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130:, though the painter, Johann Tischbein, wrote that Goethe is depicted pondering the fate of man's works. Tischbein, whom Goethe met in Italy, portrays the writer as an idealized person. Goethe wears a large wide-brimmed grey hat, fashionable among German artists in Rome at the time, and a creamy white traveler's
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since he was fascinated by classical Italy, and started his travel in
September 1786. During the journey, in Rome, he met several German artists, and stayed with Tischbein with whom he had become friendly through correspondence, fixing a scholarship for the painter, through his connections – a second
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The two artists' values met in the appreciation of classicism and the world of the antiquity, and they became friends. Tischbein and Goethe travelled together, made short trips in Italy and experienced adventures together. However, the intense friendship between them would come to an end after three
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bound together the two artists, who both shared this interest, which is mirrored in the painting, though the pastiche of its numerous allusions, and the 'anatomical infelicities' that despoil its naturalism, upset a purely classical tone, producing a kind of sentimental classicism. Et in
Arcadia ego
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were elevated to national status. Tischbein's portrait became symbolic of the German high life of knowledge, art and culture. The painting is one of the highlights of the Städel collection, and is considered an icon of German national painting. It played an indisputable role in shaping the image of
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arts attracted them, as a counterbalance to such recent movements as the
Baroque and Rococo. This was an intellectual and spiritual movement of the time, an intellectual fashion and a dominant school of thought that typified and influenced the culture of this particular period in time and that
154:. He recited extracts of his play, which he had begun turning into verse a year earlier, to Tischbein. Tischbein was much taken by the play and depicted the scene of Iphigenia meeting her brother in the painting, on the relief behind Goethe to his left.
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Goethe decided to travel to Rome to study the ancient world. His choice of Rome fitted entirely in the spirit of the times: many German artists were studying there at the time. The aesthetic appreciation of the antiquity was typical for
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The painting is a full-length portrait began in
December 1787 and completed early the following year. Goethe is gazing out through the autumnal landscape southeast of Rome, with his eyes arguably resting at
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Rome-stipend. The
Tischbeins were a family of renowned painters well known in Germany long before Goethe himself became famous, with Johann Heinrich Wilhelm a member of the fourth generation.
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The composition is balanced and the colours are restricted. Also, both artist shared an interest for painting. Goethe's occupation with painting resulted seven years earlier Goethe's
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The artwork is atypically eclectic, so much so that its multiple derivative allusions could be said to characterize its originality. The ruins in the background, including the
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affected even Goethe and
Tischbein. Goethe was also looking for a new balance and a possible inner transformation, after he had a long-standing platonic love affair with
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303:, that became so popular that Goethe had to travel under a pseudonym to avoid recognition. He called himself "Pittore Filippo Miller". Goethe decided to make the
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in the background. Goethe himself is reclining on blocks of granite, – in the first draft figures with hieroglyphs suggesting they were pieces of a fallen
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207:. The artists consciously chose a spiritual collaboration to produce the painting and used the Arcadian motif of the Roman Campagna.
142:– emblematic Egypt, a civilization predating those of classical antiquity – Greece is nodded to by the inclusion of a fragment of a
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and how these are perceived by human beings. He published it in 1810, and it contained detailed descriptions of phenomena such as
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134:. He is portrayed in a classical manner, informally recumbent in the open air, surrounded by Roman ruins, with the
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by Paolo Villa, Accademia delle Belle Arti di
Bologna, 1993–94, Eleonora Frattarolo e Fabia Farneti, editors
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when the writer was travelling in Italy. Goethe's book on his travels to Italy from 1786 to 1788, called
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months. The characters of the two artists differed too greatly to allow an enduring friendship. In
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was looking for significant cultural icons that could form a collective past: Goethe and
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Goethe as he is perceived today, as embodying
Germany's classical humanistic ideal.
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In 1887 the painting was donated to the Städel Museum by the private collector
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164 cm Ă— 206 cm (65 in Ă— 81 in)
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Harenberg-Museum der
Malerei: 525 Meisterwerke aus sieben Jahrhunderten
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Monatshefte , Summer, 1988, Vol. 80, No. 2 (Summer, 1988), pp. 187–199
250:(1843–1922), at a time when the Goethe cult was at its peak. The new
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Giardino Giusti di Verona e Storia dell'Arte giardino all'italiana
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431:'The Birth of a Myth: Tischbein's Goethe in the Roman Campagna,'
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styles, Neoclassicism praised simplicity and symmetry and the
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they later separated due to their incompatible interests.
220:) is a book about the poet's views on the nature of
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Detail from the painting: relief scene of
Iphigenia
181:principles of the arts of Rome and Ancient Greece.
