Christian Bernhard Rode (1725–1797) stands as a significant, if sometimes overlooked, figure in the artistic landscape of 18th-century Germany. A prolific history painter and etcher, Rode was deeply embedded in the cultural fabric of Frederician Berlin, navigating the transition from the exuberance of Rococo to the burgeoning ideals of Neoclassicism and the Enlightenment. His work, though occasionally criticized by later generations for a perceived lack of dynamism, offers a crucial window into the artistic, intellectual, and patriotic currents of his time, particularly within the ambitious cultural project of Frederick the Great's Prussia.
Early Life and Artistic Formation
Born in Berlin in 1725, Christian Bernhard Rode's artistic journey began in his native city, which was rapidly transforming into a major European cultural center under the rule of Frederick II. His initial training was under the tutelage of Antoine Pesne (1683–1757), a highly influential French painter who had become the principal court painter to the Prussian monarchy. Pesne, a master of the Rococo style, brought a touch of Parisian elegance and sophistication to the Prussian court, and his influence on the young Rode would have been formative, particularly in terms of portraiture and the graceful, decorative qualities inherent in Rococo art. Pesne himself was a student of Charles de la Fosse and was related to the celebrated French painters Jean Jouvenet and Hyacinthe Rigaud, placing Rode indirectly within a distinguished lineage of French academic painting.
Seeking to broaden his artistic horizons, Rode, like many aspiring artists of his era, embarked on a period of study abroad. He traveled to Paris, the undisputed epicenter of European art and culture at the time. There, he is believed to have spent approximately four years, from around 1748. During this crucial period, he immersed himself in the vibrant Parisian art scene. He is known to have studied with prominent French masters, including Carle van Loo (1705–1765), a leading figure of the French Rococo and a versatile artist adept at history painting, portraiture, and mythological scenes. Van Loo's studio was a hub for many international students. Rode also likely encountered the work of other leading French painters such as François Boucher (1703–1770), whose sensuous and idyllic scenes epitomized the Rococo, and perhaps Jean-Honoré Fragonard (1732–1806), though Fragonard was slightly younger. The influence of Jean Restout II (1692–1768), another significant history painter, may also have played a role in shaping Rode's developing style. This Parisian sojourn exposed Rode to the latest artistic trends, refined his technical skills, and imbued him with the prevailing aesthetic sensibilities of the French school.
Return to Berlin and the Enlightenment Milieu
Upon his return to Berlin around 1752, Rode established himself as an independent artist. He quickly became integrated into the city's burgeoning artistic and intellectual circles. The Berlin of Frederick the Great was a hotbed of Enlightenment thought, a place where philosophy, literature, and the arts were actively promoted as instruments of cultural refinement and national prestige. Rode developed close ties with key figures of the Berlin Enlightenment (Aufklärung). Among his notable associates was the poet and aesthetic theorist Karl Wilhelm Ramler (1725–1798), with whom he collaborated on several projects. This connection highlights Rode's engagement with the literary and philosophical currents of his time, suggesting an artist who was not merely a craftsman but an active participant in the era's intellectual discourse.
Rode's career flourished in this environment. He received numerous commissions for altarpieces, ceiling paintings, and decorative schemes for churches and palaces in Berlin and nearby Potsdam, the royal summer residence. His work from this period reflects the prevailing Frederician Rococo style – a somewhat more restrained and formal version of its French counterpart, often infused with a didactic or patriotic undercurrent that aligned with Frederick's vision for Prussia. He became a member of the Berlin Academy of Arts (Akademie der Künste) in 1756, and later served as its director from 1783 until his death, a testament to his standing within the city's artistic establishment. This position would have brought him into contact with other academicians and aspiring artists, including figures like the engraver Daniel Chodowiecki (1726–1801), who, though Polish-born, became a dominant figure in Berlin's graphic arts scene and was also a director of the Academy.
Artistic Style and Thematic Concerns
Christian Bernhard Rode's artistic style is a fascinating amalgamation of influences. His early grounding in Pesne's Rococo is evident in the elegance of his figures, the often light and airy palettes, and the decorative sensibility of his compositions. His Parisian studies, particularly under Van Loo, further solidified this Rococo foundation but also exposed him to the grand tradition of French history painting, with its emphasis on narrative clarity and dramatic expression.
However, Rode's work also increasingly incorporated elements that foreshadowed the rise of Neoclassicism. This is particularly evident in his historical and allegorical subjects, which often aimed to convey moral or patriotic virtues. While not fully embracing the severe austerity of later Neoclassicists like Jacques-Louis David (1748–1825) or the idealized forms promoted by theorists like Johann Joachim Winckelmann (1717–1768) and painters like Anton Raphael Mengs (1728–1779), Rode's compositions often possess a clarity and didactic intent that moves beyond purely decorative Rococo concerns.
