You can helpexpand this article with text translated fromthe corresponding article in German. (December 2009)Click [show] for important translation instructions.
View a machine-translated version of the German article.
Machine translation, likeDeepL orGoogle Translate, is a useful starting point for translations, but translators must revise errors as necessary and confirm that the translation is accurate, rather than simply copy-pasting machine-translated text into the English Wikipedia.
Do not translate text that appears unreliable or low-quality. If possible, verify the text with references provided in the foreign-language article.
Youmust providecopyright attribution in theedit summary accompanying your translation by providing aninterlanguage link to the source of your translation. A model attribution edit summary isContent in this edit is translated from the existing German Wikipedia article at [[:de:Josef Danhauser]]; see its history for attribution.
You may also add the template{{Translated|de|Josef Danhauser}} to thetalk page.
Josef Franz Danhauser (19 August 1805 in Laimgrube, currently part ofMariahilf orNeubau, May 1845) was a painter from theAustrian Empire. He was one of the prominent artists ofBiedermeier period, along withFerdinand Georg Waldmüller,Peter Fendi, and others. Danhauser's works, which went largely unappreciated in his time, dealt with moralising subjects and had a clear influence ofWilliam Hogarth.
Danhauser was born inVienna in 1805, the eldest son of sculptor and furniture manufacturer Joseph Ulrich Danhauser and his wife Johanna (née Lambert). He took his first painting lessons with his father and later assisted theVienna Academy of Fine Arts. He studied withJohann Peter Krafft and made his first exhibition in 1826.
Invited byJohann Ladislaus Pyrker, patriarch ofVenice, Danhauser visited Doges, where he started to study the Italian masters. He returned toVienna viaTrieste in 1827, visitingPrague. On 27 March 1827, he and his colleaguede:Johann Matthias Ranftl moldedLudwig van Beethoven's death mask, roughly 12 hours after his death[1][2] and Danhauser painted a water-colour representing his deathbed. In 1828, he spent some time inEger, with an invitation of this Hungarian city archbishop Pyrker. He solicited him for some pictures for the gallery of the Archdiocese.[3]
After his father's death in 1829, his brothers and he managed his furniture factory during the Biedermeier movement, being the precursors of modern design. That made him put his painting career aside.
In 1833, Danhauser responded to a second invitation from Eger's archbishop, and he paintedThe martyr of Saint John for a new basilica in the city, and he received the Vienna Academy prize for his pictureDie Verstoßung der Hagar, and he specialised inGenre works. In 1838, he was appointed vice-rector of the Academy and married Josephine Streit, who was the daughter of a physician and with whom he had three children, Josef, Marie and Julie, born in 1839, 1841 and 1843 respectively.
Danhauser was appointed professor of historical painting at the academy in 1841, but left to travel aroundGermany and theNetherlands with the textile maker, art aficionado, and art sponsor Rudolf von Arthaber. In this journey, he was very interested in the Dutch School and the format of his works was smaller. He died oftyphus in Vienna in 1845 and was buried in Hundstrumer Cemetery, though his grave was later moved.[4][5] In 1862, a street was named after him in Vienna.
_-_280_-_%25C3%2596sterreichische_Galerie_Belvedere.jpg)
