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106:, the composer's nephew. Because Thayer owned a copy (see below), he was particularly interested in learning about the circumstances under which it was painted. He considered this painting the most interesting and engaging of the portraits he had encountered. He later interviewed Mähler on 24 May 1860. Thayer characterized the friendship between Beethoven and Mähler as one where composer's kindness was returned by Mähler with warm affection and admiration for composer's genius. In offering recollections of Beethoven, Mähler spoke of his 1804 portrait and wondered where it was. To his question, Thayer responded that it belonged to Karl van Beethoven's widow. Mähler then revealed that he had a copy of it.
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230:, an instrument popular in the early 19th century. The interpretation is that, with his hand holding the instrument, Beethoven draws forth music. But lyre-guitars normally have six strings, while the one Beethoven is holding has only five. With the pegs of the strings arranged in two rows, Jander identified the missing string as being one of the higher-pitched strings, suggesting a visual metaphor for Beethoven's inability to hear high frequencies.
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Similarly, if any of these elements is depicted in such a way that diverges from typical depictions, that strengthens the message they intend to communicate by drawing in the viewer's attention. Contrasting gestures between right and left arm are typical and serve to sensitize the viewer to summon interpretation, or in the words of critic Philip
Conisbee, a "narrative portrait with a didactic purpose."
269:
well proportioned. Anatomically, it corresponds so perfectly with all the authentic description of
Beethoven's person, that this alone proves it to have been copied from nature and not drawn after the painter's fancy. Whoever saw a long delicate hand with fingers exquisitely tapering, like Mendelssohn's, joined to the short stout muscular figure of a Beethoven or a Schubert?
388:. (Thayer held the position from 1865 until 1882). Upon Thayer's death in 1897, it was inherited by his niece Susan Elizabeth Fox. She donated it to the Beethoven Association, a New York-based group that came into existence for the purpose of translating Thayer's biography into English by producing chamber music concerts. (The translation by
172:
can be considered self-portraits, commissioned at significant times in a person's life in which the details of the portrait were laid out by the subject. Elements such as the subject's pose, facial expression, clothing, accompanying objects and gestures are all part of the conventions of portraiture.
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Like Thayer, Jander says the ambiguous meaning of the right hand is due to Mähler's deficiency as an artist. Alessandra Comini observed that, in contradistinction to the portrait of his grandfather where his ancestor's hand is pointing at music already written, Beethoven's "hand rises, palm outward,
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provided an understanding on how an ancestor's portrait can have a healing effect on descendants. "The bonds of admiration and love between us and our ancestors are maintained and thus have a healing influence on the spirit, as though occasionally the deceased were still sitting among us….a portrait
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Jander theorizes that an inspiration for Mähler's portrait is
Leopold Radoux's 1773 portrait of Beethoven's grandfather, also named Ludwig van Beethoven (1712–1773), which the composer had prominently displayed in his apartment. Notably, one of the features of this portrait (painted the same year as
117:
In the papers left by
Beethoven there was an undated note to Mähler: "I beg of you to return my portrait to me as soon as you have made sufficient use of it—if you need it longer I beg of you at least to make haste—I have promised the portrait to a stranger, a lady who saw it here, that she may hang
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In Jander's interpretation "the composer projects himself as turning his back (quite literally) to the darkness, turmoil, and half-dead tree that dominate the area to his left. Musical instrument in hand, he projects himself as beginning to move toward the calm, sun-drenched field to his right."
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The extended right hand—though, like the rest of the picture, not very artistically executed—was evidently painted with care. It is rather broad for the length, is muscular and nervous, as the hand of a great pianist necessarily grows through much practice; but, on the whole, is neatly formed and
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Sulzer (as quoted by Jander) said that gestures should never cause so much attention as to distract the viewer away from the face. The enigmatic nature of the depiction of
Beethoven's right hand appears to have puzzled both Thayer and Jander. Thayer recalled Mähler offering a description: "...the
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Jander quotes Sulzer who described the arrangement of clothing in graphic art could depict "a soul agitated through passion." Below
Beethoven's back there is a dark blue cape which has fallen from his shoulders. Most of the cape lies in a heap in the lower right hand corner of the picture, which
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in August 1815, "all of them distinguish themselves in a most creditable way through the effectual brush stroke, the descriptive resemblance and the distinctive expression of their soul". A half length portrait of
Beethoven was part of the series. The painter created several versions of this
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Thayer estimated the copy of Mähler's portrait to have been painted approximately in 1808 by an unidentified artist (it is known that Mähler did not paint the copy himself). The date derives from a listing in an 1890 exhibition catalog for a
Beethoven festival held in
140:(son of Stephan), provided a description of Beethoven's apartment. The portrait of Beethoven’s grandfather was prominently displayed in the entry hall, while the Mähler portrait was on the back wall of a storage room where visitors were never admitted.
