95:
17:
130:
153:. Most of his paintings during this period were portraits. Due to several bad harvests in the early 1850s, the members of the nobility became unwilling to pay as much for his works as they had previously. Having to pay his own way to and from the remote estates where they sat for their portraits, his profit fell rapidly.
114:, where he taught drawing and painted portraits. His desire to paint historical and religious themes remained great however and, despite his belief that "the number of artists increases in the same proportion as the public's interest decreases", he decided to move back to Dresden in 1834. While there, he met
125:
In 1837, he and his wife Amalie (who he had married against the wishes of her family), decided to marry again, publicly, so she could live with him. Their life together was, unfortunately, short as lagging sales and continued religious squabbling created financial difficulties. In 1842, she took
156:
In 1855, he began a period of noticeable decline, as his eyesight deteriorated, and he was weakened by a
Cholera-like illness. Many of his friends rallied to provide support. His old patron Schnaase attempted to find him a teaching position or some form of permanent financial aid. His decline
56:
His father was a servant of Count Adolf
Friedrich Abraham von Gersdorf at Schloss Lodenau, who received a plot of land in nearby Neusorge as a reward for faithful service. The Count also sponsored and provided an education for Adolf, who became a student at the Moravian Pädagogium in
122:. Schadow was a Romantic who wanted to encourage a return to naturalness in painting so, in 1835, Zimmermann became a teacher of "Divine Art" at the school. Once there, he became entangled in another dispute between Protestants and Catholics.
126:
their two boys to live at her parents' home and gave birth to a daughter there. Lonely, and in poor health since his return from Rome, Zimmermann decided to leave DĂĽsseldorf and establish himself someplace new.
61:, where his artistic talent was encouraged. Nevertheless, he was originally destined for an apprenticeship in a craft but, perhaps at the urging of the Count's family, was able to attend the
91:, he chose to leave due to religious disagreements with his fellow painters in the Nazarene movement, who felt that Catholicism provided a better basis for historical Bible painting.
173:"Zimmermann bekam auf ein Jahr 100 Taler bewilligt, zusätzlich erhielt er Unterstützung durch einen wohlhabenden unbekannten Gönner". Source: Ludwig Richter:
87:
Although he wrote to his wife that he was leaving Rome because he didn't have the financial means to remain or bring her there, it is believed that, being an
80:, he obtained a Royal Scholarship for the purpose of making a study trip to Italy. In the Fall of 1825 (following a secret marriage), he and his friend
77:
149:, a University Professor. In 1846, Zimmermann retrieved his family and moved there, soon establishing a clientele that included Bishop
141:
recommended
Breslau, as the competition with other artists would not be great. Zimmermann wrote to his former pastor in Rome,
273:
84:
undertook the trip, making several stops along the way to visit with other artists. He remained there until 1829.
278:
62:
226:
Adolf
Gottlob Zimmermann (1799–1859). Das Werk eines wichtigen Nazareners kehrt in die Oberlausitz zurück
119:
283:
70:
88:
81:
268:
263:
94:
8:
178:
115:
150:
66:
40:
182:
237:
Ein Jünger der „göttlichen Kunst“. Das
Lebensbild des Nazareners Adolf Zimmermann.
16:
257:
142:
138:
28:
36:
146:
145:, who agreed with that choice and gave him a letter of recommendation to
76:
After graduating, on the recommendation of the
Academy's Director, Count
129:
250:. Beitrag zur Kunstgeschichte. Dresden 1901, Vol. 2/II, S. 1052f.
32:
58:
111:
101:, in the Friedenskirche of Essen-Steele (c. 1840)
255:
51:
105:
78:Heinrich Carl Wilhelm Vitzthum von Eckstädt
35:) was a German painter. He belonged to the
175:Lebenserinnerungen eines deutschen Malers.
157:continued, however, and he died in 1859.
128:
93:
15:
256:
65:. From 1818 to 1825, he studied with
13:
218:
14:
295:
243:(NLM). Band 110, 1934, S. 171–229
46:
248:Malerwerke des 19.Jahrhunderts
205:
196:
187:
167:
1:
160:
110:On his return, he settled in
274:19th-century German painters
63:Dresden Academy of Fine Arts
27:(1 September 1799, Lodenau,
7:
241:Neues Lausitzisches Magazin
10:
300:
246:Friedrich von Boetticher:
99:Adoration of the Shepherds
52:Education and early career
193:Geller, NLM 110, S. 186f.
211:Geller, NLM 110, S. 220.
202:Geller, NLM 110, S. 193.
120:Kunstakademie DĂĽsseldorf
106:Later career and decline
25:Adolf Gottlob Zimmermann
134:
118:, the Director of the
102:
89:Evangelical Protestant
21:
132:
97:
82:Carl Gottlieb Peschel
19:
279:German male painters
20:Self-portrait (1856)
116:Wilhelm von Schadow
230:Görlitzer Magazin.
137:The art historian
135:
103:
71:Johann Carl Rößler
67:Ferdinand Hartmann
22:
284:Nazarene movement
232:18/2005, S. 42–50
224:Marius Winzeler:
133:Amalie Zimmermann
41:Nazarene movement
291:
212:
209:
203:
200:
194:
191:
185:
183:Internet Archive
171:
151:Heinrich Förster
31:– 17 July 1859,
299:
298:
294:
293:
292:
290:
289:
288:
254:
253:
221:
219:Further reading
216:
215:
210:
206:
201:
197:
192:
188:
172:
168:
163:
108:
54:
49:
12:
11:
5:
297:
287:
286:
281:
276:
271:
266:
252:
251:
244:
233:
220:
217:
214:
213:
204:
195:
186:
177:1895, S. 244,
165:
164:
162:
159:
107:
104:
53:
50:
48:
45:
39:branch of the
9:
6:
4:
3:
2:
296:
285:
282:
280:
277:
275:
272:
270:
267:
265:
262:
261:
259:
249:
245:
242:
238:
235:Hans Geller:
234:
231:
227:
223:
222:
208:
199:
190:
184:
181: at the
180:
176:
170:
166:
158:
154:
152:
148:
144:
143:Richard Rothe
140:
139:Karl Schnaase
131:
127:
123:
121:
117:
113:
100:
96:
92:
90:
85:
83:
79:
74:
72:
68:
64:
60:
47:Life and work
44:
42:
38:
34:
30:
29:Upper Lusatia
26:
18:
247:
240:
236:
229:
225:
207:
198:
189:
174:
169:
155:
136:
124:
109:
98:
86:
75:
55:
24:
23:
269:1859 deaths
264:1799 births
147:August Hahn
258:Categories
161:References
37:DĂĽsseldorf
33:Breslau
228:. In:
59:Niesky
112:Pirna
239:In:
69:and
179:244
260::
73:.
43:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
