3.7 Artists in the Dutch Manner in Nuremberg
What the Roos family was for Frankfurt, the Von Bemmel family was for Nuremberg. Willem von Bemmel’s son, Johann Georg von Bemmel (1699-1723) [1], kept up decorative landscape painting in the style of the Utrecht school, admittedly in a rather weak way, in which one recognizes foremost the examples of Adriaen Bloemaert.1 Younger members of the family like Johann Christoph von Bemmel (1717-1788) often followed the Saftleven-Griffier scheme [2-3].
1
Johann Georg von Bemmel
Mountain landscape with travellers on a road and city in the background, dated 1703
2
Johann Christoph von Bemmel
Italianate landscape with a lake
3
Johann Christoph von Bemmel
Italianate landscape with a lake
Johann Martin Däubler (1756-1821) painted similar landscape as well as Dutch peasant scenes [4]. The family Dietzsch, to wit Johann Israel Dietzsch (1681-1754) [5-6] and eight painting children, shone as landscape- and flower painters [7-8], at least in the eyes of their contemporaries.2 Their works are rather impersonal, finely executed little paintings in a Dutch character, which will probably also have stimulated Johann Georg Wille to have flower and landscape drawings by ‘M. et Mlle. Dietzsch sent to him in Paris.3
4
Johann Martin Däubler
Landscape with a view of a village and figures
5
attributed to Johann Israel Dietzsch
landscape with a ruin and travellers
Nuremberg, Germanisches Nationalmuseum
6
attributed to Johann Israel Dietzsch
Winter landscape outside the city with figures
Nuremberg, Germanisches Nationalmuseum
7
Barbara Regina Dietzsch
Orange-blossom with frittilary and beetle
Leiden, Universitaire bibliotheken Leiden - Bijzondere collecties - Collectie Welcker
8
Barbara Regina Dietzsch
A dandelion with a tiger moth, a butterfly , a snail and a beetle
London (England), art dealer Eyre & Hobhouse
Let us yet mention here, as we move to Southern Germany, Joseph Dorn (1759-1841) [9], the pupil and son-in-law of Marquard Treu (1713-1796) [10-13]. Dorn worked as a restorer in Bamberg and Pommersfelden and became known for his extremely meticulous copies after old masters, in particular after Gerard Dou, in whose style he could paint.4 In Southern Germany we will encounter the Dou cult yet again.
9
Joseph Dorn
Self-portrait of the artist with his wife and father-in-law in his workshop, dated 1784
Bremen, private collection Dr. Hinrich Bischoff
10
Marquard Treu
A trompe l'oeil still life with a death duck, two snipes, a print and a painting, dated 1771
London (England), art dealer Rafael Valls Limited
11
Marquard Treu
A trompe l'oeil still life with a death hare, three birds, two sparrows and a chalk drawing, c. 1771
London (England), art dealer Rafael Valls Limited
12
Marquard Treu
A trompe l'oeil still life with a dead pheasant, two finches and a jay, with a card game, a penknife and a letter, 1778
13
Marquard Treu
A trompe l'oeil still life with a dead pheasant, songbirds and a jay, with a print, dated 1778
Notes
1 [Van Leeuwen 2018] Until 1996 Abraham Blommaert (who is meant here by Gerson) was wrongly identified with Adriaen Bloemaert (after 1609-1666), son of Abraham Boemaert (Bok/Roethlisberger 1996). On Willem and Johann Georg van Bemmel: Gerson/Van Leeuwen et al. 2017-2018, § 5.7.
2 [Van Leeuwen 2018] The most famous member of the Dietzsch family was Barbara Regina Dietzsch (1706-1783); her work was exported to the Netherlands and England (Schmidt-Liebich 2005). Only recently her work gets more attention. Many images and documentation in the archive of Sam Segal, RKD.
3 [Gerson 1942/1983] Duplessis 1857, p. 153, 184, 382.
4 [Gerson 1942/1983] I only know small copies after Italian masters, as well as bad genre scenes. Do we have to do with a mix up as a Dou imitator with Johann Jakob Dorner? [Van Leeuwen 2018] Nagler is quite elaborate on Joseph Dorn, who copied and worked in the manner of Frans van Mieris, Gerard Dou, Adriaen van der Werff, Gerard ter Borch and other Netherlandish artists, as well as after Balthasar Denner (RKDimages 290976). Nagler also said that Dorn sometimes did not sign his works at the behest of art dealers, who sold them as old masters (Nagler 1835-1852/1904-1914, vol. 4, p. 55-57).