Emil Volkers stands as a significant figure in 19th-century German art, particularly renowned for his mastery in depicting horses. His work, characterized by meticulous detail and a profound understanding of equine anatomy and spirit, found favor among discerning patrons, including European nobility. Born in an era of burgeoning realism and romanticism, Volkers carved a niche for himself, immortalizing the noble steed in countless canvases and etchings, leaving behind a legacy that continues to be appreciated for its technical brilliance and aesthetic appeal.
Early Life and Artistic Awakening
Emil Volkers was born on January 4, 1831, in the town of Birkenfeld, then part of the Grand Duchy of Oldenburg in the German Confederation. This period in German history was marked by significant political and cultural shifts, with a growing middle class and an increasing appreciation for art that reflected everyday life as well as grander themes. Birkenfeld, a relatively small town, would have offered a rural backdrop, perhaps providing young Volkers with early encounters with horses, animals that would later dominate his artistic output.
The precise details of his earliest artistic inclinations are not extensively documented, but it is clear that his talent was recognized, leading him to pursue formal artistic training. The German states at this time boasted several prestigious art academies, which were crucibles for artistic development, often emphasizing rigorous classical training alongside newer artistic currents. For an aspiring artist like Volkers, these institutions were essential gateways to a professional career.
Academic Foundations: Dresden and Munich
Volkers' formal artistic journey began at the Dresden Academy of Art (Königliche Akademie der Bildenden Künste Dresden). Founded in 1764, the Dresden Academy was one of Germany's oldest and most respected art schools. Here, he studied under the tutelage of Ernst Wilhelm Rietschel and Julius Schnorr von Carolsfeld. Rietschel (1804-1861) was primarily a sculptor, known for his monumental works like the Goethe-Schiller Monument in Weimar. His emphasis on anatomical accuracy and classical form, even in sculpture, would have provided Volkers with a strong foundation in drawing and understanding three-dimensional form.
Julius Schnorr von Carolsfeld (1794-1872) was a leading figure of the Nazarene movement, a group of German Romantic painters who aimed to revive the spiritual honesty and simplicity of early Renaissance art. Schnorr was celebrated for his historical and biblical scenes, often grand in scale and rich in narrative detail. While Volkers' later specialization in animal painting might seem distant from Schnorr's historical epics, the training under such a master would have instilled in him a strong sense of composition, narrative clarity, and meticulous execution. The influence of Romanticism, with its appreciation for nature and emotion, may also have subtly shaped Volkers' approach to his subjects.
Seeking to further hone his skills, particularly in the specialized field of animal painting, Volkers subsequently moved to the Munich Academy of Art (Akademie der Bildenden Künste München). Munich was rapidly becoming a major art center, rivaling even Paris in certain genres. At the Munich Academy, he had the distinct advantage of studying under Albrecht Adam (1786-1862) and his son, Franz Adam (1815-1886). The Adam family was a dynasty of painters renowned for their depictions of horses, battle scenes, and animals.
Albrecht Adam was one of the foremost German battle painters of his time, having accompanied Napoleon's army and documented military campaigns. His works are characterized by their dynamic portrayal of horses in action and their detailed rendering of military life. Franz Adam, following in his father's footsteps, also specialized in equestrian subjects and battle scenes, often working for royal patrons. Studying under these specialists provided Volkers with unparalleled expertise in equine anatomy, movement, and the various breeds of horses, which became the cornerstone of his artistic practice. Other notable animal painters in Munich around this period, or slightly later, included Heinrich von Zügel and Anton Braith, who further cemented Munich's reputation for this genre.
Düsseldorf: A Hub of Artistic Activity
Around 1857, Emil Volkers chose to settle in Düsseldorf, a city that had, by then, established itself as a prominent center for the arts in Germany. The Düsseldorf School of Painting, associated with the Kunstakademie Düsseldorf, had gained international acclaim, attracting artists from across Europe and America. The school was initially known for its historical and religious paintings under the directorship of Wilhelm von Schadow (1788-1862), but it also fostered strong traditions in landscape and genre painting.
In Düsseldorf, Volkers became a member of the influential artists' association "Malkasten" (Paintbox). Founded in 1848, Malkasten was more than just a professional organization; it was a vibrant social and cultural hub for artists, writers, and intellectuals. It provided a platform for exhibitions, discussions, and collaborative projects, fostering a sense of community and mutual support among its members. Notable figures associated with the Düsseldorf School and potentially Malkasten during or around Volkers' time included landscape painters like Andreas Achenbach and Oswald Achenbach, known for their dramatic and meticulously detailed scenes, and genre painters who captured everyday life with realism and sentiment. Volkers' involvement with Malkasten would have placed him at the heart of Düsseldorf's artistic life, allowing for exchange with peers and exposure to diverse artistic trends.
