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Ferdinand Georg Waldmüller (1793-1865) is considered one of the most important figures in 19th-century Austrian art; A charismatic and admirable teacher, and a prominent figure in the context of the established Viennese Academy. He worked at the time of The Biedermeier movement which took the end of the Napoleonic wars until 1848 when various changes shook the ruling Habsburg dynasty and the Austrian political elite. Biedermeier reflected the interests and aspirations of the developing bourgeois class; beautiful scenery, color patterns, flower pieces and pictures of the upper drawing room. Within the genteel confines, Waldmüller focused on a static form, more concerned with accuracy and fidelity than the efforts of his more philanthropic colleagues, and criticized the teaching methods of the Academy and finally in 1857 called for the abolition of all schools.
If the collection of small, intricately detailed spaces represents a passionate artist tearing up the rule book, it’s not so obvious because of their stark, static appearance. Each one shows the view of a particular place – The Ruins of the Temple of Juno Lacinia near Agrigento (1846), View of the Dachstein from the Sophien-Doppelblick near Ischl (1835) – accompanied by a descriptive text that systematically records the details of the text, followed by a technical analysis: for the last reason, “Waldmüller in the difference in size, from the soft green color of the valley to the gray blue color of the far mountains.” On the only painting in the show, 1828’s Self Portrait as a Young Man, which by no means surpasses anything else here, the words show “his fragile fingers proclaiming his passion and skill”: taste and sensitivity are the defining features of the entire exhibition.
It is known that Waldmüller was originally self-taught by following 17th century Dutch masters such as. Jacob van Ruisdaelabandoning this practice with the goal of learning directly from nature. While Ruisdael portrays a vivid and lifelike figure, Waldmüller strips away his dramatic form and personality in pursuit of military precision. He uses a combination of herbs, bark, grass and leaves in his recipes and measuring tools, which look like a chef who uses small garnishes and tweezers.
Unique in itself is Waldmüller’s use of white instead of purple in his paintings. Applying oil paint in thin layers to a clean surface creates a glossy finish; A practice that was also adopted by the Pre-Raphaelites, whom he must have met on a trip to London in 1856. The efforts of the Pre-Raphaelites however are technicolor riots of eye-watering power in full harmony with their small figures and miracles of myth and legend; Also by restraining himself from reproducing the trees around him, Waldmüller’s forms are transformed into static forms found in nature.
It is difficult to fully understand Waldmüller’s approach by focusing on a limited space, and distancing himself from contemporary examples; What is the difference between this and the study of terrestrial or botanical art that works mainly for academic purposes? The notice is in the same area with a group of smiling children gathering violets in Early Spring in the Vienna Woods (1861), which gives a typical Biedermeier impression of sweet colors with symbolism, which indicates the coming spring. With their saccharine presence, one can understand the same thing as Waldmüller’s desire to eliminate negative emotions and focus on the “unshakable honesty” of the real world.
The decision to limit Waldmüller’s UK debut to the venue may be due to the National Gallery’s partnership with the Belvedere in Vienna, which previously exhibited a larger version of the group and loaned more paintings. It is part of an attempt to bridge the gaps in his German, Swiss and Austrian 19th-century Romantic paintings; after all, it just is one of Caspar David Friedrich in his permanent collection. The gallery was dedicated to bringing such unrepresented artists to its audience. Indeed, blockbusters depicting Van Gogh have the power to attract the masses, but credit is due to the National for wanting to present a complete and historical view of other artists and movements. To that end, this Waldmüller show is the historical equivalent of eating your vegetables: it may not make your heart beat faster but it’s an exercise that creates a full palate.
