id: 155860 accession number: 1991.163 share license status: CC0 url: https://clevelandart.org/art/1991.163 updated: 2024-03-26 02:00:11.163000 The Young Eastern Woman, 1838. Friedrich Amerling (Austrian, 1803–1887). Oil on fabric; framed: 106.5 x 90.5 x 9 cm (41 15/16 x 35 5/8 x 3 9/16 in.); unframed: 88.5 x 71.5 cm (34 13/16 x 28 1/8 in.). The Cleveland Museum of Art, Mr. and Mrs. William H. Marlatt Fund 1991.163 title: The Young Eastern Woman title in original language: series: series in original language: creation date: 1838 creation date earliest: 1838 creation date latest: 1838 current location: 219 19th Century European creditline: Mr. and Mrs. William H. Marlatt Fund copyright: --- culture: Austria, 19th century technique: oil on fabric department: Modern European Painting and Sculpture collection: Mod Euro - Painting 1800-1960 type: Painting find spot: catalogue raisonne: --- CREATORS * Friedrich Amerling (Austrian, 1803–1887) - artist Friedrich Amerling grew up in a poor working-class milieu and started his career illuminating maps and prints before attending the Vienna academy from 1815 until 1824. The following two years he studied at the academy in Prague, until his sojourn in London from 1827 through 1828. Amerling went to London primarily to meet the portraitist Thomas Lawrence (1769-1830), whose fame had spread throughout Europe and whose work, together with that of Joshua Reynolds (1723-1792), would form an important influence on Amerling's art. After a brief stay in Paris, during which Amerling met Vernet (q.v.), he went on to Rome. Back in Vienna he painted the life-size portrait of Emperor Franz I (1832/33, Kunsthistorisches Museum, Vienna), which, despite its mixed reviews, estab-lished his reputation as the foremost portrait painter in Vienna. From then on he received many portrait commissions from the Viennese aristocracy and bourgeoisie (see Waldmüller, Countess Széchenyi, fig. 223b). In 1833 Amerling traveled to the Netherlands and, upon his return, visited the artistic centers of Munich and Düsseldorf, where he met the influential academy director Friedrich Wilhelm von Schadow (1788-1862). Amerling's career reached its height from the 1830s through the 1850s. In the early 1840s he traveled to Rome where he worked with Leopold Pollak (1806-1880) and August Riedel (1799-1883), who influenced his work with their depictions of Italian beauties. Besides painting formal portraits, Amerling developed a painting category that remained close to portraiture but crossed over to a slightly sentimental type of genre or character painting, mostly depicting single women in coquettish poses. Although Amerling retained a certain popularity throughout his long career-he was knighted in 1879-he failed to adapt to changing artistic developments and was eventually overshadowed by artists such as Hans Makart (1840-1884). --- measurements: Framed: 106.5 x 90.5 x 9 cm (41 15/16 x 35 5/8 x 3 9/16 in.); Unframed: 88.5 x 71.5 cm (34 13/16 x 28 1/8 in.) state of the work: edition of the work: support materials: inscriptions: --- CURRENT EXHIBITIONS title: Friedrich von Amerling (1803-1887) opening date: 2003-03-26T00:00:00 Friedrich von Amerling (1803-1887). Belvedere, Wien, Austria (organizer) (March 26-June 22, 2003). --- LEGACY EXHIBITIONS * {'description': 'Vienna, kk Akademie der Bildenden Künste. Wiener Kunstaustellung zu St. Anna (1838), no. 282.', 'opening_date': None} * {'description': 'Osterreichische Galerie Belvedere, Vienna (3/26/2003 - 6/22/2003): "Friedrich von Amerling (1803-1887)," exh.cat. no. 69, p. 219.', 'opening_date': '2003-03-26T00:00:00'} * {'description': 'Wien: Wien Museum Hermesvilla. Orientalische Reise: Malerei Und Exotick Im Spaten 19. Jahrhundert. Oct. 16, 2003 - April 12, 2004. Exh. cat. fig. 8, p. 43.', 'opening_date': '2003-10-16T00:00:00'} --- PROVENANCE The Cleveland Museum of Art, Cleveland, Ohio date: 1991- footnotes: citations: (Galerie Sanct Lucas, Vienna, sold to the Cleveland Museum of Art) date: 1971-1991 footnotes: citations: Heirs of Franz Wertheim, United States, sold to the Galerie Sanct Lucas date: Probably 1883-1971 footnotes: citations: Baron Franz Wertheim [1814-1883], Vienna, by descent to his heirs date: Date description: footnotes: *
Gunther Probszt’s 1927 book on Amerling situates the painting in the collection of Baron Franz Wertheim.  Because Wertheim died in 1883, it is possible that Probszt meant to indicate that the painting was formerly with Wertheim, or that the painting was currently with Wertheim’s heirs, perhaps Franz von Wertheim, Jr., who was born in 1865.
