Brie/)e"hsel& vol# .-8& 8991& <ubert ;laser& Fran'iska $unkel& <anelore Put'

    //

    <ase& ./E. O @lrike von <ase& 1ose$h Stieler 8J<8F8<9<& !>nchen: Prestel (erlag& ./E. <asse& .==ER.=== O <asse& Paul 5A ald7& 2-us dem Beben Friedrich Overbecks: :riefe an Altern und ;esch ister4& in: All'e,eine %onservative 3onatss"hri/t /0r das "hristli"he Deuts"hland& vol# 11& .==E& pp# =/E-/.1& .9G0-.90=& ..=/.89.& .8E8-.8=ED and <asse& Paul 5A ald7& 2-us dem Beben Friedrich Overbecks: :riefe an Altern und ;esch ister4& in: All'e,eine %onservative 3onatss"hri/t /0r das "hristli"he Deuts"hland& vol# 1G& .===& pp# 6/-G0& .GE-.EE 5collected in a volume at the dentralinstitut f>r ,unstgeschichte !>nchen7 <eise& ./8= O )arl ;eorg <eise& :ver#e"% und sein 6reis& !>nchen: ,urt Folff (erlag& ./8= <oLer& 899. O ;erhard <oLer& Die S"h&nheiten'alerie 6&ni' ;ud)i's 2#& Regensburg: %chnell und %teiner& 899. <olleinR%teinle& 899G: Reli'ion* 3a"ht* 6unst: Die Nazarener& ed# !a* <ollein and )hrista %teinle& ,\ln: ,\nig& 899G 5A*hibition& Frankfurt am !ain7 <o itt& .==0 O !argaret <o itt& Friedri"h :ver#e"%: Sein ;e#en und S"ha//en* ed# Fran' :inder& 8 vol#& Freiburg in :reisgau: <erdernsche (erlagshandlung& .==0 2talia und +er,ania& 8998 O %taatliche ;raphische %ammlung !>nchen& 1ohann Friedri"h :ver#e"%: 2talia und +er,ania& A*hibition catalogue& !>nchen& Neue Pinakothek& 8998 "ensen& ./08 O "ens )hristian "ensen& 2Friedrich Overbecks Familienbild in B>beck4& in: Pantheon& vol# 89& ./08& pp# 606-6E1 "ensen& ./06 O "ens )hristian "ensen& Friedri"h :ver#e"%: Die !er%e in Behnhaus& B>beck ./06 ,estner& .=G9 O -ugust ,estner& R&,is"he Studien& :erlin: (erlag der $eckerschen ;eheimen Ober-<ofbuch $ruckerei& .=G9 B>beck& ./=/ O 1ohann Friedri"h :ver#e"% 8J<DF8<GD Zur z)eihundertsten !ieder%ehr seines +e#urtsta'es& ed# -ndreas :l>hm and ;erhard ;erkens& A*hibition catalogue& B>beck& !useum :ehnhaus& ./=/ !esserer& ./00 O Brie/)e"hsel z)is"hen ;ud)i' 2 von Ba@ern und +eor' von Dillis 8<TJF8<Q=& ed# Richard !esserer& !>nchen: :eck& ./00 5pp# G01& GE0 f#& G/=& 099 f#7

    .99

    !ildenberger& .//. O <erman !ildenberger& 2(ittoria )aldoni und der ,ult des !odells im ./# "ahrhundert4& in: 60nstlerle#en in Ro,& ed# ;erhard :ott and <ein' %pielmann& N>rnberg: ;ermanisches Nationalmuseum& .//.& pp# /G-.9/ Poensgen& ./0. O ;eorg Poensgen& 2du einer neu aufgetauchten :ildnisb>ste der (ittoria )aldoni von Rudolph %chado 4& in: Pantheon& vol# ./& ./0.& pp# 8G9-809 Nazarener& ./EE: Die Nazarener& ed# ,laus ;all it'& A*hibition catalogue& Frankfurt am !ain& %tUdelsches ,unstinstitut& ./EE Nazarener& ./=. O Die Nazarener in Ro,& ed# ,laus ;all it'& A*hibition catalogue& ;alleria Na'ionale di -rte !oderna& Roma& ./=. 5!>nchen: Prestel (erlag& ./=.7& p# .E/& No# E/ Nazareni& ./=. O 2 Nazareni a Ro,a& ;alleria d-rte !oderna& Roma ./=.& p# 896& No# E/ :ver#e"%& B>beck& ./=/ O 1ohann Friedri"h :ver#e"% 8J<DF8<GD Zur z)eihundertsten !ieder%ehr seines +e#urtsta'es& ed# -ndreas :l>hm and ;erhard ;erkens& A*hibition& B>beck& !useum :ehnhaus& ./=/ Pecht& ADB& .==E O Friedrich Pecht& _Friedrich Overbeck2& in: All'e,eine Deuts"he Bio'ra$hie& vol& 8G& Beip'ig .==E& pp# E-.1 5online: !i%isour"e7 Rott& 8996 O <erbert F# Rott& ;ud)i' 2 und die Neue Pina%othe%& ,\ln: $u!ont& 8996 %chnorr von )arolsfeld& Brie/e& .==0 O "ulius %chnorr von )arolsfeld& Brie/e aus 2talien 5###7 'es"hrie#en in den 1ahren 8<8J #is 8<=J& ed# Fran' %chnorr von )arolsfeld& ;otha: Friedrich -ndreas :erthes& .==0 %chnorr von )arolsfeld& Bi#el& ./=8 O "ulius %chnorr von )arolsfeld& Die Bi#el in Bildern und andere #i#lis"he Bilder/ol'en der Nazarener 5 ith te*ts by +rmgard Feldhaus and "utta -ssel7& Neuss: )lemens-%els-!useum& ./=8-./=6 5A*hibition catalogue7 S"hnorr von Carols/eld& .//1 O 1ulius S"hnorr von Carols/eld 8JDQF8<J=& ed# <er ig ;urat'sch& Beip'ig .//1 5A*hibition catalogue: !useum der bildenden ,>nste Beip'ig R ,unsthalle :remen .//17

    .9.

