Carl Spitzweg: 9 works

A slideshow of artworks auto-selected from multiple collections

By Google Arts & Culture

Moonlit Scene with Castle Ruins (mid-late 1800s) by Carl SpitzwegSpencer Museum of Art

'Throughout his career, Carl Spitzweg transformed the streets and buildings of his native Munich into stages where histories, fantasies, and comedies could be enacted.'

Study for The Poor Poet (ca. 1837) by Carl SpitzwegGrohmann Museum at Milwaukee School of Engineering

'In the final painting, Spitzweg set the oven further back to make room for the manuscripts that he might burn.'

Serenade (Midnight Violin on the Ladder) (ca. 1850) by Carl SpitzwegGrohmann Museum at Milwaukee School of Engineering

'Spitzweg places the musician is in a delicate position, as he makes a risky move, both physically and metaphysically.'

The Garret II (ca. 1855) by Carl SpitzwegGrohmann Museum at Milwaukee School of Engineering

'He is alone and confined in his room; both the young man and the bird have the same posture.'

The Arrival of the Stagecoach (ca. 1859) by Carl SpitzwegGrohmann Museum at Milwaukee School of Engineering

'In a beautiful uniform and with an austere look, he watches the arrival of the coach.'

The Old Fortress Commandant (ca 1860) by Karl Spitzweg (1808, Munich–1885, Munich)The Art Museum RIGA BOURSE

'The psychological subtlety, mysteriousness and emphatically light mood of this painting is characteristic of other works by Spitzweg.'

The Alchemist (ca. 1860) by Carl SpitzwegGrohmann Museum at Milwaukee School of Engineering

'Spitzweg selected a dark room and sparse light to paint the image in Rembrandt's manner; he had studied his work intensively.'

In the Alpine High Valley (Landscape with Mt. Wendelstein) (c. 1871) by Carl SpitzwegKunstpalast

'Given the sublime, and the format (unusual for Spitzweg), the painting is regarded as "one of Spitzweg's greatest".'

Flying Kites (1880/1885) by Carl SpitzwegAlte Nationalgalerie, Staatliche Museen zu Berlin

'By means of an unusually tall, narrow format, Spitzweg lends a sense of infinitude to the sky, awakening in the viewer an involuntary longing to share the kite's lightness.'

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