Introduction: The Artist Known as Canon
In the vibrant artistic landscape of late 19th-century Vienna, one name that resonated with technical skill, bold colour, and prestigious commissions was Hans Canon. However, this name was a carefully chosen pseudonym for Johann Baptist Strašiřipka (sometimes spelled Strasiripka or Strassiripka), an Austrian painter born in Vienna on March 15, 1829. Primarily celebrated as a history and portrait painter, Canon became a significant figure during the Ringstrasse era, known for his confident brushwork and affinity for the rich palettes reminiscent of Old Masters like Peter Paul Rubens and Titian. His life and career offer a fascinating glimpse into the cultural and social milieu of the Austro-Hungarian Empire during a period of immense change and artistic flourishing.
Early Life and Artistic Awakening
Johann Baptist Strašiřipka hailed from a background connected to nobility; his father served as an economic advisor and was related to the esteemed Starhemberg family. Despite this connection to the establishment, young Johann initially showed little enthusiasm for conventional academic pursuits. Sources suggest he was not a particularly diligent student in the traditional sense. However, his innate talent for art could not be ignored.
In 1845, he briefly enrolled at the prestigious Academy of Fine Arts Vienna (Akademie der bildenden Künste Wien). This institution was a cornerstone of artistic training in the Empire, having nurtured generations of artists. However, Canon's time there was short-lived. He soon sought more personalized instruction, becoming a private pupil of two highly influential figures in Austrian art: Ferdinand Georg Waldmüller and Carl Rahl. This decision proved pivotal in shaping his artistic trajectory.
The Influence of Waldmüller and Rahl
Studying under Waldmüller (1793-1865) exposed Canon to one of the most important Austrian painters of the Biedermeier period and a master of realism. Waldmüller was renowned for his detailed landscapes, penetrating portraits, and genre scenes, often imbued with a sharp sense of observation and meticulous technique. While Canon's later style would diverge significantly towards a more painterly and dramatic approach, Waldmüller's emphasis on capturing likeness and his mastery of light likely left an impression.
Carl Rahl (1812-1865), on the other hand, was a leading exponent of monumental history painting in Vienna. Rahl's style was grand, often allegorical, and heavily influenced by the Italian High Renaissance and Baroque masters. He excelled in large-scale compositions and decorative schemes, becoming a sought-after artist for the opulent public buildings then rising along Vienna's Ringstrasse. Rahl's influence on Canon is perhaps more readily apparent, particularly in Canon's later monumental works and his confident handling of historical and allegorical themes. Rahl also ran a highly successful private school, influencing many artists of the next generation. Canon developed a close relationship with Rahl, which would be beneficial throughout his career.
Military Service and the Adoption of a Pseudonym
Canon's artistic development was temporarily interrupted by a significant period of military service. From 1847 to 1855, he served as a cavalry officer (specifically, a Cuirassier) in the Imperial Austrian Army. This period included active duty during the Hungarian Revolution of 1848-49. Military life provided experiences far removed from the artist's studio, potentially broadening his perspective and offering subjects for later works, although he is not primarily known as a military painter.
It was during or shortly after his military career that Johann Baptist Strašiřipka adopted the pseudonym "Hans Canon." The exact reasons remain somewhat debated. One popular theory suggests the name "Canon" (meaning cannon in German and other languages) was a nickname acquired due to his service, possibly related to artillery, although he was primarily a cavalryman. Another plausible explanation is that his Slavic surname, Strašiřipka, was considered somewhat cumbersome or less marketable within the predominantly German-speaking cultural sphere of the Austrian Empire. Adopting the simpler, more resonant "Hans Canon" provided a distinct and easily remembered professional identity. "Hans" is a common German familiar form of Johann.
Establishing a Career: Karlsruhe and Stuttgart
After leaving the military, Canon fully dedicated himself to his art. He did not immediately settle back in Vienna but spent a significant period in Germany. From approximately 1860 to 1869, he resided in Karlsruhe, the capital of the Grand Duchy of Baden. Karlsruhe had a notable art academy and a lively cultural scene. During this time, he likely interacted with or was aware of German artists such as Johann Wilhelm Schirmer, a prominent landscape painter, or perhaps Anselm Feuerbach, who spent time in Karlsruhe later in the 1870s and represented a more Neoclassical style.
