In other areas the impact of the Dutch tradition is easier to demonstrate. Flower-, genre- and landscape painting were accompanied by those examples quite a bit longer along the way than we have traced up till now. A few references must be sufficient here, all the more because we have to accept that we must descend to the lower parts of the artistic ̶ that is to say the unartistic ̶ production.

The flower piece, which flourished so well on Van Huijsum’s soil at the end of the 18th century, had lost nothing of its vitality in the new century. Painters like Joseph Nigg (1782-1863) [i][i], Leopold Brunner (1788-1866) [i], Ludwig Reinhardt (1849-1870) [i][i],287 the better known Franz Xaver Petter (1791-1866) [i][i], Anton Hartinger (1806-1890) [i], Andreas Lach (1817-1882) [i][i], Josef Lauer (1818-1881) [i][i] and others, relentlessly painted their Jan van Huijsum bouquets and Abraham Mignon garlands, as if the taste for flower painting were an everlasting constancy. 288

Leopold  Brunner (I)  
Flower piece in a stoneware vase dated 1838
oil paint / canvas, 49,5 x 40 cm
location unknown :  L. Brunner 1838
Henrich Gallery, Munich



Ludwig Reinhardt   after Jan van Huijsum  
Fruit, flowers and insects on a marble ledge c. 1869-1870
oil paint / canvas, 40,5 x 34 cm
lower left :  L. Reinhardt
München ( Hugo Ruef), 2012-09-24 - 2012-09-25, no. 2110



Ludwig Reinhardt   after Jan van Huijsum  
Flower piece in a basket on a marble ledge c. 1869-1870
oil paint / canvas, 39 x 33 cm
lower left :  L. Reinhardt
München ( Hugo Ruef), 2012-09-24 - 2012-09-25, no. 2109



Andreas Lach  
Fruit still life of peaches and grapes (1837 - 1882)
oil paint / canvas, 24 x 29,3 cm
on the stretcher :  A. Lach
Vienna (Wiener Kunst Auktionen), 1995-03-29 - 1995-03-30, no. 407



Andreas Lach  
Flower piece of of roses, violins and grapes (1837 - 1882)
oil paint / canvas, 24 x 29,3 cm
on the stretcher :  A. Lach
Vienna (Wiener Kunst Auktionen), 1995-03-29 - 1995-03-30, no. 407



Joseph Nigg  
Still life of flowers c. 1835
oil paint / canvas, 80 x 64 cm
Österreichische Galerie Belvedere, Vienna, no. 3630



Joseph Nigg  
Bouquet of flowers in a niche before 1838
oil paint / canvas, 61,5 x 49 cm
lower right :  Joss: Nigg
Österreichische Galerie Belvedere, Vienna, no. 3629



Franz Xaver Petter  
Bouquet of flowers in a vase dated 1845
oil paint / canvas, 120 x 94 cm
lower right :  Franz Xav: Petter 1845
Liechtenstein - The Princely Collections, Vaduz-Vienna, no. GE 2096



Franz Xaver Petter  
Flower piece dated 1831
oil paint / panel, 77 x 60 cm
lower right :  Franz Xav. Petter. 1831.
Österreichische Galerie Belvedere, Vienna, no. 7872



Anton Hartinger  
Flower piece dated 1834
oil paint / panel, 53,5 x 40,5 cm
lower right :  A Hartinger. fec 1834
Private collection



Josef Lauer  
Still life with flowers, sparrow and vine branch dated 1848
oil paint / canvas, 90 x 74 cm
lower left :  Jos: Lauer pinx: 1848
Österreichische Galerie Belvedere, Vienna, no. 7917



Josef Lauer  
Still life with flowers, a statue of the Madonna and a rosary dated 1851
oil paint / canvas, 90 x 74 cm
lower left :  Jos: Lauer pinx: 1851
Vienna (Dorotheum), 2003-11-24, no. 68



Even Ferdinand Georg Waldmüller (1793-1865), whom we will meet shortly one more time, was in this area a painter bound by tradition [i][i][i][i][i].289

