Albert Hertel (1843-1912) stands as a notable figure in German art during the latter half of the 19th century and the dawn of the 20th. Born in Berlin, a city rapidly transforming into an imperial capital and a vibrant cultural hub, Hertel's artistic journey would see him embrace the prevailing realist traditions while also contributing significantly to monumental religious art. His career spanned a period of immense artistic change, from the dominance of academic realism to the rise of Impressionism and various avant-garde movements, yet Hertel largely remained committed to a detailed, observational approach to his subjects.
Early Life and Artistic Formation in Berlin and Rome
Albert Hertel was born on April 19, 1843, in Berlin, the capital of Prussia, which would later become the heart of the German Empire. His formative years coincided with a burgeoning artistic scene in the city. While specific details of his earliest artistic inclinations are not extensively documented, it is clear that he pursued formal art education, a common path for aspiring painters of his generation.
A pivotal phase in Hertel's development was his time spent in Italy, particularly Rome. Between 1863 and 1867, he immersed himself in the artistic atmosphere of the Eternal City. Rome had long been a magnet for artists from across Europe, drawn by its classical ruins, Renaissance masterpieces, and the vibrant contemporary art community. During this period, Hertel studied under influential figures. Among his teachers were the renowned German landscape painter Oswald Achenbach, a prominent member of the Düsseldorf school known for his dramatic and luminous Italian scenes, and Heinrich Dreber (also known as Franz-Dreber), another German painter who had made Rome his home and was celebrated for his idyllic, classically inspired landscapes. Studying under such masters would have exposed Hertel to rigorous technical training and a deep appreciation for capturing the effects of light and atmosphere.
The experience in Italy was transformative for many Northern European artists. The brilliant Mediterranean light, the picturesque landscapes, and the weight of history offered endless inspiration. Hertel, like many of his compatriots such as Anselm Feuerbach or Hans von Marées who also spent significant time in Italy, would have honed his skills in landscape painting, absorbing the lessons of both the old masters and the contemporary academic traditions. He completed a number of works during his Roman sojourn, likely focusing on landscapes and architectural studies that were popular among visiting artists.
A Master of Landscape Painting
Upon his return to Germany, and particularly after settling back in Berlin around 1867, Albert Hertel established himself primarily as a landscape painter. His style was rooted in the realist tradition, emphasizing careful observation, meticulous detail, and a truthful representation of nature. This approach was in line with the broader trends in German art, where artists like Adolph Menzel, who would later become Hertel's father-in-law, championed an unvarnished depiction of reality.
Hertel's landscapes often depicted scenes from Germany and Italy. He was adept at capturing the specific character of a location, whether it was the rugged terrain of the Harz Mountains or the serene beauty of the Italian countryside. His works demonstrate a keen understanding of light and shadow, using them to create depth and mood. One notable example of his landscape work is "Abzucht Creek with Bridges and Supporting Walls," painted in 1879. This title suggests a detailed study of a specific, perhaps somewhat industrial or engineered, landscape, showcasing his interest in the interplay between nature and human intervention.
Another significant landscape painting is "Bei Riva," which depicts a scene near Riva del Garda, a picturesque town on the northern shore of Lake Garda in Italy. This work, now housed in the Museum für Kunst und Kulturgeschichte in Dortmund, likely reflects his continued fondness for Italian scenery, a common theme among German artists who had undertaken the "Grand Tour" or studied in Italy. The choice of Lake Garda, with its dramatic mountain backdrops and clear waters, offered rich material for a painter skilled in capturing atmospheric effects. Hertel's landscapes, while not as revolutionary as the emerging Impressionist works of contemporaries like Max Liebermann or Lovis Corinth, were well-regarded for their technical proficiency and faithful portrayal of nature. His approach shared affinities with other German realists such as Wilhelm Leibl, who focused on direct observation, or the earlier, more romantic but still nature-focused works of Carl Blechen.
Monumental Murals and Religious Art: The Berlin Cathedral Commission
Beyond his easel paintings, Albert Hertel made a significant contribution to monumental art, most notably through his work in the Berlin Cathedral (Berliner Dom). Around 1905, as the newly reconstructed Cathedral neared completion, Hertel was commissioned to create a series of thirteen major murals for the Imperial Staircase (Kaisertreppe). These were ambitious works, executed in tempera, a demanding medium well-suited for large-scale wall paintings.
The themes for these murals were drawn from the life of Christ, reflecting the Cathedral's role as a central place of Protestant worship and a symbol of imperial piety. The series included scenes such as "Nazareth – The Childhood of Jesus," "The Sermon of John the Baptist," "Jesus Turns Water into Wine at Cana," "The Sermon on the Mount," "The Temptation of Christ," and various post-Resurrection appearances. These subjects were standard in Christian iconography, but Hertel's interpretations would have been expected to align with the academic and historical tastes of the Wilhelmine era, likely characterized by clear narratives, dignified figures, and a degree of historical realism.
This commission placed Hertel in the company of artists who contributed to major public and religious buildings, a tradition that included earlier German religious painters like the Nazarenes (e.g., Peter von Cornelius, Friedrich Overbeck) who had revived fresco painting in Rome, and contemporary history painters like Anton von Werner, who was a dominant figure in Berlin's official art scene. Hertel's murals in the Berlin Cathedral were a significant undertaking, decorating a key architectural space within one of the city's most important edifices. These works showcased his versatility beyond landscape painting and his ability to handle complex, multi-figure compositions with religious and narrative depth. He also created murals for other significant locations, including the Wandsbek Art Academy in Breslau (now Wrocław, Poland), the Berlin City Hall, and the Wissmann Villa, further underscoring his reputation in this field.