His thematic repertoire was diverse. Religious subjects formed a significant part of his output, with numerous altarpieces and biblical scenes created for churches. He also excelled in mythological and allegorical paintings, which provided ample opportunity for both decorative display and the conveyance of abstract ideas. Crucially, Rode became one of the foremost history painters in Prussia, specializing in scenes from Prussian and Brandenburg history. This patriotic focus aligned perfectly with the cultural ambitions of Frederick the Great, who sought to cultivate a distinct Prussian identity and celebrate the achievements of his state. Rode's history paintings often aimed to inspire civic virtue and loyalty to the Prussian crown.
Major Works and Commissions
Throughout his long career, Christian Bernhard Rode produced a substantial body of work, encompassing large-scale paintings, intimate cabinet pieces, and a significant number of etchings.
Paintings
One of his most famous allegorical works is the "Allegory of Frederick the Great as Perseus" (circa 1756-1763). This painting, created during or shortly after the Seven Years' War, depicts the Prussian king in the guise of the classical hero Perseus, who famously slew Medusa and rescued Andromeda. The allegory serves to glorify Frederick's military prowess and his role as a protector of his people, casting the arduous war in a heroic, mythological light. Such allegorical portraits were common in the Baroque and Rococo periods, allowing artists to elevate contemporary rulers by associating them with classical virtues.
Rode was also a prolific painter of religious scenes. A notable example is "The Crucifixion," which adorned the altar wall of St. Mary's Church (Marienkirche) in Berlin. This work would have demanded a solemnity and emotional depth appropriate to its sacred subject, showcasing Rode's ability to adapt his style to different thematic requirements. His religious paintings often combined Rococo grace with a more traditional devotional sentiment.
His interest in history extended to a series of paintings depicting episodes from Prussian-Brandenburg history. These works were directly inspired by Frederick the Great's own historical writings, such as his Mémoires pour servir à l'histoire de la maison de Brandebourg. While these patriotic endeavors were culturally significant and aligned with the king's agenda, they reportedly did not always achieve great commercial success during Rode's lifetime, perhaps because their didactic nature appealed less to private collectors seeking purely decorative art. Nevertheless, they underscore Rode's commitment to creating a visual narrative for the Prussian state.
An interesting facet of Rode's oeuvre is his engagement with exotic themes, a popular trend in Rococo art known as Chinoiserie or Turquerie. His painting "The Empress of China Culling Mulberry Leaves" (circa 1760s) reflects this fascination with distant cultures. Such scenes, often idealized and fanciful, provided an escape into a world of perceived elegance and novelty, and were highly fashionable for interior decoration. This work demonstrates Rode's versatility and his awareness of broader European artistic trends, similar to those explored by French artists like Jean-Baptiste Pillement (1728–1808).
Architectural Decorations
Rode's talents were not confined to easel painting; he also contributed to significant architectural projects. He designed a series of reliefs for the attics of the inner passageways of the Brandenburg Gate in Berlin. These reliefs, executed by sculptors based on his designs, depicted scenes from the legends of Hercules. The choice of Hercules, a symbol of strength, virtue, and the overcoming of adversity, was a common allegorical motif, likely intended to reflect the virtues of the Prussian state or its rulers. The Brandenburg Gate itself, though largely a later Neoclassical structure (rebuilt by Carl Gotthard Langhans from 1788-1791), had earlier iterations, and Rode's involvement points to his role in public art.
He also created designs for statues to adorn the tower of the Neue Kirche (New Church, also known as the Deutscher Dom) on Gendarmenmarkt in Berlin. These figures, representing characters from the Old and New Testaments, would have contributed to the church's iconographic program and its visual impact on the cityscape. Such commissions highlight the collaborative nature of art and architecture during this period, where painters often provided designs for sculptors and craftsmen. The architect Georg Wenzeslaus von Knobelsdorff (1699–1753), a key figure in Frederician Rococo architecture, had earlier set the tone for many of Berlin's grand buildings, and Rode's decorative work often complemented such architectural visions.
Furthermore, Rode executed allegorical wall paintings for the Berlin Garrison Church (Garnisonkirche, largely destroyed in WWII). These murals reportedly depicted themes of death, loss, and patriotic spirit, fitting for a military church that served as a repository of national memory and a symbol of Prussian military identity.
Rode as an Engraver
Beyond his extensive work as a painter, Christian Bernhard Rode was also a skilled and prolific etcher. He produced a considerable number of prints, which helped to disseminate his compositions and artistic ideas to a wider audience. His etchings often mirrored the themes of his paintings, including religious subjects, mythological scenes, and historical events.
