TRÜBNER, Wilhelm - b. 1851 Heidelberg, d. 1917 Karlsruhe - WGA

TRÜBNER, Wilhelm

(b. 1851 Heidelberg, d. 1917 Karlsruhe)

German painter, son of a jeweler and goldsmith. He began studying painting at the Kuntschule in Karlsruhe in 1867. Two years later he moved to Munich, where he visited the Akademie der Bildenden Künste. After studying for a brief spell in Stuttgart, he returned to Munich, where in 1871 he made the acquaintance of Wilhelm Leibl, a Naturalist painter who had met Gustave Courbet and Édouard Manet, among others, during his stay in Paris. Encouraged by Leibl, he dropped out of the academy and went to paint in the Lake Starnberg area. Here he had the chance to become acquainted with the new painting trends of his French contemporaries. The years he belonged to the Leibl-Kreis (Leibl Circle) are regarded as the artistic peak in Trübner’s career.

During the following years Trübner lived in Munich, made numerous trips to other European capitals and spent a period in London, from 1884 to 1885. His painting came close to Impressionism and at the beginning of the 1890s he met Lovis Corinth and Max Liebermann.

In 1896 he was appointed director of the Städelsches Kunstinstitut in Frankfurt and shortly afterwards founded a private art school. He became director of the Kunstschule of Karlsruhe in 1904. He died in the city in 1917, before he could take up his new post as professor of the Berlin Akademie der Künste.

Girl with Folded Hands
Girl with Folded Hands by

Girl with Folded Hands

Wilhelm Tr�bner was among the most sensitive yet strong artists of the later nineteenth century. He learned a great deal from French developments. Manet, whose paintings Tr�bner saw at Munich’s International Exhibition of 1869, first liberated the German painter’s art. With many Northern European painters, Tr�bner found Courbet, as well as Manet, to be unusually influential.

Neuburg Gates, Heidelberg
Neuburg Gates, Heidelberg by

Neuburg Gates, Heidelberg

Tr�bner developed a highly individual style in representing the natural world. His brushwork was notable for its deliberation, and he juxtaposed and contraposed colours, albeit without dividing them. Like the German Impressionists generally, he respected the given colours of objects.

On the Sofa
On the Sofa by

On the Sofa

This canvas was painted when Tr�bner shared a studio with Thoma in 1872. The domestic scene has a proto-Matisse-like quality in the way the painter revels in a wealth of scintillating pattern - the red tablecloth, the blue patterned wall, the beflowered sofa cover. The painting, far more than decorative, shares a psychological penetration with works of other artists of Tr�bner generation, including Degas, Fantin-Latour, and Whistler.

The Equestrienne - Ida Görz
The Equestrienne - Ida Görz by

The Equestrienne - Ida Görz

At his very best Tr�bner produced arresting, uncompromising likenesses such as the present portrait. In contrast to Tr�bner’s flattering portrayals of riders, Ida G�rz is shown with a penetrating, Toulouse-Lautrec-like sharpness of focus and animation.

The Pub on Fraueninsel
The Pub on Fraueninsel by

The Pub on Fraueninsel

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