SCHMIDT, Martin Johann - b. 1718 Grafenwörth, d. 1801 Stein - WGA

SCHMIDT, Martin Johann

(b. 1718 Grafenwörth, d. 1801 Stein)

Martin Johann Schmidt (so-called Kremser Schmidt) was the most significant Austrian painter in the second half of the 18th century beside Maulbertsch. He was a versatile and fertile master, whose frescoes, altarpieces, mythological-allegorical paintings, genre paintings, and portraits were popular throughout the Empire. He studied with modest local masters, and lived and worked in Stein and Krems until his death in 1801. In his stein workshop he undertook the numerous mostly ecclesiastical commissions making altarpieces and religious paintings for the churches and monasteries of Lower an Upper Austria, Moravia and Hungary. His fame was attested by his admission to the Viennese Academy in 1768.

In the last quarter of the century, when the increasing predominance of the Josephinist view contributed to the diminishing of church commissions, and while also the artistic trends raised new compelled to change his style and adopt new artistic approaches. From the 1790s he was increasingly engaged in secular genres and profane themes, and he made in series his small paintings with themes and figures from ancient history and everyday life. His late activity is significantly bound to engraving.

His oeuvre, comprising several hundreds of paintings combines the influences of Italian and Netherlandish masters and the most varied tendencies of 18th century painting. His altarpieces and monumental paintings, show a dramatic Late Baroque animation, the sometimes exotic richness of his biblical stories evokes the models of Rembrandt, while in his genre paintings the vividness of French Rococo can be felt, in a particular and individual ensemble.

Diana and Actaeon
Diana and Actaeon by

Diana and Actaeon

Ovid describes at length (Met. 3:138-253) how the young prince Actaeon, hunting in the forest, stumbled accidentally upon the grotto where Diana and her companion were bathing. To punish him for the glimpse of divine nudity, the goddess turned him into a stag. He was pursued and torn to pieces by his own hounds. The painting depicts when Actaeon has sprouted antlers. He staggers backwards as his own dogs spring at him.

The French influence on Kremser-Schmidt’s masterpiece is particularly obvious in the figures of the nymphs, especially the one in the foreground.

The painting is signed and dated at the bottom in the middle: M. J. Schmidt f. / Ao. 1785.

Suggested listening (streaming mp3, 9 minutes):

Joseph Haydn: The Seasons, Part 3 Autumn, aria and chorus (Hunters’ chorus)

Saint Elizabeth Distributing Alms
Saint Elizabeth Distributing Alms by

Saint Elizabeth Distributing Alms

This masterly altarpiece from a parish church near Budapest, was only recently identified as a painting of Kremser Schmidt. In the art topography of the county, published in 1958, it was presented as a work by an unknown master from the second half of the 18th century. It escaped attention that it is quoted in the list compiled in 1787 by Koloman Fellner, a pupil of Kremser Schmidt, about the works of his master. On the other hand Rupert Feuchtm�ller, the author of a recent, extraordinarly thorough and rich monography on Kremser Schmidt, while citing the village’s name from the list - Wereseth�z, Veresegyh�z in Ungarn - mentions the St. Elizabeth altarpiece amongst the painter’s lost works. However, its authenticity and the identity of its master is beyond doubt, and we can now also indicate with certainty the person who commissioned it.

The parish church of this village in the V�c, diocese was rebuilt in 1777-78 by Krist�f Migazzi Bishop of V�c who also arranged for the furnishing of the church. Bishop Migazzi, Archbishop of Vienna, for a long time was in contact with Kremser Schmidt, who was rather preferred in church circles. Migazzi commissioned Kremser Schmidt with the high and side altarpieces of V�c Cathedral in 1770-71 and 1774 (covering with the high altarpiece a fresco of Maulbertsch, painted only a few years before), and he also employed him with his Viennese artistic enterprises. The Veresegyh�z commission was probably given to Kremser Schmidt around 1778, the year of the consecration of the church. The theme of the painting was a legend of the church’s patron saint, St. Elizabeth of Hungary. It shows the popular moment when the royal princess, in spite of her family’s disapproval, distributes alms to the poor.

The Judgment of King Midas between Apollo and Marsyas
The Judgment of King Midas between Apollo and Marsyas by

The Judgment of King Midas between Apollo and Marsyas

At the height of his career Johann Martin Schmidt, called Kremser Schmidt, was honoured with membership in the Vienna Academy. On this occasion he submitted a reception piece comprising two loosely related mythological history paintings, Venus and Cupid in Vulcan’s Forge, and The Judgment of King Midas between Apollo and Marsyas.

The Painter and his Family
The Painter and his Family by

The Painter and his Family

Kremser Schmidt’s authentic portraits and the documents of his life unanimously prove this picture to represent the painter Schmidt with his family. The master is sitting in the foreground at his easel, with a brush in his right hand, in comfortable indoor clothes. In front of him can be seen his wife and their daughter. The painter is turning right, towards his two sons. The younger son, the painter Johann Karl Martin is holding a palette and a portrait of the deceased members of the family. The elder brother, Joseph Johann, whose head is painted on a canvas inserted subsequently in the painting, is sitting at right in the foreground, with a document in his hand. In the background a large painting is represented, Venus in the Workshop of Vulcanus, a lost work of Schmidt.

This family portrait is known to us in other versions. A larger variation in a Frohnleiten private collection, painted on copper (72,4 x 86,4 cm) includes the signature of Schmidt and the date 1790. Another version from Sternberk Castle Museum (Bohemia, today in Olomouc Krajsk� vlastv�dn� muzeum) shows only a fragmentany detail of the larger portrait with the self portrait of the painter. According to recent research, the Budapest painting was a sketch for the larger Frohnleiten group portrait, and one of the two pictures decorated the painter’s house in Stein, as in attested by his estate’s inventory.

Venus and Cupid in Vulcan's Forge
Venus and Cupid in Vulcan's Forge by

Venus and Cupid in Vulcan's Forge

At the height of his career Johann Martin Schmidt, called Kremser Schmidt, was honoured with membership in the Vienna Academy. On this occasion he submitted a reception piece comprising two loosely related mythological history paintings, Venus and Cupid in Vulcan’s Forge, and The Judgment of King Midas between Apollo and Marsyas.

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