His style in etching is often compared to that of his German contemporary, Christian Wilhelm Ernst Dietrich, also known as Dietricy (1712–1774). Dietricy was an eclectic artist known for his ability to work in the manner of various Old Masters. Rode's etchings, while perhaps not as technically dazzling as those of some of his French contemporaries like Charles-Nicolas Cochin (1715–1790), possess a lively and expressive quality.
Among his notable etchings is "Saul's Triumph over David." This biblical scene, rendered with dynamic figures and a clear narrative, showcases his ability to translate complex compositions into the graphic medium. Another example is his "Symbolic Representation of May," likely part of a series on the months or seasons, a common theme in printmaking that allowed for allegorical and genre interpretations. His graphic work, like his paintings, served both aesthetic and didactic purposes, contributing to the visual culture of the Prussian Enlightenment.
Relationships with Contemporaries and Influence
Christian Bernhard Rode was an active participant in Berlin's artistic community. His primary teacher, Antoine Pesne, was a dominant force, and Rode's early career was undoubtedly shaped by this association. His studies in Paris under Carle van Loo placed him in the mainstream of European Rococo.
In Berlin, his friendship and collaboration with Karl Wilhelm Ramler were significant. Ramler, a poet, translator, and aesthetician, was a central figure in the Berlin Enlightenment. Rode provided illustrations for Ramler's Kurzgefasste Mythologie (Concise Mythology), a popular handbook that went through several editions. This collaboration demonstrates the close interplay between literature and the visual arts during the Enlightenment. Rode also painted a portrait of the poet Ewald Christian von Kleist, a commission facilitated by Ramler for a memorial.
Rode's influence as a teacher is also noteworthy. He is recorded as having guided Johann Christoph Frisch (1738–1815) in his painting studies. Frisch, in turn, later became a teacher to the philosopher Moses Mendelssohn (1729–1786), who sought instruction in drawing. This connection, however indirect, links Rode to one of the most important figures of the German Jewish Enlightenment.
While Rode was a prominent figure, he operated in a Berlin art scene that included other notable talents. Anna Dorothea Therbusch (1721–1782), for instance, was a highly regarded female painter, also active at Frederick's court and known for her portraits and history paintings. Daniel Chodowiecki, primarily an engraver and illustrator, captured the everyday life and manners of Berlin with unparalleled charm and detail, offering a different but complementary perspective to Rode's more formal history paintings. The artistic environment was also shaped by the tastes of patrons like Frederick the Great, whose preferences leaned towards French art and culture, but who also supported local talent that could contribute to his vision of Prussia as an enlightened state.
Later Years, Legacy, and Critical Reception
Christian Bernhard Rode continued to be active into his later years, serving as director of the Berlin Academy of Arts. He died in his native Berlin in 1797, at a time when the artistic winds were shifting decisively towards Neoclassicism and the early stirrings of Romanticism.
His critical reception has been somewhat mixed. While respected in his own time, particularly for his role in the Academy and his contributions to public art, some later critics found his work to be somewhat conventional or lacking in the dramatic intensity and technical brilliance of the leading French or Italian masters. He has sometimes been characterized as a competent but perhaps not exceptionally innovative artist, a solid representative of the Frederician Rococo whose style could occasionally appear "bland" or "flat" when compared to more dynamic artists.
However, this assessment perhaps undervalues his historical importance. Rode played a crucial role in establishing a tradition of history painting in Prussia, contributing significantly to the visual articulation of Prussian identity and Enlightenment ideals. His numerous altarpieces and decorative schemes enriched the churches and palaces of Berlin and Potsdam, and his prints helped to popularize his imagery. He was a diligent and productive artist who faithfully served the cultural ambitions of his era.
An amusing, if minor, footnote to his legacy is a modern incident of forgery, where an individual reportedly created a painting in Rode's style to deceive an antique dealer. While hardly a testament to his artistic greatness, it suggests that his name and style retained a certain cachet even into more recent times.
Conclusion
Christian Bernhard Rode was more than just a painter and etcher; he was an artist deeply enmeshed in the intellectual and cultural project of 18th-century Prussia. As a student of Pesne and Van Loo, he was well-schooled in the Rococo tradition. As a friend of Ramler and a director of the Berlin Academy, he was a participant in the Berlin Enlightenment. His works, from grand allegories like "Frederick the Great as Perseus" to religious altarpieces and patriotic historical scenes, reflect the tastes, aspirations, and ideologies of his time. While his style may not have possessed the revolutionary fervor of some of his European contemporaries, his contribution to the artistic life of Frederician Berlin was substantial and enduring. He helped to shape the visual culture of a rising European power, leaving behind a legacy that offers valuable insights into the complex interplay of art, patronage, and national identity during a pivotal period in German history. His career demonstrates the role an artist could play in not only decorating but also defining the cultural landscape of an era.
