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Austria 19th century

The Rudolfskai in Salzburg

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The Rudolfskai in Salzburg

Oil, pencil, pen/paper, mounted on wood, 28,3 x 57.7 cm

go Inv. Nr.486

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follow LOOS Friedrich

source 1797 Graz - 1890 Kiel

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 LOOS Friedrich
His career as an artist began in 1813 and 1816/21, when he studied under Joseph Mössmer (1780- 1845) and Joseph Rebell (1787- 1828) at the Vienna Academy. Rebell is thought to have influenced the realism of Loos' landscapes, which was oriented towards light effects. Thomas Ender (1793- 1875), Johann Fischbach (1797- 1871), Friedrich Gauermann (1807- 1862), and Johann Michael Sattler (1786?- 1847) were, inter alia, fellow-students of the artist. Loos applied himself to the study of nature and of 17th-century landscape painting. Between 1826 and 1835, he lived in Salzburg, where he executed the landscape part of Johann Michael Sattler's "Grand Panorama of the City of Salzburg". With the landscapes he painted in Salzburg, Loos made a major contribution to the development of Austrian landscape painting.

 

The Rudolfskai in Salzburg
This unfinished veduta provides a rare and intriguing opportunity to trace individual stages in the execution of the painting and gives an impression of the artist's detailed preparatory work. The canvas is thought to belong to a group of views of Salzburg painted shortly before Loos left the town in 1835. The picture composition was carefully planned in compliance with the strict rules of Classicism. The space occupied by architecture and landscape is clearly structured in horizontal layers. Loos executed the sharp lines of the preliminary drawing in pen and sepia with great accuracy. The next stage was the wash underpainting, still visible in the cathedral. The rock with the fortress, the Mönchsberg hill and the Untersberg mountain in the background were finished in oil, as was the sky. The artist's masterly command of the pictorial medium and a realism oriented towards light effects result in a perfect rendering of the atmosphere of light and shade on a cloudless summer's day. Visibility is so good that one can even distinguish the brush-covered rock escarpments of the hills surrounding the city. Green and grey hues dominate the colour scheme. In his transition to realism, Loos appears to have been indebted to the Romantics for the linear structure of his paintings, though he avoided their emotional idealisation.

 

go site Literature
Gabriele Groschner, Thomas Habersatter, Erika Mayr-Oehring (Ed.): Masterworks. Residenzgalerie Salzburg. Salzburg 2002, p. 130, 132

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