GÜNTHER, Matthäus - b. 1705 Tritschengreith, d. 1788 Haid bei Wessobrunn - WGA

GÜNTHER, Matthäus

(b. 1705 Tritschengreith, d. 1788 Haid bei Wessobrunn)

German painter of the Baroque and Rococo era. After basic instruction in Murnau, Matthäus Günther became the pupil and assistant of Cosmas Damian Asam. He had no direct contact with Johann Evangelist Holzer, who was his junior, but he acquired out of his estate various drawings and can be considered his legitimate artistic successor. He was made master in Augsburg in 1731 and subsequently worked as an independent fresco painter. In 55 years he decorated over sixty rooms. His main works were produced in the Benedictine churches at Amorbach and Rott am Inn, the Augustinian Canonical churches at Indersdorf and Rottenbuch, the parish churches at Sterzing, Mittenwald and Oberammergau, and the Great Hall at Sünching castle. Günther worked in Bavaria, Swabia, Franconia and the Tyrol and can be considered as one of the most important representatives of south German fresco painting.

He frequently worked with some of the greatest artists of his time, including the architect Johann Michael Fischer and the plasterer Johann Michael Feuchtmayer and his brother Franz Xaver.

Interior
Interior by

Interior

The fresco decoration is the work of G�nther.

The Apotheosis of St Benedict
The Apotheosis of St Benedict by

The Apotheosis of St Benedict

With his domed ceiling fresco in the monastic church of M�nsterschwarzach, Johann Evangelist Holzer supplied the stylistic, compositional and contentual model for G�nther. It was Holzer’s pioneering achievement of finding an individual form of expression in a time of stylistic change that forged the link between Rococo and Neoclassicism. At Rott am Inn, G�nther dispenses with Holzer’s technique of architectural illusion. The real architecture is no longer continued into the painting, nor does it open up to a celestial illusion. The ceiling painting is like an easel painting projected onto the ceiling, avoiding exaggerated sotto in su views from below.

The detail from the overall painting which shows the Holy Trinity in the centre, presents the founders of the Benedictine order on concentrically aligned banks of clouds, with the angles bearing the symbols of his life - chastity, continence, survived assassination attempt (the poisoned chalice alludes to this) and the rules of the order. What is new here, and characteristic of G�nther, is the predominantly grey colouring that replaces the bright colours of Asam and Zimmermann and heralds the advent of Neoclassicism.

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