The Equestrian Specialist
Emil Volkers quickly gained recognition for his exceptional ability to paint horses. His specialization was not merely a thematic choice but a deep engagement with the subject. He possessed an intimate knowledge of equine anatomy, which allowed him to depict horses with remarkable accuracy, whether at rest or in full gallop. His paintings captured not only the physical attributes of the animals – their musculature, the sheen of their coats, the delicate structure of their heads and legs – but also their individual character and spirit.
His equestrian portraits were highly sought after by the European aristocracy and wealthy landowners, for whom horses were symbols of status, power, and sporting prowess. Volkers' ability to portray these prized animals with such fidelity and elegance made him a favorite among this clientele. He often depicted horses in various contexts: as noble steeds carrying distinguished riders, as part of lively hunting scenes, in tranquil pastoral landscapes, or as subjects of detailed breed studies.
His approach combined the meticulous realism prevalent in German art of the period with a subtle romantic sensibility that imbued his animal subjects with a sense of dignity and vitality. Unlike some animal painters who might overly sentimentalize their subjects, Volkers maintained a balance, focusing on the natural grace and inherent beauty of the horse. His contemporaries in animal painting, such as the French artist Rosa Bonheur, also achieved great fame for their powerful depictions of animals, highlighting a broader 19th-century fascination with the natural world and its creatures. Similarly, the British painter Sir Edwin Landseer was renowned for his animal subjects, often imbued with anthropomorphic qualities. Volkers' work, however, generally retained a more objective, though always appreciative, stance.
Royal Patronage: The Romanian Connection
A significant chapter in Emil Volkers' career involved his association with the Romanian royal court. He received commissions from Prince Carol I of Hohenzollern-Sigmaringen, who became the ruling Prince of Romania in 1866 and later King Carol I in 1881. This patronage was a testament to Volkers' established reputation as a leading equestrian painter.
Volkers traveled to Romania, spending time in Bucharest and undertaking study trips throughout the country. These visits provided him with rich subject matter beyond formal equestrian portraits. He created paintings depicting Romanian rural life, market scenes, and landscapes, often featuring horses in their everyday roles within the local culture. One such notable work is "Four-in-Hand of Prince of Romania" (also sometimes referred to as "Market scene with the Four-in-Hand of the Prince of Romania"), which likely captured a dynamic scene involving the Prince's carriage, showcasing Volkers' skill in handling complex compositions with multiple figures and animals.
His service to Prince Carol I earned him the esteemed title of "court painter." This position not only brought prestige but also provided a steady stream of commissions and access to the highest echelons of society. His depictions of the Prince's prized horses and related activities helped to visually document and celebrate the Romanian monarchy. This role was similar to that held by other court painters throughout history, such as Franz Xaver Winterhalter, who painted royalty across Europe, or Diego Velázquez at the Spanish court centuries earlier, though Volkers' focus remained more specialized on equestrian themes.
Masterworks and Signature Pieces
Throughout his prolific career, Emil Volkers produced a significant body of work, much of which is now in private collections and museums. While a comprehensive catalogue raisonné might be elusive, several paintings are frequently cited as representative of his style and skill.
"A White Horse" is one such example, likely a portrait of a specific, prized animal, where Volkers would have focused on capturing the subtle tones of the white coat, the play of light on its form, and the horse's individual conformation and temperament. Such paintings required not only artistic skill but also a keen eye for the unique characteristics that distinguish one animal from another.
"A Dappled Grey Hunter Trotting with a Groom in a Landscape" exemplifies another common theme in his oeuvre. This title suggests a dynamic composition, with the horse in motion, its dappled coat meticulously rendered, accompanied by a groom, and set against a carefully painted landscape. Such works appealed to the sporting gentry, who valued depictions of their hunting horses. The inclusion of the groom and landscape adds narrative context and demonstrates Volkers' versatility.
His genre scenes, particularly those inspired by his time in Romania, also form an important part of his legacy. These paintings often depicted horses in the context of local life, such as "Romanian Peasants with Horses and Cart by a River," showcasing his ability to integrate animal subjects seamlessly into broader narrative compositions. These works offer valuable glimpses into the culture and environment he experienced during his travels.
"Abbildungen vorzüglicher Pferde-Rassen"
Beyond his oil paintings, Emil Volkers made a significant contribution to equine studies and art through his series of etchings titled "Abbildungen vorzüglicher Pferde-Rassen" (Illustrations of Excellent Horse Breeds). This ambitious project, published as an atlas, showcased various horse breeds with accompanying scenic backgrounds, often reflecting their regions of origin or typical environments.