citations: Löscher, Vienna date: 1871- footnotes: *
Löscher was a Viennese dealer active in the 1870s.
citations: (P. Kaeser, Vienna, Fellner sale, Dec. 14-15, 1871, lot 9, as "Die Morgenländerin," sold to Löscher) date: 1871 footnotes: citations: Jakob Fellner, Vienna date: c. 1852-1871 footnotes: *
Fellner bought most of the Feldmüller collection shortly after 1852.
citations: Mathias Feldmüller (the Younger), Vienna, sold to Jakob Fellne date: 1838-c. 1852 footnotes: *
According to Amerling's account book, the painting was sold to Feldmüller, a wood merchant, for 80 ducats.  The painting may have been paired with Amerling's "Bathing Woman" (now lost).  Feldmüller also purchased works from Amerling in 1836, 1840, and 1850.
citations: --- fun fact: digital description: wall description: --- RELATED WORKS --- CITATIONS Galerie Sanct Lucas, invoice, March 1, 1992, in CMA curatorial file page number: url: Galerie Sanct Lucas, invoice, March 1, 1992, in CMA curatorial file. page number: url: Galerie Sanct Lucas, invoice, March 1, 1992, in CMA curatorial file. page number: url: P. Kaeser. Tabl. 120. Dec. 14-15, 1871. page number: url:
P. Kaeser. Tabl. 120. Dec. 14-15, 1871. page number: url: Galerie Sanct Lucas, invoice, March 1, 1992, in CMA curatorial file. page number: url: Galerie Sanct Lucas, invoice, March 1, 1992, in CMA curatorial file. page number: url: P. Kaeser. Tabl. 120. Dec. 14-15, 1871. page number: url: Galerie Sanct Lucas, invoice, March 1, 1992, in CMA curatorial file. page number: url: Turner, Evan H. "Selected 1991 Acquisitions." The Bulletin of the Cleveland Museum of Art 79, no. 2 (1992): 63-83. page number: Mentioned: p. 65, 76; Reproduced: p. 70 url: https://www.jstor.org/stable/25161350 Lurie, Ann Tzeutschler. “Ferdinand Georg Waldmüller in the Cleveland Museum of Art: Portrait of Crescentia, Countess Zichy (later Countess Széchenyi) with a Parrot and a Camellia in a Mountainous Landscape.” The Bulletin of the Cleveland Museum of Art 81, no. 1 (1994): 3-17. page number: Mentioned: p. 16 url: https://www.jstor.org/stable/25161437 Grabner, Sabine. "Art for the Bourgeoisie in Imperial Vienna." In Is That Biedermeier?: Amerling, Waldmüller, and More. Ferdinand Georg Waldmüller, 14-25. München: Hirmer Verlag; Vienna: Belvedere, 2016. page number: Reproduced: p. 22 Mentioned: p. 21-22 url: Argencourt, Louise d', and Roger Diederen. Catalogue of Paintings. Pt. 4. European Paintings of the 19th Century. Cleveland: Cleveland Museum of Art, 1974. page number: Mentioned and reproduced: P. 12-15, Vol. I, no. 4 url: Ware, Zaria. Blk Art: The Audacious Legacy of Black Artists and Models in Western Art. New York, NY : Harper Design, an imprint of HarperCollinsPublishers, 2023. page number: Reproduced: p. 60-61 url: --- IMAGES web: https://openaccess-cdn.clevelandart.org/1991.163/1991.163_web.jpg print: https://openaccess-cdn.clevelandart.org/1991.163/1991.163_print.jpg full: https://openaccess-cdn.clevelandart.org/1991.163/1991.163_full.tif