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Here are all the paintings of Franz Pforr 01
| ID |
Painting |
Oil Pantings, Sorted from A to Z |
Painting Description |
| 98260 |
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Einzug Kaiser Rudolfs von Habsburg in Basel 1273 |
1809-1810
Medium oil on canvas
Dimensions 90 x 119 cm
cyf |
| 22798 |
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Entry of Emperor Rudolf of Habsburg into Basel in 1273 (mk22) |
1808-1810
Oil on canvas,90.5 x 118.9 cm
Frankfurt am Main,Stadelsches Kunstinstitut und Stadtische Galerie |
| 1153 |
 |
Knights Before a Charcoal Burner's Hut |
|
| 67775 |
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Rudolf von Habsburg und der Priester |
Technique Oil on canvas
Dimensions Deutsch: 45,5 X 54,5 cm
|
| 43928 |
 |
Shulamit and Maria |
1810-11
Oil on wood,
34,5 x 32 cm |
| 22799 |
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Shulamit and Mary (mk22) |
1811
Oil on wood panel,34 x 32 cm
Schweinfurt,Sammlung Georg Schafer |
| 62816 |
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St George and the Dragon |
1811 Oil on wood, 28 x 21 cm Stedelsches Kunstinstitut, Frankfurt Pforr's short life was overshadowed by illness and depression and this is evident in this painting. The combatants are self-sufficient, in a way that is quite out of keeping with a struggle; only the large and penetrating eye of the horse takes up contact with the viewer. This is a fight without effort, as if the knight were dreaming his own experience in a lethargy remote from time |
| 88546 |
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St George and the Dragon |
1811(1811)
Medium Oil on wood
cyf |
| 43925 |
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The Entry of Emperor Rudolf of Habsburg into Basle |
1809-10
Oil on canvas,
90 x 119 cm |
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| Franz Pforr
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| German
1788-1812
He received his earliest training from his father, the painter Johann Georg Pforr (1745-98), and his uncle, the art professor and first inspector of the painting gallery in Kassel, Johann Heinrich Tischbein the younger (1742-1808). In 1805 he became a student at the Akademie der Bildenden Kenste in Vienna, which was dominated by the severe Neo-classicism of its director, Heinrich Feger; he was taught by Hubert Maurer (1738-1818), Franz Cauzig (1762-1828) and Johann Martin Fischer. During the war with France in 1805, Pforr volunteered as a guard in the Vienna militia. He suffered a nervous breakdown, brought on by the conflict between his passionate longing for a contemplative life and a desire to see military action. He probably turned to religion to help sustain his mental equilibrium. In 1806 he resumed his academic studies and, believing himself destined to become a battle painter, made numerous drawings of historical battles, for example his still schoolish and baroquely composed Wallenstein in the Battle of L?tzen (1806; Frankfurt am Main, Stedel. Kstinst. & St?dt. Gal.). However, it was not until 1807, with Drawing with Twelve Travel Sketches (Frankfurt am Main, Stadt- & Ubib.), that he first began to overcome his beginner style and to develop his own. This resulted in reduced detail, simplified continuous contours, a structuring by means of planar rather than illusionistic criteria, a new clarity of vision and a chastened balance between nature and artistic conception.
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