Das Märchen von Gockel, Hinkel und Gackeleia (German Edition)

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This is no mere coincidence but proves that Schwind knew Lindenschmit's treatise. Christopher Frayling, Fuseli's The Nightmare: Somewhere between the Sublime and the Ridiculous , in Martin Myrone, ed. Tate Britain, , Schwind to Bauernfeld dated October 25, , published in Stoessl, Moritz von Schwind, Briefe , —; see note Multipart watercolor, 78 x Das zeigt sich auch bis ins Geringste bei dieser Arbeit, in jeder Haarlocke, in jeder Falte der Gewandung. Lectura, , Why this new Cinderella cycle was never executed is unknown and must remain speculation as there is not even a floor plan or photographic material preserved that would show the dimensions of the ballroom.

See, Boetticher, Malerwerke des neunzehnten Jahrhunderts , vol. Further information was gained from the archived and unpublished material at the library of the Stadtgeschichtliches Museum Leipzig. For information on these paintings and murals in villas, see Boetticher, Malerwerke des neunzehnten Jahrhunderts , vol. Olms-Weidmann, , Lax, , 57—60 and — Carus, , ix—xviii. Oil on canvas, 63 x 63 cm. Weimar, Stiftung Weimarer Klassik und Kunstsammlungen.

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Multipart watercolor, dimensions and whereabouts unknown. Oil on canvas, x cm. When last checked the page no longer existed at its original location. Photograph of Moritz von Schwind working on the first part of his tripartite watercolor The Seven Ravens taken around Moritz von Schwind, Cinderella , Oil on canvas and panel. Reproduction from Weigmann, Schwind, When artists in nineteenth-century Germany no longer had the economic security of working permanently either for the Church or the Crown, and thus had to face the challenges of the open art market, they had to invent marketing strategies in order to stand out above the keen competition at art exhibitions.

They also had to satisfy the demands of the new buying class—the culturally interested and wealthy bourgeoisie. While the artists tried to fulfill their artistic ideals first, and were anxious not to commit themselves to short-lived fads or to commercial art, these challenges greatly affected their paintings, both in the choice of their subjects and in their execution.

All the more interesting are the different means of promotion the artists devised to create a market for paintings truest to their artistic goals. Moritz von Schwind's —, fig. But, the painting's subject, fairy tales, 2 were also one of Schwind's major artistic interests throughout his life. He was convinced that German folk tales should not be "despised" 3 so readily. And so fairy tale motifs, such as in the Phantom in the Forest Die Erscheinung im Walde , or in preliminary sketches for his fairy tale paintings Cinderella and The Seven Ravens Die Sieben Raben , date back to the beginnings of his art career in the early s, when fairy tales were just being rediscovered in Germany.

Hence, his selecting so exceptional a motif was as risky as it was ambitious. It guaranteed that he would stand out from his competitors in the open art market and therefore attract the attention of the critics as well as potential buyers. Moreover, if the viewing public accepted German fairy tales as a subject of history paintings, he would be able to increase his work on fairy tales, definitely a favorite painting subject of his. But on the other hand, if his painting failed to win acceptance at exhibition, Schwind would have gained nothing but bad press, uncovered expenses, and the certainty that there was no market for his fairy tale paintings.

How well aware Schwind was of the necessity to promote his paintings in general is shown not only in his correspondence, 6 but also in his actions; for example, he finished his second popular fairy tale cycle, The Seven Ravens , deliberately in time for the Major German Art Exhibition in the Munich Glaspalast in , a high-profile event which guaranteed wide international recognition and which was, therefore, a promotionally most successful platform for artists.

One can assume that Schwind chose the Munich Art Exhibition with similar care in order to effectually display his Cinderella. Moreover, by presenting the Cinderella painting in an architectural wooden framework as if it were a model for a mural the art medium Schwind deemed the highest of all painting mediums , Schwind also suggested to the viewers that he was willing to accept a commission to execute the cycle in a mural.

Although Schwind played a risky game, he succeeded. When Cinderella was first displayed in , the critics not only praised his painting, but fairy tales became a popular subject for paintings in general, and Schwind was commissioned to decorate a ballroom with a Cinderella cycle in the late s. Moreover, he had gained a lasting reputation as Germany's most popular fairy tale painter by the general public, fellow artists, and art historians as well. The Introduction of a New History Painting Subject The renaissance of fairy tales in Germany in the nineteenth century has to be seen in the context of the rediscovery of German folk literature in the late eighteenth century, influenced most notably by Johann Gottfried Herder — Considered to be found in its purest form in the poetry of the Middle Ages, the "Nationalgeist" remained alive, only among the lower classes, in folk poetry, which was thought to be the literature of the childhood of mankind.