Etching, as a printmaking technique, allowed for fine detail and wider dissemination of his work. Each plate in this series would have required meticulous drawing directly onto the prepared copper plate, followed by the acid etching process and printing. These etchings were not just artistic endeavors but also served an almost scientific purpose, documenting the characteristics of different breeds at a time when such knowledge was highly valued for breeding, military, and agricultural purposes. The series stands as a testament to Volkers' comprehensive understanding of equine diversity and his skill as a draughtsman and printmaker. Such illustrated works on natural history and animal husbandry were popular in the 19th century, and Volkers' contribution to this field, specifically focusing on horses, was noteworthy.
Artistic Style and Technique in Depth
Volkers' artistic style was firmly rooted in the realist traditions of the 19th century, particularly the meticulous approach favored by many German painters. His primary concern was the accurate representation of his subjects, especially the anatomical correctness of the horses he depicted. This dedication to accuracy likely involved extensive sketching from life, studies of equine anatomy, and close observation of horses in motion and at rest.
His brushwork was generally fine and controlled, allowing for the detailed rendering of textures – the smoothness of a horse's coat, the roughness of a mane, the leather of tack, and the varied elements of a landscape. He had a keen eye for the play of light and shadow, using it to model forms and create a sense of volume and three-dimensionality.
In his compositions, Volkers often placed the horse as the central focus, even in more complex scenes. His landscapes, while competently rendered, typically served as backdrops to enhance the presentation of the primary subject. The figures accompanying the horses, such as grooms, riders, or peasants, were also painted with care, contributing to the overall narrative and realism of the scene.
While realism was paramount, his works were not devoid of artistic sensibility. He managed to imbue his animal portraits with a sense of dignity and often a quiet dynamism. There is an evident appreciation and respect for the animals he painted, which elevates his work beyond mere technical exercises. His color palette was generally naturalistic, reflecting the true colors of the animals and their environments.
Later Years, Recognition, and Legacy
Emil Volkers continued to live and work in Düsseldorf for the remainder of his life. He remained an active member of the artistic community and his reputation as a preeminent painter of horses solidified over the decades. His dedication to his chosen specialty earned him accolades, including a prestigious gold medal at the Great Berlin Art Exhibition in 1890 for one of his horse paintings. Such awards were significant markers of recognition within the competitive art world of the time.
While the provided information suggests he was awarded a professor title, it's not entirely clear if this involved a formal teaching position at an academy or if it was an honorary distinction. Regardless, his work itself would have served as an example for younger artists interested in animal painting. The precision and dedication evident in his canvases set a high standard.
Emil Volkers passed away in Düsseldorf in 1905. His death marked the end of a long and successful career dedicated to the art of equestrian painting. His works are found in various museum collections, including the Wallraf-Richartz Museum in Cologne and within the collections of the Malkasten artists' association in Düsseldorf, as well as in numerous private collections across Europe.
His legacy lies in his contribution to the genre of animal painting, particularly his masterful depictions of horses. He captured an era when horses played a central role in society – in transportation, agriculture, sport, and warfare. His paintings serve as both artistic achievements and historical documents, reflecting the tastes and values of his time. Artists like Volkers, who specialized with such dedication, helped to elevate animal painting to a respected genre. His influence can be seen in the continued tradition of equestrian art, and his works are still admired by art lovers and equine enthusiasts alike for their timeless beauty and technical skill. He stands alongside other great European animal painters of his century, such as Carl Steffeck in Germany, or the aforementioned Rosa Bonheur and Edwin Landseer, each contributing to the rich tapestry of 19th-century art.
Conclusion
Emil Volkers was a German painter of considerable talent and dedication, whose life and work were inextricably linked with the depiction of horses. From his formative years in the academies of Dresden and Munich, under the guidance of masters like Schnorr von Carolsfeld and the Adam brothers, to his established career in Düsseldorf and his prestigious role as a court painter in Romania, Volkers consistently demonstrated a profound understanding and appreciation for his equine subjects.
His meticulous attention to anatomical detail, his ability to capture the spirit and movement of horses, and his skill in both oil painting and etching secured him a distinguished place in the annals of 19th-century German art. Works like "A White Horse," "A Dappled Grey Hunter Trotting with a Groom in a Landscape," and the comprehensive series "Abbildungen vorzüglicher Pferde-Rassen" exemplify his mastery. As a member of the "Malkasten" and a recognized figure in the European art scene, Volkers contributed significantly to the tradition of animal painting, leaving behind a legacy that continues to be valued for its artistic excellence and its celebration of one of humanity's most noble animal companions. His art provides a window into a world where the horse reigned supreme, depicted with a fidelity and artistry that remains compelling to this day.
