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Adrian Ludwig Richter (September 28, 1803 – June 19, 1884) was a German painter andetcher, who was strongly influenced by Erhard andChodowiecki.[1] He was a representative of bothRomanticism andBiedermeier styles.
He was the most popular, and in many ways the most typical German illustrator of the middle of the 19th century. His work is described as typically German and homely as are thefairy-tales ofGrimm, for whom he produced several woodcuts.[2]
He was born inFriedrichstadt,Dresden, the son of theengraverCarl August Richter [de], from whom he received his training.
The interest of his uneventful life centres within the circle of his art.[3] As a painter Richter aimed at a thorough blending of the figure element with the landscape and may be judged by the following examples: "Harvest Procession in the Campagna" (1833) and three others in the Leipzig Museum: "Ferry at the Schreckenstein" (1836) and "Bridal Procession in Springtime" (1847), in the Dresden Gallery; "View of the Riesengebirge" (1839), in the National Gallery, Berlin. One of his most notable protégés wasHermann Lungkwitz.
Richter visitedItaly from 1823 to 1826, and hisThunderstorm in the Sabine Mountains at theStaedel Museum in Frankfurt is one of the rare Italian subjects from his brush.
He worked as designer for theMeissen factory, living in a house on Schlossbrucke, close to the castle and cathedral, from 1828 to 1836.[4]
In 1841 he became professor and head of the landscapeatelier at the Dresden Academy (nowHochschule für Bildende Künste Dresden). TheDresden Gallery owns one of his best and most characteristic paintings:Bridal Procession in a Spring Landscape. An eye disease put a stop to the practice of his art in 1874;[3] he was pensioned in 1877, and died atLoschwitz, near Dresden.[1]
Among his 240etchings are about 140 views in Saxony, others ofSalzburg, Rome, andthe Campagna. His individuality is most completely revealed in his 3000 or more drawings. Of special charm are his illustrations forThe Vicar of Wakefield (1841), forMusäus'Volksmärchen der Deutschen (1842) and for numerous other fairy tales, for theGoethe Album (1855), forSchiller'sGlocke (1857), and those cyclical publications which reveal the most brilliant side of the artist's inexhaustible fancy, such asBeschauliches und Erbauliches (1851);Kinderleben (1852);Fürs Haus (1858–1861);Der gute Hirt (1860);Unser täglich Brot (1866);Bilder und Vignetten (1874).
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Picture of painting now uploaded on Wiki Commons.
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One or more of the preceding sentences incorporates text from a publication now in thepublic domain: Chisholm, Hugh, ed. (1911). "Richter, Adrian Ludwig".Encyclopædia Britannica. Vol. 23 (11th ed.). Cambridge University Press. p. 312.
Media related toLudwig Richter at Wikimedia Commons
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