Joseph Karl Stieler (1781 - 1858) Germany
Antique Hand Painted "Miniature portrait of a young girl", dressed in a light coat with a fur collar, an elaborate necklace and a braided hairstyle with hair accessories
Measure 1 1/2"in H x 1 1/2"in W and 4"in H x 4"in W with frame

Known for: Painting and sculpture
Biography: After two initial years of apprenticeship in Wuerzburg Joseph Karl Stieler went to Vienna in 1800. With the local development under Henry Füger of 1800, Stieler already received numerous commissions for portraits of the Eastern European nobility. The years 1807-08 Stieler spent in Paris. Here he got the key for his future work impulses led by David's pupil Francois Gerard. From 1809, he spent several years in Italy. After several years of residence in Vienna, where he, on behalf of the Bavarian King, portrayed Emperor Franz and Empress. Under Louis I, Joseph was appointed court painter. He was overwhelmed with orders of kings and emperors. One of his works, the portrait of his fourth daughter from his first marriage "Ottilie Stieler with the straw hat" was at the Munich Art Exhibition in 1848. Stieler fell once again into the focus of contemporary criticism. Rightly it was seen in the artistic successor of famous portraits, beginning with the "Le Chapeau de Paille" called Portrait of Helene Fourment by Peter Paul Rubens (National Gallery, London), the beruhendem out image of Lavinia Countess Spencer Joshua Reynolds (Earl Spencer Althorp collection, Northamptonshire) and the resulting 1715 "girl with a vegetable basket" of Antoine Pesne (now in the Bavarian State Painting collection Schleissheim Palace). In records of the grandchild Dora Stieler is narrated that Stieler had the portrait in the summer in the garden of his house at Tegernsee, and not, as usual, made in his studio. In contrast to the rather cool, very clear and line highlighted portraits of earlier years of the Napoleonic portraiture were committed in whole or in, the painter here his pretty daughter atmosphere in the bright backlit by the sun again, falling obliquely from the right over her back and right touches his shoulder and both arms sideways. With his left hand holding a lace shawl, she prefers the wide brim straw hat a little in the face, which, as the torso is quite in the shade. In spite of the shadow to the painter achieved an impressive materiality by peaks, embroideries and the shirred pleated draperies. The once sharp contours are modeled much softer with a broad brush in running order, the outlines begin almost to flicker. Remarkably, he dispensed with the traditional Kreidevorzeichnung. The comprehensive idea of the hat brim left detects, as clear contour lines. It is reported that a gust of wind blew the just finished portrait from the easel and the still wet portrait ended up in the gravel. Stieler had only a year later freed it from the rocks and painted over the appropriate places. Nevertheless, it is one of the earliest incurred in the great outdoors portraits in the aftermath of one of his most famous works.

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