Folk poetry was considered to have survived through the ages, initially going back to an idealized, paradise-like distant past, a golden age, when men still lived in harmony with nature. In the political and socially disturbing times in Germany during the nineteenth century, scholars of the Romantic movement such as Friedrich Schlegel — and the brothers Jacob — and Wilhelm Grimm — regarded "Naturpoesie" as the remedy for the cultural crisis—as the only way to re-unite a nation that had first been ripped apart by Napoleon I, and then socially transformed by progressing industrialization.

Scholars therefore focused their studies on Germany's ancient history, especially the Middle Ages, and its folk culture. They collected, edited, and preserved the traces of the "Nationalgeist" of a formerly strong and proud Germany, which they felt should become the model for the future. So, the success of what is the most popular fairy tale collection of today did not come until when the Grimms edited a revised edition of only fifty fairy tales, with no scientific annotations, 12 with texts slightly revised to minimize their sexual or violent content and—most importantly—with illustrations by their brother Ludwig Emil Grimm — They thereby complied with the general demands of the children's literature market which required that books, above all, be illustrated.

Further revisions, edited primarily by Wilhelm Grimm, were published until But even though folk tales were extremely popular with the German public in the mid-nineteenth century, the fairy tales included in Grimms' collections had been depicted only in graphic arts—in book illustrations, so-called "Bilderbogen" 13 , and large etchings for art societies.

So, when Cinderella was exhibited in , fairy tale paintings were more or less a novelty to the art scene in general; as history paintings—which is how Schwind presented his Cinderella —they were completely unheard-of. In nineteenth-century Germany, the catalogue of subjects suitable for history paintings—history, the Bible, Christian legends, classical mythology—had been extended with motifs of German folk sagas such as the Nibelungen.

Moreover, he worked in the same "modus" Jan Bialostocki in which he had executed his history paintings on Christian legends, such as the legend of St. Elisabeth, or on German folk sagas such as the Wilkina saga for castle Hohenschwangau.

Thus, one critic promptly asked,—even though rhetorically: He thereby reflected the common opinion of fairy tales which were not thought to be, generally, up to accomplishing the dual purpose of art to give enjoyment, and to educate and so he alluded to the reputation of fairy tales as mere nursery tales without any deeper meaning or educational importance. But then, only a few lines later, he proved this preconception wrong and confirmed that Schwind had chosen well: His Cinderella is different. It is a story worth listening to, because it conveys a genuine truth: That in the end, after long suffering, virtue and humbleness are rewarded.

So, by not sticking to one single tradition, Schwind proves to be no mere illustrator; he does not simply visualize three fairy tales as they are known, but he tells them anew: Thereby Schwind trifles with the expectations of the viewer who has to "read" again, carefully, the popular but surprisingly different stories. In the end, he creates a new story in his paintings.

And so the epithet Schwind had earned in the art history of the early twentieth century turns out to be appropriate: Schwind is in fact a "Malerpoet" 22 painter-poet. Moreover, by adding two other fairy tales, whose content correspond with Cinderella and each other, Schwind leads the viewer to "read" the three cycles parallel to each other. Otherwise, by "reading" the three fairy tales successively, the viewer would not understand the relation of the three cycles. To quote Schwind, the visual story of the painting is therefore not told "dramatically" 23 around a thrilling climax, but "narratively," 24 which allows much more reflection.

Schwind created a formal distinction between the main cycle of Cinderella and the additional arabesque cycles of Cupid and Psyche and Sleeping Beauty by the means of their modi. Thus, Cupid and Psyche , an ancient roman folk tale, is shown in the style of the ancient Roman frescoes, framed by small classical aediculas. Its composition is based on the mural cycle Schwind designed for the garden pavilion of Dr. The Middle Ages, which were considered Germany's most nationalistic period, had therefore been established as the epoch after which illustrators modeled the fairy land of German folk tales throughout the nineteenth century.

By differing the modi of the cycles, Schwind lessened the importance of the additional cycles letting them serve as an arabesque decorative framework for the main cycle. As the additional cycles mirror the contents of Cinderella , the general message of Cinderella is also emphasized. Schwind summarized this narrative in a letter to his friend Eduard von Bauernfeld dated October 25, If I tell you that the adornment in the middle corresponds to b [IC] in a way that the clock in the tower shows midnight, in a [IIc], Psyche watches the sleeping Cupid and in c [IIIc], Sleeping Beauty is lying in slumber with all of the royal household overgrown by brushes, you will understand that these pictures are related to each other.

This is the case with all of these five image groups".

Schwind had learned this narrative concept from Peter von Cornelius, who saw arabesque scenes in murals not only as a decorative framework for the main panels, but as a means to enhance their message; he followed this plan in designing the murals for the Neue Pinakothek in Munich.