Alfred Ritter von Malheim Friedlaender stands as a significant figure in 19th-century Austrian art. A painter known primarily for his realistic depictions of historical events and, more prominently, scenes of everyday life, Friedlaender captured the essence of his time, particularly the military and civilian spheres of Vienna. His journey through major European art centers and his foundational role in Vienna's artistic community cemented his place in art history.
Early Life and Formative Years
Born in 1825 in Kohlanjanow, Bohemia (now Uhlířské Janovice in the Czech Republic), Alfred Friedlaender's artistic path began at a young age. His formal training commenced at the prestigious Vienna Academy of Fine Arts (Wiener Akademie der Künste). This institution was a crucible for artistic talent in the Austrian Empire, shaping generations of painters.
Under the tutelage of the renowned Austrian painter Friedrich Ferdinand Waldmüller (often cited as F. G. Waldmüller), Friedlaender received a strong foundation in painting techniques. Waldmüller himself was a master of portraiture, landscape, and genre scenes, known for his meticulous realism and detailed observation, qualities that likely influenced his student.
Seeking broader artistic horizons, Friedlaender embarked on travels that were common for aspiring artists of his era. He journeyed to Italy, the historical heartland of classical and Renaissance art, absorbing its rich visual culture. His travels also took him to Düsseldorf, a major center for painting in Germany, particularly known for the Düsseldorf School of painting which emphasized detailed realism and narrative clarity in historical and genre subjects.
Furthermore, Friedlaender spent time in Paris, the vibrant, evolving capital of the art world in the 19th century. Exposure to the artistic currents in these diverse locations – the classical traditions of Italy, the narrative realism of Düsseldorf, and the dynamic innovations of Paris – undoubtedly broadened his perspective and refined his skills, contributing to the development of his distinct artistic voice upon his return and establishment in Vienna.
Artistic Evolution: From History to Genre
Friedlaender initially gained recognition as a history painter. This genre, considered one of the highest forms of art at the time, involved depicting significant events from history, mythology, or literature, often on a grand scale and with a moral or narrative message. An example of his work in this vein is The Death of Tasso, showcasing his ability to handle complex historical themes.
However, around 1854, a noticeable shift occurred in Friedlaender's artistic focus. He turned his attention increasingly towards genre painting (Genre-malerei). This style concentrates on scenes of everyday life, depicting ordinary people engaged in common activities. Friedlaender found rich subject matter in the world around him, particularly in Vienna.
His genre works often centered on two main areas: military life and the daily experiences of Viennese citizens. He captured soldiers in barracks, on maneuvers, or during leisure moments, offering glimpses into the structured yet human world of the military. Simultaneously, he depicted scenes from Vienna's streets, workshops, and homes, chronicling the city's social fabric.
Sources suggest that around 1870, his genre painting style showed the influence of artists like L. K. Nausch and the prominent Düsseldorf genre painter Benjamin Vautier (often known as B. Vautier). This influence likely reinforced his commitment to detailed realism and engaging narrative within his depictions of everyday life. His connection to the Düsseldorf School, stemming from his earlier travels, remained evident in his meticulous approach.
Signature Style: Realism and Observation
Friedlaender's mature style is characterized by a commitment to Realism. He rendered his subjects with careful attention to detail, capturing textures, expressions, and settings with accuracy. His works avoid overt romanticization, instead presenting scenes with a sense of direct observation and authenticity. This realistic approach made his paintings accessible and relatable to a broad audience.
His paintings often tell a story or capture a specific moment, inviting viewers to contemplate the lives and situations depicted. Whether showing politicians in a workshop, people emerging from a public building, or a simple strawberry vendor, his works reflect a keen eye for social dynamics and human interaction. The narrative element, combined with his technical skill, made his genre scenes particularly popular.
His palette was generally rich and controlled, contributing to the lifelike quality of his work. The compositions are typically well-structured, guiding the viewer's eye through the scene effectively. Friedlaender's ability to combine detailed rendering with engaging subject matter was key to his success and enduring appeal.
Notable Works and Recurring Themes
Alfred Ritter von Malheim Friedlaender produced a considerable body of work throughout his career. Several paintings stand out as representative of his style and thematic interests, particularly from his genre painting period:
The Death of Tasso: An earlier work showcasing his skill in the historical genre, depicting the final moments of the Italian poet Torquato Tasso.
People Pouring out of a Public Building into the Street (1859): A dynamic scene capturing the bustle of urban life, noted as being held in the Imperial Gallery in Vienna.
The Politician in the Workshop (1863): This work, also held by the Imperial Gallery, likely offers a commentary on social interactions or political discourse within an everyday setting. It was exhibited at the Vienna Academy.
The Incendiary Caught in Act: Exhibited in 1859 at the Vienna Academy, this title suggests a dramatic narrative scene drawn from contemporary life or social issues.
The Wine-Test: A classic genre scene, likely depicting connoisseurs or merchants evaluating wine, showcasing social customs.
The Invalids (also potentially known as Old friends): This work, collected by the Belvedere Museum in Vienna since 1859 (Inventory No. 18), probably portrays elderly figures, perhaps veterans, reflecting themes of age and memory.