Academic Career and Role in the Berlin Art World
Albert Hertel was not only a practicing artist but also an active participant in Berlin's art institutions. He held the position of professor of oil painting, indicating his respected status and his role in educating the next generation of artists. Furthermore, he was a member of the prestigious Prussian Academy of Arts (Akademie der Künste). Membership in such an institution was a mark of high distinction and influence within the German art world.
From 1875, Hertel served as a teacher at the Berlin Art Academy. However, he resigned from this teaching post in 1877 to pursue his career as a freelance artist. This decision might reflect a desire for greater artistic independence or the demands of his growing commissions. Despite leaving this specific teaching role, his continued involvement as an Academy member and professor suggests he remained an influential figure. He also held the title of landscape painter at the Berlin Royal Gallery, a position that would have acknowledged his expertise in this genre.
The Berlin art scene during Hertel's career was dynamic and often contentious, with debates raging between the established academic artists and emerging modernist groups like the Berlin Secession, founded in 1898 by artists such as Max Liebermann, Walter Leistikow, and Lovis Corinth, who sought alternatives to the conservative official exhibitions. While Hertel's art aligned more with the academic tradition, his position within the Academy and his significant public commissions indicate he was a respected member of the establishment.
Personal Life and Connections: The Menzel Circle
Albert Hertel's personal life was notably intertwined with one of Germany's most celebrated artists, Adolph Menzel. Hertel married Menzel's niece, thus becoming his son-in-law (though "nephew-in-law" might be more precise if it was Menzel's brother's daughter, or son-in-law if Menzel had an adopted daughter or a very close ward he considered as such; the term "son-in-law" is used in the source material). This familial connection brought him into close proximity with Menzel, a master of realism whose meticulous drawings and paintings of historical scenes, everyday life, and industrial subjects were highly influential.
Music played an important role in their family life. Hertel, Menzel, and other family members, including Menzel's sister Emilie (often referred to as Therese in some contexts) and perhaps her son August Krigar (described as Menzel's brother-in-law, which would make him Hertel's brother-in-law by marriage as well, assuming Krigar married Menzel's sister), participated in musical evenings together. These gatherings, likely held at residences such as the Villa Carolina, suggest a cultured and convivial domestic environment. Such interactions with Menzel would undoubtedly have been artistically stimulating for Hertel, providing opportunities for discussion and exchange of ideas with one of the leading artistic minds of the era.
Hertel's interactions also extended to the art market. For instance, his painting "Bei Riva" was involved in an exchange where Heinrich Appel traded a work by Polycarp (Poly) Hockmann, "Cello Player" (1919), for Hertel's landscape. This indicates his works were actively collected and circulated.
Artistic Style: Realism and Versatility
Albert Hertel's primary artistic style was realism. This is evident in his detailed landscapes, his carefully rendered figures in genre scenes, and the narrative clarity of his religious murals. He possessed a strong technical command, capable of producing finely detailed still lifes, evocative landscapes, and complex figural compositions. His approach emphasized accurate observation and a faithful representation of the visible world, a hallmark of much 19th-century academic art.
In his landscapes, Hertel focused on capturing the specific topography, foliage, and atmospheric conditions of a scene. His use of light and shadow was crucial in creating a sense of realism and depth. While he was not an Impressionist chasing fleeting moments of light in the manner of Claude Monet or Camille Pissarro, his work shows a sensitivity to the nuances of natural illumination. His style can be seen as part of a broader European realist landscape tradition that included artists like Gustave Courbet in France or the painters of the Barbizon School like Jean-Baptiste-Camille Corot, though Hertel's German context and training, particularly under Achenbach, would have given his work a distinct character.
His religious murals for the Berlin Cathedral, while adhering to traditional iconography, would have been executed with the same commitment to realistic detail and clear storytelling that characterized his other work. The challenge of large-scale mural painting, often in tempera or fresco, required not only artistic skill but also careful planning and execution, qualities Hertel evidently possessed. His ability to work across different genres – landscape, still life, genre scenes, and monumental religious murals – speaks to his versatility as an artist.
Later Years and Legacy
Albert Hertel continued to live and work in Berlin until his death on February 18 or 19, 1912. He remained an esteemed figure in the Berlin art world, recognized for his contributions as both a painter and an academician. His works were exhibited, and some found their way into museum collections, such as the aforementioned "Bei Riva" in Dortmund. He also produced a series of twelve watercolors of Goslar, showcasing his continued activity in landscape art.
While perhaps not as widely known internationally today as some of his more avant-garde contemporaries, Albert Hertel played a significant role in the German art scene of his time. His landscapes contributed to the rich tradition of German realist painting, and his monumental murals in the Berlin Cathedral remain an important part of Germany's religious and artistic heritage. His connection to Adolph Menzel also places him within an important circle of artistic influence.
The art world was undergoing profound transformations during Hertel's later career, with movements like Fauvism, Cubism (with artists like Pablo Picasso and Georges Braque), and German Expressionism (with groups like Die Brücke, including Ernst Ludwig Kirchner) challenging the very foundations of academic art. Hertel, however, largely represented the continuity of the realist and academic traditions that had dominated much of the 19th century. His legacy lies in his skilled craftsmanship, his dedication to the faithful representation of his subjects, and his significant contributions to both landscape painting and monumental religious art in Germany. His works provide a valuable window into the artistic tastes and cultural values of Wilhelmine Germany.
