Genre painting finds the connection to the Dutch masters in an easier and more natural fashion, in the same way that many portraitists became Dutch spontaneously, when they liberated themselves from the official court portrait, in order to paint daily life or ‘ordinary people’, like themselves or their colleagues. Philipp Jacob Nickhl, a Kupezky pupil active in Salzburg in the 1740s, painted among others a series of the Five Senses, which is not only well depicted spatially, but even in one case copies a Dutch composition [i][i][i].235

Johann Heinrich Schönfeld  
Feeling c. 1655
oil paint / canvas, 99 x 77 cm
Kunsthistorisches Museum, Vienna, no. 2297

possibly Philipp Jacob Nickhl   after Johann Heinrich Schönfeld  
Man playing a violin: Hearing dated 1743
oil paint / canvas, 105,5 x 89 cm
on the back :  Philipp Jacob Nickhl./ 17.Pinxit.43
Salzburg Museum, Salzburg

Johann Heinrich Schönfeld  
Hearing c. 1655
oil paint / canvas, 100,3 x 78,8 cm
New York City (Christie's), 1986-06-04, no. 86

The Saxon Basilius Grundmann (1726-1798) learned the Dutch way from his teacher Dietrich, after whose etchings he painted. He was active in Vienna and Hungary in the 1760s and created very curious genre paintings, that show a mixture of Adriaen van Ostade and Frans van Mieris [i][i][i].236 Dutch engravings by Cornelis Visscher II supplied him with a depiction of the Seller of Rat Poison and from David Teniers II and Jan Josef Horemans I he got suggestions for pictures with kitchen scenes and larders.

Basilius Grundmann  
Interior of a junk shop (1741 - 1798)
oil paint / panel, 44 x 50 cm
Museo Nazionale di Capodimonte, Napels, no. 84513

Basilius Grundmann  
Woman looking out of a window (1741 - 1798)
oil paint / panel, 34 x 26 cm
Vienna (Dorotheum (Wenen)), 1956-03-15 - 1956-03-17, no. 49

Basilius Grundmann  
Man looking out of a window (1741 - 1798)
oil paint / panel, 34 x 26 cm
Vienna (Dorotheum (Wenen)), 1956-03-15 - 1956-03-17, no. 49

The ‘Viennese Dorner’, however, was Adam Braun (1748-1827). He framed elegant scenes in the taste of Jacob Ochtervelt and Michiel van Musscher [i][i] with a stone window sill after the recipe of Frans van Mieris and Gerard Dou [i]. Just as with these Leiden painters, young Viennese women, with some grapes, or some dead or alive creature in their hand, look smiling out of a window surrounded with intertwined flower garlands [i].237

Adam Braun  
A young woman peeling an apple dated 1786
oil paint / copper, 30 x 26 cm
location unknown :  A. Braun 1786
Vienna ( S. Kende), 1918-05-15 - 1918-06, no. 37

Adam Braun  
A young woman with a parrot and dogs in a window dated 1794
oil paint / copper, 30 x 26 cm
lower right :  A. Braun pinxit 1794
Vienna ( Albert Kende), 1934-11-12 - 1934-11-14, no. 350

Adam Braun  
A newly married couple (1763 - 1827)
oil paint / copper, 54,5 x 49,5 cm
lower right :  A. Braun
Vienna (Dorotheum), 2011-04-13, no. 704

Adam Braun  
Gallant helper dated 1785
oil paint / canvas, 60 x 50 cm
lower right :  A. Braun fec. 1785
Österreichische Galerie Belvedere, Vienna, no. 2762

The painters of merry companies Franz Christoph Janneck and Johann Georg Platzer belong to another type of Dutch genre painting, in which Dutch, Flemish and French elements merge. With Johann Georg Platzer (1704-1761)238one thinks first of the Dutch painters of merry companies Anthonie Palamedes, Pieter Codde and Jacob Duck, but the handwriting of Platzer is much more lively and ornate and the contrasts in light and shadow alternate in a playful Rococo banter [i][i].

His playful, mythological paintings, which are nothing but a revitalization of the art of the Mannerists like Joachim Wtewael, brought him the name of an ‘Austrian Goltzius’ [i][i][i]. Furthermore he must have known and used Flemish genre paintings, from Hans Rottenhammer and Jan Brueghel [i] until Theodor Rombouts and Jan Thomas [i][i][i], while other paintings show clearly more connections with the art of Sebastiano Ricci. But all the time we recognize in the overcrowded and packed compositions the minor master of Rococo, who feels at home with Adriaen van de Venne as well as with Jan van Balen. Incidentally there are small paintings by the younger Zick, which tell an equally naïve and blithe tale.

attributed to Josef Orient   and Johann Georg Platzer  
The Judgement of Paris probably 1730s
oil paint / panel, 44,1 x 65 cm
The Bowes Museum, Barnard Castle

Johann Georg Platzer  
Making avances after the meal between c. 1723-1728
oil paint / copper, 22 x 32 cm
lower left :  J. G. Plazer
Österreichische Galerie Belvedere, Vienna, no.  4093

Johann Georg Platzer  
Card Player (Ace is Trump) between c. 1723-1728
oil paint / copper, 22 x 32 cm
Österreichische Galerie Belvedere, Vienna, no. 4098