209:(a cluster of flowers on a branch). In the portrait there are groups of knotweed shown in various stages, from initial blossoming with pink to mature florets with the color receded. (Jander charactizes Beethoven as "nature-loving" and recalls the
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the subject's death) was a cape falling off the back of the subject. To Jander, this represents the overcoming of grief that befell
Beethoven's grandfather upon the death of his wife from alcoholism while maintaining a family life (his son
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where the composer wrote "as the leaves of autumn fall and are withered…," an allusion very similar to the one depicted in the portrait.) Jander proposes that the fading color of the plant is a metaphor to the composer's loss of hearing.
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In 1940, the
Beethoven Association disbanded and donated its holdings (including the painting) to the New York Public Library. At its opening in 1965, the painting hung in the Music Division's Special Collections reading room of the
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Jander notes that plant studies were part of the curriculum of the Dresden Art Academy where Mähler attended, so it is natural to expect plants in his graphic work. The plant at the bottom left of the portrait Jander identified as
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Mähler painted four portraits of Beethoven. Only the first image, dated by Thayer at 1804–05, contains a nearly full view of the composer. Beethoven apparently liked this portrait very much and owned it until his death.
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181:—the younger Ludwig van Beethoven's father—also suffered and eventually died from alcoholism). To understand the possible effect upon the composer, Jander cites 18th century mathematician and art theorist
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it in her room during her stay of several weeks. Who can withstand such charming importunities, as a matter of course a portion of the lovely favors which I shall thus garner will also fall to you";
359:. Since Thayer was still living in 1890, musicologists Luigi Bellofatto and Owen Jander surmise that he must have personally lent the portrait for exhibition and most likely provided the date.
102:'s biography. He first came across the original Mähler painting during a research visit (for his Beethoven biography) to Caroline Barbara van Beethoven (born Naske), the widow of
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Estimated to have been painted around 1808, this painting is a copy by an unidentified painter of the portrait of Beethoven by Mähler. This copy was owned for many years by
255:"intensifies the message of divestment." In part this is a reference to the painting of the composer's grandfather, whose falling cape represented the overcoming of grief.
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89:(1774–1827). Though eventually a court secretary, Mähler was interested in music, was a good singer and did some composing. Beethoven took him to one rehearsal of
50:, is the first of up to four untitled portraits the painter made of the composer. Today it hangs in the Beethoven Museum in Probusgasse, Vienna, part of the
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Just as music had rescued his grandfather from overwhelming grief, so too does music provide life's direction for Beethoven and solace from deafness.
487:"Willibrord Joseph Mähler (1778–1860), Ludwig van Beethoven, 1804 – Fotografie von Rudolf Stepanek nach dem Gemälde von Willibrord Joseph Mähler"
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Jander, Owen (2000), "'Let Your Deafness No Longer Be a Secret—Even in Art': Self-Portraiture and the Third Movement of the C-Minor Symphony",
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and the portrait, hypothesizing that both works were a "ritualized confrontation" – a public yet veiled declaration of the composer's growing
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Leopold Radoux, Lodewijk van Beethoven, 1773 – Beethoven's grandfather. This portrait hung in the main room of the composer's apartment.
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Around 1815, Mähler produced a series of portraits showing contemporary Viennese composers, including, apart from Beethoven,
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right hand is extended, as if, in a moment of musical enthusiasm, he was beating time..." Thayer provided his own thoughts:
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of Beethoven exists in two versions, and is part of a series of portraits he made of Viennese composers at this time.
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of the composer, who considered it one of his most prized possessions. Today the painting belongs to the
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Bellofatto, Luigi; Jander, Owen (2006), "Thayer's Copy of the Mähler Portrait of Beethoven, ca. 1804",
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884:(Revised with a new foreword by the author ed.), Santa Fe, New Mexico: Sunstone Press,
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Katalog der mit der Beethoven-Feier zu Bonn am 11.–15. Mai 1890 verbunden Ausstellung
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can make almost as powerful an impression upon us humans as can the person himself."
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There are only three references to this portrait in contemporary Beethoven sources:
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Aus dem Schwarzspanierhause: Erinnerungen an L. van Beethoven aus meiner Jugendzeit
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The historian Owen Jander discusses the symbolism embedded within Beethoven's
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868:"Alexander Wheelock Thayer: Brief life of Beethoven's biographer: 1817–1897"
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was first published by the Beethoven Association for its members in 1921).
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The portrait presently hangs in the Beethoven Museum in Probusgasse,
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There are at least two surviving portraits created by German painter
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in response to music heard and to be written down for the future."
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Joseph Willibrord Mähler was introduced to Beethoven by the writer
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Friedensblätter. Eine Zeitschrift für Leben, Literatur und Kunst
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777:"Happy 240th, Beethoven! And thank you, Beethoven Association!"
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A copy of this painting, once owned by Beethoven's biographer
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548:, website of the Vienna Museum, accessed 20 September 2020.
