KRAFFT, Johann Peter - b. 1780 Hanau, d. 1856 Wien - WGA

KRAFFT, Johann Peter

(b. 1780 Hanau, d. 1856 Wien)

Austrian painter, teacher and curator of German birth. From the age of ten, Krafft studied at the Hanau Akademie while at the same time continuing his school education in Hanau. In 1799 he went to Vienna with his sister and studied at the Akademie for three years with the history and portrait painter Heinrich Füger. At this time Krafft painted mythological subjects, made copies from older works and produced several self-portraits that already reveal his capacities in this genre, for example. The dream-like atmosphere of total absorption, which Krafft often achieved through his use of the techniques of early German painting, constitutes one of the most striking aspects of his portraits from the turn of the century. From 1802 to 1804 he was in Paris, where he studied with Jacques-Louis David and François Gérard. The work of these two, together with that of Jean-Baptiste Greuze and Antoine-Jean Gros, was to influence Krafft’s later work when he returned to Vienna. David’s realist tendencies in painting had a fundamental effect on Krafft’s artistic output, and it was through Krafft that this realism contributed to a development towards Biedermeier art in Vienna.

In 1808 Krafft went on a study trip to Rome; on his return to Vienna he produced numerous portraits, a genre that occupied him for the rest of his career, allowing him to make a handsome living. His portraits are characterized by the emphasis he placed on specific traits of the face of the sitter, by an economy of outline and by the cool, often sharply graduated colouring. The composition is usually either ‘modern’, in the sense that David’s portraits are modern (the subject facing the observer and the background unobtrusive), or it tends more towards a Baroque presentation of the subject.

Two of his pictures, the coronation of Franz I (1823) and Zrinyi’s escape from Szigetvár (1825) were bought for the Hungarian National Museum as a result of a campaign to raise money. He painted the portrait of Franz II and Archduke Karl. The picture on the battle of Aspera is also well-known.

Equestrian Portrait of Franz I
Equestrian Portrait of Franz I by

Equestrian Portrait of Franz I

This painting belongs to The 1812 War Gallery in the Winter Palace, St. Petersburg.

Faust on Easter Morning
Faust on Easter Morning by

Faust on Easter Morning

This picture, one of the last paintings by the artist, illustrates a scene from Goethe’s Faust. It depicts the moment when Faust was preparing to empty the bowl of poison, but was prevented by the peal of the Easter bells.

Suggested listening (streaming mp3, 8 minutes):

Charles Gounod: Faust, Act 1, Scene 1

Franz Xaver Richter von Binnenthal
Franz Xaver Richter von Binnenthal by

Franz Xaver Richter von Binnenthal

The mood of the time is very evident in the matching pair of portrait’s of Franz Xaver Richter von Binnenthal, who was a Viennese official who had been ennobled, and his wife, Maria Angelica Richter von Binnenthal, n�e Freiin von Zach. The graceful wife bears the 25-year difference in age from her husband with the same dignity as he wears his 1814 medal. Moreover, the colours of the clothing are skillfully balanced: her black dress with its white collar is the inversion of his Habsburg uniform. Her white lace collar also indicates a fashion during the Restoration, when the house of Habsburg liked to look back to its old Spanish empire.

Maria Angelica Richter von Binnenthal
Maria Angelica Richter von Binnenthal by

Maria Angelica Richter von Binnenthal

The mood of the time is very evident in the matching pair of portrait’s of Franz Xaver Richter von Binnenthal, who was a Viennese official who had been ennobled, and his wife, Maria Angelica Richter von Binnenthal, n�e Freiin von Zach. The graceful wife bears the 25-year difference in age from her husband with the same dignity as he wears his 1814 medal. Moreover, the colours of the clothing are skillfully balanced: her black dress with its white collar is the inversion of his Habsburg uniform. Her white lace collar also indicates a fashion during the Restoration, when the house of Habsburg liked to look back to its old Spanish empire.

Portrait of Count Ferenc Barkóczy
Portrait of Count Ferenc Barkóczy by

Portrait of Count Ferenc Barkóczy

Count Ferenc Bark�czy was the alderman of Pest County in Hungary, known from the inscription to be found on the right side of the painting.

Ruggiero and Angelica
Ruggiero and Angelica by

Ruggiero and Angelica

This painting represents a scene from Ariosto’s Orlando Furioso. The scene of freeing Angelica is based to a large extent on Old Master compositions for Perseus and Andromeda and is painted in a style emulating Raphael’s.

The Attack of Zrinyi
The Attack of Zrinyi by

The Attack of Zrinyi

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