Following his time in Karlsruhe, Canon married and relocated to Stuttgart, the capital of the Kingdom of Württemberg, where he lived until 1874. These years in Germany were crucial for honing his skills, building his reputation outside Austria, and absorbing different artistic currents. His style continued to develop, characterized by increasingly bold brushwork and a rich application of colour, often drawing inspiration from Venetian painters and Flemish masters like Rubens.
Return to Vienna and Imperial Acclaim
Canon's return to Vienna coincided with the peak of the Ringstrasse era, a period of immense urban development and cultural patronage. The city was transforming, with grand boulevards lined by magnificent public buildings – the Opera House, the Burgtheater, museums, and the Parliament – all requiring elaborate artistic decoration. This created fertile ground for artists skilled in monumental painting and portraiture.
A major breakthrough occurred at the 1873 Vienna World Exhibition (Weltausstellung 1873 Wien). This massive international event showcased industrial and cultural achievements, and art played a central role. Canon exhibited works that garnered significant attention and critical acclaim. Crucially, one of his paintings displayed at the exhibition was purchased by Emperor Franz Joseph I himself. This imperial recognition significantly boosted his status and led to numerous prestigious commissions. He became one of the favoured painters of the Viennese elite.
Master of Portraiture
While adept at history painting, Hans Canon truly excelled in portraiture. He possessed a remarkable ability to capture not only a physical likeness but also a sense of presence and status appropriate to his sitters. His portraits are often characterized by their vibrant colour, dynamic compositions, and confident, almost flamboyant, brushwork. He painted numerous members of the imperial family, aristocracy, and the wealthy bourgeoisie who shaped Viennese society.
His approach often contrasted with the smoother, more meticulous finish favoured by earlier Viennese portraitists like Friedrich von Amerling (1803-1887). Canon's style was more painterly, embracing the texture of the paint and the energy of the brushstroke. He could convey the richness of fabrics – silks, velvets, furs – and the gleam of jewellery with impressive virtuosity. Notable portraits include those of Emperor Franz Joseph I, Empress Elisabeth, and prominent figures of Viennese society. His success in this genre placed him in the upper echelon of portrait painters in the German-speaking world, alongside contemporaries like Franz von Lenbach (1836-1904) in Munich.
Monumental Ambitions: History Painting and 'The Circle of Life'
Beyond portraiture, Canon harboured ambitions for monumental history and allegorical painting, following in the footsteps of his teacher, Carl Rahl. The Ringstrasse projects provided opportunities for such large-scale works. His most significant commission in this vein was for the ceiling decoration of the grand staircase in the Naturhistorisches Museum (Natural History Museum) in Vienna, one of the magnificent twin museums flanking Maria-Theresien-Platz.
The theme assigned to Canon was "Der Kreislauf des Lebens" (The Circle of Life). This vast allegorical work was intended to depict the cyclical nature of existence, from birth through life's various stages to death, reflecting the museum's focus on the natural world. Canon worked extensively on sketches and cartoons for this massive undertaking, envisioning a dynamic composition filled with figures embodying different aspects of life and nature. His preparatory studies reveal his skill in complex figure arrangements and his characteristic rich colour schemes.
Tragically, Hans Canon died suddenly in 1885 before he could complete this magnum opus. The commission for the main ceiling remained unfinished according to his specific designs. While the museum's staircase was eventually decorated by other artists, Canon's grand vision for "The Circle of Life" exists primarily through his detailed preparatory drawings and oil sketches, which are now held in various collections, including the Vienna Museum. This unfinished project remains a testament to his monumental ambitions and his standing within the Viennese art establishment.
Colourism and Artistic Style
Hans Canon is often described as a leading "Colorist" (Kolorist) in 19th-century Austrian painting. This term highlights his emphasis on the expressive and structural power of colour, often prioritizing it over strict linearity or meticulous detail. His palette was rich and often dramatic, drawing clear inspiration from the Venetian Renaissance (Titian, Veronese) and the Flemish Baroque (Rubens, Van Dyck). He applied paint with visible, energetic brushstrokes, giving his surfaces a vibrant texture.