Ferdinand Georg Waldmüller  
Fruit piece on a marble ledge dated 1842
oil paint / panel, 66 x 52,5 cm
lower right :  Waldmüller 1842
Graf Siegfried von Wimpffen, Vienna



Ferdinand Georg Waldmüller   free after Jan Weenix  
Still-life with dead hare in a park c. 1820
oil paint / canvas, 79 x 63 cm
on the stretcher :  Ferd. Georg Waldmüller. Hase in Landschaft
London (England) (Sotheby's), 1990-11-28, no. 183



Ferdinand Georg Waldmüller  
Still-life with oysters, bottles of wine, paté, grapes and a parrot dated 1822
oil paint / canvas, 52,5 x 66 cm
lower left :  Waldmüller 1822
Déri Museum, Debrecen (Hongary)



Ferdinand Georg Waldmüller  
Still-life with fish, oysters and wine bottle dated 1837
oil paint / canvas, 33 x 40 cm
lower right :  Waldmüller 1837
Bern (Switzerland) (Dobiaschofsky), 1979-10-24 - 1979-10-27, no. 709



Ferdinand Georg Waldmüller  
Fruit still-life with oysters and parrot dated 1831
gouache (material/technique) / paper, 285 x 215 mm
lower right :  Waldmüller 1831
Graphische Sammlung Albertina, Vienna, no. 34678



In Germany painters like this are few in number. Nevertheless, Johann Wilhelm Preyer (1803-1889), the ‘most important fruit still-life painter of the 19th century’,290 took up the never lost tradition of Jan van Huijsum in venerable Düsseldorf [i][i].291 Caspar Arnold Grein, a pupil of flower painter Johann Martin Metz, maintained this tradition all his life.292 In Munich a fresh wind was blowing: the still-lifes of Otto Scholderer (1834-1902) [i] and Carl Schuch (1846-1903) [i] are boldly drawn, modern paintings, whose technique, if we want to find a connection with Holland, most likely relates to the school of Frans Hals.

Otto Scholderer  
Still life with Tatarian asters in a glass vase and a an overturned wicker basket with apricots (1852 - 1902)
oil paint / canvas, 29,5 x 43 cm
Keulen (Lempertz), 2009-05-16, no. 1332 A



Carl Schuch  
Corner of a room with hanging partridge, cheese plate and storage pots after 1888
oil paint / canvas, 76 x 63 cm
lower left :  CSchuch
Nationalgalerie (Berlijn), Berlin, no. A I 1010



Johann Wilhelm Preyer  
Still life of fruit dated 1851
oil paint / canvas, 24 x 28 cm
lower left :  IWPreyer 1851
Keulen (Lempertz), 2009-11-21, no. 1313



Johann Wilhelm Preyer  
Bouquet of flowers in a glass vase on a marble ledge dated 1828
oil paint / canvas, 51 x 39 cm
lower right :  JWPreyer 1828
München (Sotheby's), 1994-12-06, no. 60



Footnotes

287 [Van Leeuwen 2018] The majority of his work consists of animal painting; these copies after Jan van Huijsum are an exception in his oeuvre, as far as we know.

288 [Van Leeuwen 2018] On flower painting in Vienna in the 19th century: Frodl/frodl-Scheemann 2010.

289 [Gerson 1942/1983] Examples: Auction Vienna 15 May 1918, no. 338; Auction Vienna 2 May 1917, no. 154 (of 1822); Exhibition J. Goudstikker, Amsterdam 1933, no. 345 (of 1837); Roessler s.a., ill. 129-130 (of 1831 and 1842). [Van Leeuwen 2018] Waldmüller also made a free copy after Jan Weenix in Salzburg around 1820 (Feuchtmüller 1996, p. 425, no. 77, ill.)

290 [Gerson 1942/1983] Thieme/Becker 1907-1950, vol. 27 (1913), p. 393.

291 [Van Leeuwen 2018] On Preyer: Weiss/Paffrath et al. 2009.

292 [Van Leeuwen 2018] See § 2.1.