Background
He was born in Liibeck on the 4th of July 1789. His ancestors for three generations had been Protestant pastors; his father was doctor of laws, poet, mystic pietist and burgomaster of Liibeck.
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(This scarce antiquarian book is a facsimile reprint of th...)
This scarce antiquarian book is a facsimile reprint of the original. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions that are true to the original work.
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This is an EXACT reproduction of a book published before 1923. This IS NOT an OCR'd book with strange characters, introduced typographical errors, and jumbled words. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book.
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(This scarce antiquarian book is a facsimile reprint of th...)
This scarce antiquarian book is a facsimile reprint of the original. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions that are true to the original work.
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(Die Publikation dokumentiert zeitgenössische Beobachtunge...)
Die Publikation dokumentiert zeitgenössische Beobachtungen und Deutungen zur Persönlichkeit der Freunde Franz Overbeck und Friedrich Nietzsche. Sie stellt außerdem die Anfänge des Streits zwischen dem Nietzsche-Archiv in Weimar und der von Overbeck begründeten Basler Nietzsche-Tradition dar. In Auswahl werden Texte aus den Briefwechseln zwischen Franz Overbeck und Elisabeth Förster-Nietzsche, Rudolf Burckhardt und Elisabeth Förster-Nietzsche, Rudolf Burckhardt und Heinrich Köselitz Peter Gast sowie Rudolf Burckhardt und Carl Albrecht Bernoulli präsentiert. Die überwiegende Zahl dieser Briefe, die teils im Goethe- und Schiller-Archiv in Weimar, teils in der Universitätsbibliothek Basel aufbewahrt werden, wird hier erstmalig veröffentlicht. Den Brieftexten ist eine biographische Kurzvorstellung der Briefpartner vorangestellt und ein umfangreiches Register der in den Briefen erwähnten Personen beigefügt.
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(This is a reproduction of a book published before 1923. T...)
This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book. ++++ The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to ensure edition identification: ++++ Nova Bibliotheca Lubecensis Friedrich Joachim Schnobel, Johann Hake, Johann Daniel Overbeck Sumtu Ionae Schmidii, 1753 Religion; Christian Theology; General; Religion / Christian Theology / General; Theology
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He was born in Liibeck on the 4th of July 1789. His ancestors for three generations had been Protestant pastors; his father was doctor of laws, poet, mystic pietist and burgomaster of Liibeck.
Within a stone's throw of the family mansion in the Konigstrasse stood the gymnasium, where the uncle, doctor of theology and a voluminous writer, was the master; there the nephew became a classic scholar and received instruction in art.
The young artist left Liibeck in March 1806, and entered as student the academy of Vienna, then under the direction of F. H. Fiiger, a painter of some renown, but of the pseudo-classic school of the French David. Here was gained thorough knowledge, but the teachings and associations proved unendurable to the sensitive, spiritual-minded youth.
Overbeck wrote to a friend that he had fallen among a vulgar set, that every noble thought was suppressed within the academy and that losing all faith in humanity he turned inwardly on himself. These words are a key to his future position and art.
It seemed to him that in Vienna, and indeed throughout Europe, the pure springs of Christian art had been for centuries diverted and corrupted, and so he sought out afresh the living source, and, casting on one side his contemporaries, took for his guides the early and pre-Raphaelite painters of Italy.
At the end of four years, differences had grown so irreconcilable that Overbeck and his band of followers were expelled from the academy.
Overbeck in 1810 entered Rome, which became for fifty-nine years the centre of his unremitting labour. He was joined by a goodly company, including Cornelius, Wilhelm Schadow and Philip Veit, who took up their abode in the old Franciscan convent of San Isidoro on the Pincian Hill, and were known among friends and enemies by the descriptive epithets "the Nazarites, " "the pre-Raphaelites, " "the new-old school, " " the German-Roman artists, " " the church-romantic painters, " " the German patriotic and religious painters. "
Their precept was hard and honest work and holy living; they eschewed the antique as pagan, the Renaissance as false, and built up a severe revival on simple nature and on the serious art of Perugino, Pinturicchio, Francia and the young Raphael.
The characteristics of the style thus educed were nobility of idea, precision and even hardness of outline, scholastic composition, with the addition of light, shade and colour, not for allurement, but chiefly for perspicuity and completion of motive. But the struggle was hard and poverty its reward.
Faith in a mission begat enthusiasm among kindred minds, and timely commissions followed.
The Prussian consul, Bartholdi, had a house on the brow of the Pincian, and he engaged Overbeck, Cornelius, Veit and Schadow to decorate a room 24 ft. square with frescoes (now in the Berlin gallery) from the story of Joseph and his Brethren.