The Declaration of Love: A title indicative of a sentimental genre scene, a popular theme in 19th-century painting, focusing on personal relationships.
The Strawberry-Vender: A charming depiction of a common street scene, highlighting the everyday commerce and figures of Vienna.
Preparing the Evening Meal / Preparing Dinner: Titles suggesting intimate domestic scenes, focusing on household activities and family life.
Young Couple: Another work likely exploring themes of romance and relationships within a contemporary setting.
The Retreat and The Defeat of the Cimbri: These titles suggest a return to historical or military themes, possibly depicting specific battles or maneuvers, showcasing his versatility.
These works illustrate Friedlaender's consistent interest in observing and documenting the human condition, whether in moments of historical drama, military routine, or the simple occurrences of daily Viennese life. His paintings provide valuable visual records of the society and customs of his time.
Role in the Viennese Art World
Beyond his individual artistic production, Alfred Friedlaender played an active role in the institutional art life of Vienna. His engagement culminated in his participation as one of the founders of the Vienna Artists' Association (Wiener Künstlergesellschaft, now Künstlerhaus) in 1869. This association became a central hub for artists in Vienna, organizing exhibitions and fostering artistic exchange.
His commitment to the Künstlergesellschaft was significant and recognized by his peers and the establishment. In 1889, his contributions were formally honored when he was elevated to the nobility, receiving the title "Ritter von Malheim." This title, translating to "Knight of Malheim," signified his respected status within Austrian society and the art world.
Friedlaender's involvement highlights his position not just as a painter but as a figure invested in the collective well-being and organization of the artistic community in Vienna. He was part of a generation that sought to professionalize and promote Austrian art both domestically and internationally. His works were frequently exhibited, contributing to the vibrant exhibition culture fostered by the Künstlergesellschaft and the Academy.
Contemporaries and Artistic Context
Friedlaender worked during a dynamic period in Austrian and European art. His teacher, Ferdinand Georg Waldmüller, was a leading figure of the Biedermeier period and an early proponent of Realism in Vienna. Friedlaender's own work built upon this foundation but evolved alongside later 19th-century trends.
In Vienna, he would have been aware of the work of other prominent genre painters like Peter Fendi and Josef Danhauser, who were active slightly earlier but established a strong tradition of depicting Viennese life. His contemporary, Carl Schindler, known as "Soldaten-Schindler," specialized in military genre scenes, a field Friedlaender also explored extensively. The grand historical and decorative painter Hans Makart dominated the later Ringstrasse era in Vienna, representing a more opulent style compared to Friedlaender's realism. Another key Viennese contemporary was the portraitist Friedrich von Amerling.
His connection to the Düsseldorf School places him in the context of German artists like Andreas Achenbach and Oswald Achenbach, known for landscapes, and genre specialists like Ludwig Knaus and Benjamin Vautier, whose influence on Friedlaender is noted. While direct records of extensive personal interactions with many contemporaries are scarce in the provided sources, his studies, travels, and participation in the Künstlergesellschaft undoubtedly placed him in regular contact with the leading artistic figures of his time. Auction records even show his work listed alongside artists like Carl Walter, indicating their presence in the same market circles.
Friedlaender's realism aligns with broader European trends, where artists increasingly turned away from idealized Neoclassicism and Romanticism towards depictions of contemporary life and social realities, albeit often filtered through the narrative conventions of genre painting.
Legacy and Collections
Alfred Ritter von Malheim Friedlaender passed away in Vienna in 1901, leaving behind a legacy as a skilled and popular painter of Austrian life. His works were highly regarded during his lifetime, known for their technical proficiency, relatable subjects, and realistic portrayal of the world around him. His popularity extended across Europe.
His paintings continue to be appreciated today for their artistic merit and as historical documents. They offer insights into 19th-century Austrian culture, military customs, and the social fabric of Vienna. His contribution lies in his dedicated chronicling of his time through the lens of genre painting, executed with a consistent realistic approach.
Works by Friedlaender are held in significant public collections, ensuring their preservation and accessibility. Notably, the Belvedere Museum in Vienna holds his painting Old friends (acquired 1859). The Imperial Gallery in Vienna was also cited as holding key works like People Pouring out of a Public Building into the Street and The Politician in the Workshop.
Beyond museum collections, Friedlaender's paintings appear on the art market, featuring in auctions such as those held by Levis Fine Art Auctions & Appraisals. The continued interest in his work underscores its lasting appeal and value to collectors and art historians. His role as a founder of the Vienna Künstlergesellschaft also remains a key part of his institutional legacy.
Conclusion
Alfred Ritter von Malheim Friedlaender was a quintessential painter of the 19th-century Austrian milieu. Trained under Waldmüller and exposed to major European art centers, he developed a distinctive realistic style focused primarily on genre scenes. His depictions of military life and Viennese society provide both engaging narratives and valuable historical insights. As a founding member of the Vienna Artists' Association and an honored "Ritter," he was a respected figure in the Viennese art establishment. Through works like The Politician in the Workshop, Old friends, and numerous scenes of daily life, Friedlaender captured the spirit of his age with skill and careful observation, securing his place as an important chronicler of 19th-century Austria.
