The longing for distant, exotic climes seems to have survived over the centuries. While nowadays travel impressions are posted at lightning speed via smartphone, the travelers of earlier generations had "only" eye, hand, pen and paper. Meticulous and detailed drawings were created during these times. The Romantic era moved away from purely scientific illustration. On the contrary, the artists of the Romantic period showed reality and individualized what they saw through their own views and feelings.
Johann Moritz Rugendas, a representative of Romantic painting, came from a family of artists in Augsburg. He attended an art school in Augsburg and continued his education at the Munich Academy. After his academy training, he began working as a travel draftsman for Freiherr v. Langsdorff. With von Langsdorff he traveled through Brazil, made meticulous drawings of people, animals and plants. Everyday scenes and landscapes captivate with their detailed rendering. However, merely depicting reality was not enough for Rugendas. He felt restricted and missed artistic freedom in his work. Consequently, he terminated his employment. After another 3 years in Brazil, he returned to Europe. A collection of his drawings, lithographed, was then published in Paris under the title "Yoyage pittoresque, German "Malerische Reise in Brasilien von Moritz Rugendas". The sheets showed the development of the artist. The scenes appear realistic, but have been exaggerated and made more emotional by the typical stylistic devices of Romanticism. This is particularly evident in the landscape paintings; the glory of nature takes on a special dramatic quality, whether through a mystical aura or stylistic elements such as storm lights and cloud towers. Not to be overlooked is the now strongly pronounced goal of creating aesthetics; reality is drowned out by imagination. In Rugendas, for example, clearly recognizable in the colonial scenes.
The "Painterly Journey" was a success, and Rugendas continued his travels after a short stay at home. After studies in Italy, he traveled from Bordeaux to Haiti and Mexico. This was an adventurous phase of his life, due not least to his limited financial means. Rugendas accepted privations, exposed himself to severe hardships, crossed the Cordilleras on horseback, fell from his horse, was struck by lightning, was even innocently arrested, - none of this could stop him from further adventure travels and excursions. The quest for knowledge of the exotic, the incentive to get to know foreign people and regions outweighed all inconveniences. Considering, moreover, the strained financial situation during these trips, this deserves all the more respect. Rugendas was constantly required to generate the funds for further travel by selling his drawings. After Chile, he traveled through Peru and Bolivia, returned to Chile, and from there set out on his return journey to Europe. As befitted a convinced globetrotter, via detours. After stopovers in Panama and Uruguay, he reached Europe two years later. His extensive collection of drawings of exotic countries, traditional costumes and pictures of customs secured him an annual life annuity of 1200 gulden in his homeland. King Ludwig I bought some of Rugenda's works for the royal copperplate engraving cabinet. Looking at Rugenda's travel impressions, one not only recognizes the depicted places, people, animals, plants. Rather, impressions typical of the time can be traced. These are not quick snapshots, but atmospheric images from a bygone era.
The longing for distant, exotic climes seems to have survived over the centuries. While nowadays travel impressions are posted at lightning speed via smartphone, the travelers of earlier generations had "only" eye, hand, pen and paper. Meticulous and detailed drawings were created during these times. The Romantic era moved away from purely scientific illustration. On the contrary, the artists of the Romantic period showed reality and individualized what they saw through their own views and feelings.
Johann Moritz Rugendas, a representative of Romantic painting, came from a family of artists in Augsburg. He attended an art school in Augsburg and continued his education at the Munich Academy. After his academy training, he began working as a travel draftsman for Freiherr v. Langsdorff. With von Langsdorff he traveled through Brazil, made meticulous drawings of people, animals and plants. Everyday scenes and landscapes captivate with their detailed rendering. However, merely depicting reality was not enough for Rugendas. He felt restricted and missed artistic freedom in his work. Consequently, he terminated his employment. After another 3 years in Brazil, he returned to Europe. A collection of his drawings, lithographed, was then published in Paris under the title "Yoyage pittoresque, German "Malerische Reise in Brasilien von Moritz Rugendas". The sheets showed the development of the artist. The scenes appear realistic, but have been exaggerated and made more emotional by the typical stylistic devices of Romanticism. This is particularly evident in the landscape paintings; the glory of nature takes on a special dramatic quality, whether through a mystical aura or stylistic elements such as storm lights and cloud towers. Not to be overlooked is the now strongly pronounced goal of creating aesthetics; reality is drowned out by imagination. In Rugendas, for example, clearly recognizable in the colonial scenes.
The "Painterly Journey" was a success, and Rugendas continued his travels after a short stay at home. After studies in Italy, he traveled from Bordeaux to Haiti and Mexico. This was an adventurous phase of his life, due not least to his limited financial means. Rugendas accepted privations, exposed himself to severe hardships, crossed the Cordilleras on horseback, fell from his horse, was struck by lightning, was even innocently arrested, - none of this could stop him from further adventure travels and excursions. The quest for knowledge of the exotic, the incentive to get to know foreign people and regions outweighed all inconveniences. Considering, moreover, the strained financial situation during these trips, this deserves all the more respect. Rugendas was constantly required to generate the funds for further travel by selling his drawings. After Chile, he traveled through Peru and Bolivia, returned to Chile, and from there set out on his return journey to Europe. As befitted a convinced globetrotter, via detours. After stopovers in Panama and Uruguay, he reached Europe two years later. His extensive collection of drawings of exotic countries, traditional costumes and pictures of customs secured him an annual life annuity of 1200 gulden in his homeland. King Ludwig I bought some of Rugenda's works for the royal copperplate engraving cabinet. Looking at Rugenda's travel impressions, one not only recognizes the depicted places, people, animals, plants. Rather, impressions typical of the time can be traced. These are not quick snapshots, but atmospheric images from a bygone era.
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