The subjects which fell to the lot of Overbeck were the "Seven Years of Famine " and "Joseph sold by his Brethren. " These tentative wall-pictures, finished in 1818, produced so favourable an impression among the Italians that in the same year Prince Massimo commissioned Overbeck, Cornelius, Veit and Schnorr to cover the walls and ceilings of his garden pavilion, near St John Lateran, with frescoes illustrative of Tasso, Dante and Ariosto.
To Overbeck was assigned, in a room 13 ft. square, the illustration of Tasso's Jerusalem Delivered; and of eleven compositions the largest and most noteworthy, occupying one entire wall, is the "Meeting of Godfrey de Bouillon and Peter the Hermit. "
The completion of the frescoes-very unequal in merit-after ten years' delay, the overtaxed and enfeebled painter delegated to his friend Joseph Fiihrich. The leisure thus gained was devoted to a thoroughly congenial theme, the " Vision of St Francis, " a wall-painting 20 ft. long, figures life size, finished in 1830, for the church of Sta Maria degli Angeli near Assisi.
Overbeck and the brethren set themselves the task of recovering the neglected art of fresco and of monumental painting; they adopted the old methods, and their success led to memorable revivals throughout Europe. Fifty years of the artist's laborious life were given to oil and easel paintings, of which the chief, for size and import, are the following: "Christ's Entry into Jerusalem " (1824), in the Marien Kirche, Liibeck; " Christ's Agony in the Garden ", in the great hospital, Hamburg; " Lo Sposalizio ", Raczynski gallery, Berlin; the " Triumph of Religion in the Arts " (1840), in the Stadel Institut, Frankfort; " Pieta " (1846), in the Marien Kirche, Liibeck; the "Incredulity of St Thomas " (1851), in the possession of Mr Beresford Hope, London; the " Assumption of the Madonna " (1855), in Cologne Cathedral; "Christ delivered from the Jews " (1858), tempera, on a ceiling in the Quirinal Palace-a commission from Pius IX, and a direct attack on the Italian temporal government, therefore now covered by a canvas adorned with Cupids.
All the artist's works are marked by religious fervour, careful and protracted study, with a dry, severe handling, and an abstemious colour.
He died in Rome in1869, aged eighty, and lies buried in San Bernardo, the church wherein he worshipped.
Overbeck belongs to eclectic schools, and yet was creative; he ranks among thinkers, and his pen was hardly less busy than his pencil.
He was a minor poet, an essayist and a voluminous letter-writer. His style is wordy and tedious; like his art it is borne down with emotion and possessed by a somewhat morbid " subjectivity. " His pictures were didactic, and used as means of propagandas for his artistic and religious faith, and the teachings of such compositions as the " Triumph of Religion and the Sacraments " he enforced by rapturous literary effusions.
His the most considerable works are the Gospels, forty cartoons (1852); Via Crucis, fourteen water-colour drawings (1857); the Seven Sacraments, seven cartoons (1861). Overbeck's compositions, with few exceptions, are engraved.
(Die Publikation dokumentiert zeitgenössische Beobachtunge...)
(This scarce antiquarian book is a facsimile reprint of th...)
(This scarce antiquarian book is a facsimile reprint of th...)
(This is an EXACT reproduction of a book published before ...)
(This is a reproduction of a book published before 1923. T...)
(Lang:- eng, Pages 168. Reprinted in 2013 with the help of...)
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Overbeck in 1813 joined the Roman Catholic Church, and thereby he believed that his art received Christian baptism.
His art was the issue of his life: his constant thoughts, cherished in solitude and chastened by prayer, he transposed into pictorial forms, and thus were evolved countless and much-prized drawings and cartoons.
Quotations:
True art, he writes, he had sought in Vienna in vain-" Oh! I was full of it; my whole fancy was possessed by Madonnas and Christs, but nowhere could I find response. "
Accordingly he left for Rome, carrying his half-finished canvas " Christ's Entry into Jerusalem, " as the charter of his creed-"I will abide by the Bible; I elect it as my standing-point. "
His life-work he sums up in the words- " Art to me is as the harp of David, whereupon I would desire that psalms should at all times be sounded to the praise of the Lord. "
Overbeck was elected a Foreign Honorary Member of the American Academy of Arts and Sciences in 1864.
Quotes from others about the person
Overbeck was mentor in the movement; a fellow-labourer writes: "No one who saw him or heard him speak could question his purity of motive, his deep insight and abounding knowledge; he is a treasury of art and poetry, and a saintly man. "