Johann Georg Platzer  
The concert c. 1750
oil paint / copper, 58 x 84,4 cm
location unknown :  J. G. Platzer
Germanisches Nationalmuseum, Neurenberg, no. Gm 1321

Johann Georg Platzer  
The artist's studio (1719 - 1761)
oil paint / copper, 48,5 x 65,6 cm
lower left :  J.G. Platzer
Vienna (Dorotheum), 2016-04-19, no. 61

Johann Georg Platzer  
Scene in a bathing house: Allegory of Summer 1731-1735
oil paint / copper, 38 x 59 cm
Minneapolis Institute of Arts, Minneapolis (Minnesota), no. 61.4

Johann Georg Platzer  
An orgiastic party in a court theatre (1719 - 1761)
oil paint / copper, 58,5 x 84,5 cm
Hermitage, Saint Petersburg (Russia), no. GE 1350

Johann Georg Platzer  
The Courtship of Venus and Adonis (1719 - 1761)
oil paint / copper, 48 x 64 cm
Museo Histórico e Diplomâtico do Palâcio Itamaraty, Rio de Janeiro

Johann Georg Platzer  
Conversation piece with lute player c. 1740
oil paint / copper, 18,5 x 24,2 cm
lower right :  J. G. Platzer
art dealer  Colnaghi, London/New York

Franz Christoph Janneck (1703-1761), who had worked in Southern Germany and Frankfurt also, is in his genre scenes [i][i][i] and landscapes even more Flemish and less witty than Platzer.239 He sometimes copied compositions by Rubens and used them in more or less the same way as the Frenchman Antoine Coypel [i][i].

Franz Christoph Janneck  
Esther swoons in front of Ahasuerus (Esther Apocryphia 15:7) (1718 - 1761)
oil paint / copper, 44,3 x 59 cm
Vienna (Dorotheum), 2016-04-19, no. 93

Franz Christoph Janneck  
Worshipping the golden calf (1718 - 1761)
oil paint / copper, 39 x 58 cm
lower right :  F.C. Janneck
Vienna (Dorotheum), 2012-04-18, no. 604

Franz Christoph Janneck  
The Uriscopist (1718 - 1761)
oil paint / copper, 31,7 x 22,8 cm
Chemical Heritage Foundation, Philadelphia (Pennsylvania), no. FA 2000.001.275

Franz Christoph Janneck  
Elegant company dining in a garden (1718 - 1761)
oil paint / copper, 35,4 x 47 cm
Staatsgalerie im Neuen Schloss Bayreuth, Bayreuth, no. 1609

Franz Christoph Janneck  
Interior with company in historical clothing (1721 - 1761)
oil paint / copper, 44,7 x 45 cm
museum  Niederösterreichische Landesmuseum, Sankt Pölten, no. A 284/86


235 [Gerson 1942/1983] Von Radinger 1910-1911), p. 124, 126-127, ill. Hearing of 1743 in Salzburg is a copy after Bartholomeus van der Helst in Philadelphia (De Gelder 1921, no. 239). [Van Leeuwen 2018] According to Von Radinger 1910-1911 and Pée 1971 (p. 219-200, nos. K22-K26, fig. 182-186) the collection of the Archbishop of Salzburg contained a series of five paintings with the five senses by Johann Heinrich Schönfeld from c. 1655, which was copied in 1743 by a further unknown local artist, Philipp Jacob Nickhl, for the Leopoldskroner Galerie. At an unknown moment this original series was lost; the Nickhl copies ended up in the Salzburg City Museum in 1910 or earlier. However, despite the inscription ‘’Philipp Jacob Nickhl 17 Pinxit 43’ on the back of Hearing (which should be checked), comparison of the images give reason to believe that the painting which was in 1910 in Salzburg, is identical to the painting which was in Philadelphia as Bartholomeus van der Helst in 1921 (not in Van Gent 2011) and auctioned in New York in 1986 as attributed to Sebastien Bourdon. The work must have been relined when it was sold to America before 1921. Also Feeling showed up as an authentic painting by Johann Heinrich Schönfeld in the database of the Kunsthistorisches Museum in Vienna, where it was documented in 1886. It has not been described in previous collection catalogues of the museum. It seems there only was/is one series, which was scattered after 1910-1911, probably only by the hand of Schönfeld. The meaning of the inscription of Philipp Jacob Nickhl still is a mystery. Could he have been a restorer, who treated the painting in 1743?

236 [Gerson 1942/1983] Paintings in Naples. [Van Leeuwen 2018] Alinari photographs in the Witt Library. The engraving of the Rat Poison Seller: RKDimages 291589. Wi did not find a related composition.

237 [Van Leeuwen 2018] Several copies after Dutch examples in RKDimages.

238 [Gerson 1942/1983] On Platzer: Agath 1929; Agath 1932. [Van Leeuwen 2018] Krapf 2014.

239 [Van Leeuwen 2018] On Platzer and Janneck: Juffinger et al. 1996. The biography of Janneck by C. Pucher in Juffinger et al. 1996, p. 8-13. The first example of a genre painting by Janneck is inspired by Gerard Dou and the Leiden finepainters, which indeed is an exception in his work. For his landscapes, see § 5.4.