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at the time he met
Beethoven. Beethoven saw having his portrait made as a form of "penance" and allowed only three or four sittings, requiring that Stieler finish painting the body and the portrait's background without him. As a result, according to Alessandra Comini, "Beethoven's arms are not
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felt that the portrait accurately portrayed
Beethoven's "characteristic expression", but the lowered head was inconsistent with Beethoven's usual posture. Schindler also asserted that illness caused a marked change in Beethoven's appearance in this portrait as compared to earlier ones.
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stated that the portrait included "all the elements dear to future mythmakers", including "genius inspired by inner voices in the presence of nature, with leonine hair writhing wildly in symbolic parallel to the seething turbulence of creativity".
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The portrait's early ownership history is "obscure"; it may have been briefly held by the
Brentano family. Thayer stated that it was initially owned by Stieler's family. It was eventually owned by Wilhelm Spohr, brother of composer
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in 1826; Beethoven distributed copies to his friends. Comini writes that the "extensive lithographic reproduction" of the work resulted in it having "the greatest influence on
Beethoven iconography".
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convincingly attached to his shoulders"; later versions of the portrait address this by omitting the arms entirely. Upon completion the portrait was exhibited alongside
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with a large white collar and red scarf. His grey hair is "unruly, essentially uncombable". He holds the manuscript of his
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in 1945 Henri's son Walter successfully reclaimed some of Henri's collection and brought the portrait to
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The painting was started in 1819 and completed in April 1820. It was commissioned by Franz and
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How the only portrait
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in
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133:. The portrait is 72.0 by 58.5 centimetres (28.3 by 23.0 in).
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wrote that the painting was "sketchy" and never fully finished.
384:(revised edition), vol. 2. Princeton University Press, p. 760.
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Variations on the portrait were produced by, among others,
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John Clubbe (2019). "Beethoven close up, 1817–20".
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and appears to be writing. In the background is a grape
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Stieler painted a miniature version of the portrait on
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The
Changing Image of Beethoven: A Study in Mythmaking
411:(revised edition). Harvard University Press, p. 180.
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Beethoven with the
Manuscript of the Missa Solemnis
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Beethoven with the manuscript of the Missa solemnis
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Beethoven with the
Manuscript of the Missa Solemnis
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Beethoven with the
Manuscript of the Missa Solemnis
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872:Ira F. Brilliant Center for Beethoven Studies
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431:Portrait of Beethoven by Joseph Karl Stieler
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119:and shows Beethoven in a deep blue
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862:British première of Symphony No. 9
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95:. The painting is held by the
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405:Maynard Solomon (1988).
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213:. After the end of the
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852:Beethoven Project Trio
433:. Beethoven-Haus Bonn.
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207:plundered by the Nazis
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833:Beethoven quadrangle
617:Compositional method
531:List of compositions
522:Ludwig van Beethoven
83:Ludwig van Beethoven
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237:1841 lithograph by
153:portraits by Mähler
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705:Mähler's portraits
667:List of sculptures
634:Biamonti Catalogue
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682:Mexico City
267:Andy Warhol
265:(1841) and
252:Lithographs
192:Louis Spohr
149:John Clubbe
111:Description
105:Andy Warhol
910:Categories
698:Depictions
545:Birthplace
273:References
121:frock coat
785:(brother)
779:(brother)
645:Memorials
470:Sotheby's
465:Beethoven
895:Category
877:Three Bs
803:(nephew)
773:(mother)
767:(father)
269:(1987).
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64:Location
811:Related
795:Johanna
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203:Leipzig
789:Ludwig
783:Johann
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538:Life
413:ISBN
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103:and
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Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