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The Changing Image of Beethoven: a Study in Mythmaking
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Two portraits of Beethoven by Joseph Willibrord Mähler
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Beethoven with the Manuscript of the Missa Solemnis
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816:(Bonn: Verlag des Vereins Beethoven-Haus, 1890).
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866:Claman, Henry D.; Bellofatto, Luigi D. (2007),
744:, Vienna, year 2, no. 63, 27. May 1815, p. 252
398:New York Public Library for the Performing Arts
783:, 16 December 2010, accessed 20 September 2020
384:, the portrait hung the American Consulate in
1338:Ira F. Brilliant Center for Beethoven Studies
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362:The earliest known owner of the portrait was
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328:Thayer's copy of Mähler's 1804–05 portrait (
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222:Though Mähler described the instrument as a
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98:What is known about the painting stems from
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1392:Cultural depictions of Ludwig van Beethoven
366:, editor of the noted musical journal, the
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125:'s biography, noting its "insignificance";
226:, Jander identified it specifically as a
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311:. As written in the music journal
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918:, New York: Beethoven Association
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1016:Relationship with contemporaries
916:The Life of Ludwig van Beethoven
343:, author of the first scholarly
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369:Allgemeine musikalische Zeitung
948:von Breuning, Gerhard (1874),
926:(1967), Forbes, Elliot (ed.),
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46:One, painted in approximately
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27:Mähler's portrait of 1804–05
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1402:Portraits by German artists
1043:Concert of 22 December 1808
880:Comini, Alessandra (2008),
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132:Aus dem Schwarzspanierhause
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930:Thayer's life of Beethoven
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912:Thayer, Alexander Wheelock
779:, New York Public Library
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250:Mähler's 1814/15 portrait
100:Alexander Wheelock Thayer
76:The portrait of 1804–1805
59:Alexander Wheelock Thayer
33:Joseph Willibrord Mähler
1033:Heiligenstadt Testament
761:Allgemeine Musikzeitung
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211:Heiligenstadt Testament
63:New York Public Library
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121:A brief reference in
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988:Ludwig van Beethoven
492:9 April 2016 at the
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138:Gerhard von Breuning
87:Stephan von Breuning
41:Ludwig van Beethoven
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952:, Vienna: L. Rosner
496:, Digital Archives
183:Johann Georg Sulzer
1397:Romantic paintings
1171:Mähler's portraits
1133:List of sculptures
1100:Biamonti Catalogue
708:, p. 337–338.
546:"Beethoven Museum"
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301:Ignaz von Seyfried
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202:Polygonum bistorta
104:Karl van Beethoven
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891:978-0-86534-661-1
855:Beethoven Journal
522:von Breuning 1874
406:Guthrie McClintic
402:Katherine Cornell
170:portrait painting
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364:Ferdinand Luib
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622:
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48:1804 or 1805
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1215:Other films
1211:(2006 film)
1203:(2003 film)
1195:(1994 film)
1187:(1949 film)
1148:Mexico City
838:Thayer 1921
746:(digitised)
730:Jander 2000
718:Comini 2008
706:Thayer 1967
694:Jander 2000
679:Jander 2000
660:Jander 2000
648:Jander 2000
636:Jander 2000
621:Jander 2000
606:Jander 2000
594:Jander 2000
582:Jander 2000
570:Jander 2000
558:Jander 2000
534:Jander 2000
510:Jander 2000
475:Thayer 1967
456:Thayer 1967
424:Jander 2000
333: 1808
228:lyre-guitar
185:who in his
1376:Categories
1164:Depictions
1011:Birthplace
906:(1): 25–70
861:(2): 13–15
412:References
316:portrait.
278:The action
81:Background
1251:(brother)
1245:(brother)
1111:Memorials
757:"Notizen"
345:biography
194:The plant
156:Symbolism
95:in 1805.
68:Mähler's
1361:Category
1343:Three Bs
1269:(nephew)
1239:(mother)
1233:(father)
914:(1921),
490:Archived
234:The cape
166:deafness
1277:Related
1261:Johanna
386:Trieste
128:In his
92:Leonore
1255:Ludwig
1249:Johann
1243:Kaspar
1231:Johann
1224:Family
1200:Eroica
1184:Eroica
1138:Berlin
1021:Mozart
938:
888:
378:Consul
179:Johann
1237:Maria
1061:Music
1028:Death
500:Bonn.
382:Italy
1267:Karl
1143:Bonn
1004:Life
936:ISBN
886:ISBN
781:blog
404:and
357:Bonn
303:and
224:lyre
37:oils
1095:WoO
759:in
380:to
35:in
1378::
1301:/
902:,
870:,
859:21
857:,
788:^
768:^
686:^
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448:^
431:^
408:.
351:.
330:c.
299:,
295:,
152:.
65:.
54:.
43:.
980:e
973:t
966:v
904:8
840:.
828:.
524:.
335:)
135:,
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