333:"goethe-in-the-roman-campagna-and-its-antecedents"
18:1787 painting by Johann Heinrich Wilhelm Tischbein
1437:Cultural depictions of Johann Wolfgang von Goethe
457:Moore, Evelyn K.; Simpson, Patricia Anne (2007).
1413:
1447:Paintings by Johann Heinrich Wilhelm Tischbein
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460:The Enlightened Eye: Goethe and Visual Culture
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700:, a collection of the author's essays (1920)
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529:Publications of the English Goethe Society
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484:Hagen, Rose-Marie; Hagen, Rainer (2003).
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1071:The Green Snake and the Beautiful Lily
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351:Tischbein, Johann Heinrich Wilhelm.
805:Gesang der Geister ĂĽber den Wassern
277:Landscape with Saint John on Patmos
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1097:Wilhelm Meister's Journeyman Years
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601:. silverandexact.com. 13 May 2011.
487:What Great Paintings Say, Volume 1
14:
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93:Johann Heinrich Wilhelm Tischbein
42:Johann Heinrich Wilhelm Tischbein
1088:Wilhelm Meister's Apprenticeship
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696:, "Quia Imperfectum" (1918), in
288:. The peace and serenity of the
152:subject of one of Goethe's plays
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1324:Goethe Society of North America
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519:Aus dem Leben eines Taugenichts
642:"Goethe in the Roman Campagna"
599:"Goethe in the Roman Campagna"
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353:"Goethe in the Roman Campagna"
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159:tower tomb of Caecilia Metella
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387:Goethe, the Poet and the Age,
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1339:Goethe in the Roman Campagna
1079:The Sorrows of Young Werther
523:Reise von MĂĽnchen nach Genua
300:The Sorrows of Young Werther
88:Goethe in the Roman Campagna
24:Goethe in the Roman Campagna
7:
858:Nur wer die Sehnsucht kennt
335:. www.electrummagazine.com.
201:) is the motto of Goethe's
120:
10:
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1222:Catharina Elisabeth Goethe
735:Johann Wolfgang von Goethe
444:"roman-campagna-revisited"
101:Johann Wolfgang von Goethe
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881:The Sorcerer's Apprentice
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1361:(1939 Thomas Mann novel)
1298:Goethe–Schiller Monument
1290:Goethe Monument (Berlin)
1276:Goethe House (Frankfurt)
1015:The Magic Flute Part Two
791:Die erste Walpurgisnacht
560:University of Wollongong
490:. Taschen. p. 339.
414:. global.britannica.com.
412:"Goethe-in-the-Campagna"
1432:Paintings in the Städel
1166:Metamorphosis of Plants
682:, Dortmund: Harenberg,
574:"Goethe's Color Theory"
165:, and, to the right, a
1427:Neoclassical paintings
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91:is a 1787 painting by
1400:Pied Piper of Hamelin
1260:Goethe House (Weimar)
1117:Dichtung und Wahrheit
997:Götz von Berlichingen
511:Bauer, Lukas (2012).
270:
199:Auch ich in Arkadien!
187:
113:in Goethe's hometown
1391:Young Goethe in Love
1349:Goethe at the Window
1310:Monument (Milwaukee)
1195:Gespräche mit Goethe
1025:The Natural Daughter
903:West–östlicher Divan
895:Wanderer's Nightsong
888:Welcome and Farewell
836:Hermann and Dorothea
263:Goethe and Tischbein
241:Adèle von Rothschild
234:chromatic aberration
1283:Goethe-Gesellschaft
1063:Elective Affinities
1018:(libretto fragment)
1006:Iphigenia in Tauris
820:Harzreise im Winter
759:Cultural depictions
578:www.webexhibits.org
295:Charlotte von Stein
148:Iphigenia in Tauris
99:painter, depicting
844:Der König in Thule
646:silverandexact.com
617:www.german-way.com
515:Italienische Reise
446:. www.tate.org.uk.
357:Digital Collection
281:
271:Classical painter
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1351:(1786/7 painting)
1237:Weimar Classicism
1214:Christine Vulpius
1175:Theory of Colours
932:Der BĂĽrgergeneral
497:978-3-8228-4790-9
470:978-90-420-2124-2
429:Rudolf M.Bisanz,
399:978-0-192-82981-8
213:Theory of Colours
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698:And Even Now
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581:. Retrieved
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1416:Categories
1331:Goetheanum
865:Prometheus
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320:References
305:Grand Tour
286:classicism
230:refraction
194:classicism
146:depicting
66:Dimensions
1146:Propyläen
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290:classical
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1224:(mother)
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