His style fit well within the broader movement of Historicism prevalent during the Ringstrasse era, which looked to past artistic styles for inspiration. However, Canon's interpretation was often more dynamic and less rigidly academic than some of his contemporaries. He stood somewhat apart from the meticulous realism of his former teacher Waldmüller and offered a more opulent and painterly alternative to the decorative grandeur of Hans Makart (1840-1884), the dominant artistic figure in Vienna during the 1870s and early 1880s. While Makart's influence was pervasive, Canon maintained his own distinct, robust style. His work can also be contrasted with the more psychologically intense and unconventional approach of another contemporary, Anton Romako (1832-1889).
Documenting the Arctic Expedition
An interesting episode in Canon's career involved the Austro-Hungarian North Pole Expedition (1872-1874). Although he did not participate in the perilous voyage itself, he was commissioned by one of its main sponsors, the wealthy nobleman and explorer Count Johann Nepomuk Wilczek, to document its aftermath. In 1875, Canon travelled to Fiume (modern-day Rijeka, Croatia), a major port of the Austro-Hungarian Empire on the Adriatic Sea.
There, he painted portraits of the expedition members and depicted their ship, the Tegetthoff, which had famously been trapped in Arctic ice for nearly two years. This commission highlights Canon's versatility and his connections to prominent figures involved in significant national undertakings. These works served as important historical records of a celebrated, albeit arduous, chapter in Austrian exploration.
Contemporaries and the Viennese Art Scene
Hans Canon operated within a rich and competitive artistic environment. Besides his teachers Waldmüller and Rahl, and his contemporary Makart, the Viennese scene included many other notable talents. Friedrich von Amerling was the leading portraitist before Canon and Makart rose to prominence. Landscape painting flourished with artists like Emil Jakob Schindler (1842-1892), whose atmospheric works offered a different sensibility. Genre painting was popular, with artists like August von Pettenkofen (1822-1889) capturing scenes of everyday life, often with an ethnographic interest in Eastern Europe, building on the earlier Biedermeier tradition represented by Peter Fendi (1796-1842).
The influence of German art centers, particularly Munich, was also felt. Artists like Carl Theodor von Piloty (1826-1886) in Munich were highly influential in history painting across the German-speaking world. Canon's time in Karlsruhe and Stuttgart would have put him in contact with trends in German painting. While distinct from the rising Symbolist movement, represented by figures like Arnold Böcklin (1827-1901), Canon's career unfolded concurrently with these shifts. His robust, historically grounded style represented a culmination of 19th-century academic and historicist traditions, just before the radical changes heralded by the Vienna Secession (founded in 1897, after Canon's death) led by artists like Gustav Klimt (1862-1918), who initially also worked on Ringstrasse decorations.
Final Years and Legacy
Hans Canon remained a highly respected and sought-after artist in Vienna until his death. He continued to receive commissions for portraits and other works, maintaining a prominent position in the city's cultural life. His sudden death on November 12, 1885, at the age of 56, cut short a successful career, leaving the monumental Natural History Museum ceiling project unfinished.
He was afforded the honour of being buried in a grave of honour (Ehrengrab) in the Matzleinsdorfer Friedhof (Matzleinsdorf Cemetery) in Vienna, although his remains were later transferred. In recognition of his contributions to Austrian art and culture, a street in the Währing district of Vienna, Canonstraße, was named after him in 1894. Furthermore, his legacy was commemorated philatelically when Austria issued a postage stamp featuring his portrait in 1948.
Today, Hans Canon is remembered as a major figure of the Ringstrasse era, a master portraitist, and a skilled exponent of historical and allegorical painting. While perhaps sometimes overshadowed in popular memory by the sheer flamboyance of Makart or the revolutionary impact of the later Secessionists, Canon's work represents a vital aspect of 19th-century Austrian art. His technical prowess, his bold use of colour, and his ability to capture the confidence and opulence of his time ensure his enduring importance. His paintings can be found in major Austrian collections, including the Belvedere Museum, the Vienna Museum, and the Naturhistorisches Museum, as well as in other European galleries. He remains a key artist for understanding the artistic ambitions and achievements of Vienna during the reign of Emperor Franz Joseph I.
