Přestupní stanice Praha: Josef Führich v Čechách na počátku 30. let 19. století / Zwischenstation Prag: Joseph Führich in Böhmen in den frühen 30er Jahren des 19. Jahrhunderts
| Title in English | Transfer station Prag: Joseph Führich in Bohemia in the early 1830s |
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| Year of publication | 2014 |
| Type | Chapter of a book |
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| Description | Despite the generous offer of King Ludwig I of Bavaria, who wanted to hire a painter in Munich, Josef Führich decided to return from Italy back to the Habsburg monarchy. For the resistance of the Vienna Art Academy Board has yet obtained second custodian place in Lamberg gallery, which he suggested the artist's patron, the chancellor Wenzel Lothar of Metternich, and since 1829 spent almost another five years in Prague of waiting for the promised paid job in the capital of the monarchy. Surrounded by friends, especially the Northern Bohemian countrymen, gathered around inspiring home company, focused on active growing debate about the music and the visual arts. Among the regular visitors were younger generation of artists such as sculptors Josef and Emanuel Max, Rudolf Müller who later became a painter and writer, as well as long-time family friends painters Martin Tejček and Josef Quaisser, or aesthetics professor Anton Müller and others. Necessary sustenance to Führich at this time ensures the other hand graphic projects, especially by publishing a revised cycle Genoveva (ed. Peter Bohmann, Prague, 1830) as well as the creation of individual paintings and drawings to order Freeholders. In addition, he continued, now known and appreciated as a painter, in the formation of religious and altarpieces, especially for the North Bohemian churches. From 1831 he worked for a time as a teacher of composition and consultant in the family old-count Hugo Karl Eduard of Salm-Reifferscheidt which ordered by Joseph Führich also remarkable Group portrait of his family (1832). The result, however, was not satisfied old-count so two years later he commissioned by Führichs friend, the painter Josef Vojtech Hellich to revise the composition (1834). In 1832 he married Franziska Gaßner, he met before the Italian stay. It seems that the greatest effort invested in this time cycle of eleven drawings depicting the Triumph of Christ (1830-1831). The intention to create this work the artist has conceived in Italy and its implementation should, among other things, encourage Führich to obtain a place at the Academy in Vienna. |
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