    S"hnorr von Carols/eld& .//0 O 1ulius S"hnorr von Carols/eld und die 6unst der Ro,anti% 5Publikation der :eitrUge 'ur (++# ;reifs alder Romantikkonferen'& .//17& ed# ;erd-<elge (ogel& ;reifs ald: %teinbecker (erlag Rose& .//0 %eeligerR%ievekingR%uhr& .//1 O %tephan %eeliger& <inrich %ieveking& Norbert %uhr& 1ulius S"hnorr von Carols/eld: Zei"hnun'en Naus Privatbesit'P& !>nchen: Prestel (erlag& .//1 5A*hibition catalogue: !ain'R!>nchen& .//1-.//G7 %pickernagel& .//0 O Allen %pickernagel& 2(ittoria )aldoni im ,reis der Na'arener4& in: 1ulius S"hnorr von Carols/eld und die 6unst der Ro,anti%& ;reifs ald: %teinbecker (erlag Rose& .//0& pp# ..9-..E %teinle& ./.9 O -lfons !aria von %teinle& Ed)ard von Steinle: des 3eisters'esa,t)er% in A##ildun'en& ,empten-!>nchen: "os# ,\selsche :uchhandlung& ./.9 5online: ar"hive or'7 %tock& ./16 O Friedrich %tock& 2:riefe Rumohrs# Aine -us ahl 'um 8G# "uli ./16& dem .99# 3odestage Rumohrs4& in: 1ahr#u"h der Preussis"hen 6unstsa,,lun'en& :eiheft to vol# 01& :erlin ./16& pp# .-.6G %uhr& .//. O Norbert %uhr& Phili$$ Veit K8JDHF8<JJL: ;e#en und !er% eines Nazarener& Feinheim: ()< -cta humaniora& .//. 3asch& ./// O %tephanie ;oda 3asch& Studien zu, )ei#li"hen Rollen$ortrt in En'land von Anthonis van D@"% #is 1oshua Re@nolds& Fiemar: ($;& ./// 5$issertation :ochum& .//G7 3eichmann& 899. O !ichael 3eichmann& 1ulius S"hnorr von Carols/eld K8JDQF 8<J=L und seine Ol'e,lde: 3ono'ra$hie und !er%verzei"hnis& Frankfurt am !ain: Peter Bang& 899. 5$issertation !>nchen .///7 Thorvaldsen& .//. O 60nstlerle#en in Ro,: Berthel Thorvaldsen K8JJTF8<QQL& ed# ;erhard :ott und <ein' %pielmann& A*hibition catalogueD N>rnberg: ;ermanisches Nationalmuseum& .//. (alentin& .=== O (eit (alentin& Revie of !argaret <o itt& Friedri"h :ver#e"%& Freiburg in :reisgau: <erder& .==0& in: Re$ertoriu, /0r 6unst)issens"ha/t& vol# ..& .===& pp# ./1-./0 (ignau-Filberg& 8996 O 3hea (ignau-Filberg& ed#& S$t%lassizi,us und Ro,anti%& :ayerische %taatsgemUlde %ammlungen& Neue Pinakothek& ;emUldekatalog 1& !>nchen: <irmer& 8996

    .98

    (ignau-Filberg& 89.. O Peter (ignau-Filberg& Die ;u%as#r0der u, 1ohann Friedri"h :ver#e"% und die Erneuerun' der Fres%o,alerei in Ro,* :erlin!>nchen: $eutscher ,unstverlag& 89.. (ignau-Filberg& 89.6 O Peter (ignau-Filberg& Die ;u%as#r0der in Ro,& <amburg: ,ovac (erlag& 89.6 5not consulted7 Faibinger& .=8/ O Filhelm Faibinger& Tas"hen#u"h aus 2talien und +rie"henland Au/ das 1ahr 8<=D# :erlin: ;# Reimer& .=8/& vol# .: Ro, 5online: Sta#i 30n"hen7 F\rndle& ./8G O <einrich von F\rndle& 1ose$h Ritter von F0hri"h: Sein ;e#en und seine 6unst& !>nchen: -llgemeine (ereinigung f>r )hristliche ,>nst& ./8G Folf-3imm& .//. O 3else Folf-3imm& Theodor Reh#enitz 8JD8F8<G8* Pers&nli"h%eit und !er%& ,iel .//. 5A*hibition: ,unsthalle ,ielD B>beck& !useum :ehnhaus 5!,,7& .//.

    30n"hen& .9# %eptember 89.6


    $$d !>nchen ;mb< e !fN)<AN: fondamentaARTE#de

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