Mathias Gabriel Lory (1784-1846) stands as a significant figure in Swiss art history, renowned for his evocative depictions of his homeland's majestic landscapes. As a painter, printmaker, and engraver, Lory, often in collaboration with his father, Gabriel Ludwig Lory, captured the burgeoning appreciation for Switzerland's natural beauty during the late 18th and early 19th centuries. His work not only showcases remarkable artistic skill but also serves as an invaluable historical record of Swiss scenery, culture, and the early days of Alpine tourism.
Early Life and Artistic Genesis
Born in 1784 in the Canton of Bern, Switzerland, Mathias Gabriel Lory, often referred to as Lory fils (Lory the son) to distinguish him from his father, Gabriel Ludwig Lory (Lory père), was immersed in an artistic environment from a young age. His father was already an established landscape painter and printmaker, providing the young Mathias with immediate tutelage and a clear path into the art world. This familial apprenticeship was common in artistic circles of the time and proved profoundly influential on Mathias's development.
The late 18th and early 19th centuries were a period of immense change and intellectual ferment in Europe. The Enlightenment had fostered a spirit of inquiry and a new appreciation for the natural world, which soon melded with the burgeoning Romantic movement's emphasis on emotion, individualism, and the sublime power of nature. Switzerland, with its dramatic Alpine vistas, pristine lakes, and picturesque valleys, became a focal point for this new sensibility. Travelers on the Grand Tour, and later a broader range of tourists, flocked to the country, eager to witness its celebrated scenery. This created a demand for visual souvenirs, from grand oil paintings to more affordable watercolors and prints, a market the Lorys were well-positioned to serve.
Mathias Gabriel Lory's formal artistic training would have been deeply rooted in the traditions of landscape painting, with a strong emphasis on accurate observation and skilled draftsmanship. He worked primarily in Bern and later in Neuchâtel, regions that offered a wealth of picturesque subject matter. His skills encompassed various media, but he particularly excelled in watercolor, a medium perfectly suited to capturing the subtle atmospheric effects and luminous colors of the Swiss landscape, and in printmaking techniques like etching and aquatint, which allowed for wider dissemination of his images.
The Lory Partnership: A Father-Son Dynasty
A defining feature of Mathias Gabriel Lory's career was his close collaboration with his father, Gabriel Ludwig Lory (1763-1840). Together, they formed a formidable artistic partnership, producing a significant body of work that became highly sought after. Their styles were complementary, and their joint efforts often resulted in publications that combined artistic merit with topographical accuracy. It is sometimes difficult to distinguish the individual contributions in their collaborative pieces, a testament to their harmonious working relationship.
This father-son duo was instrumental in popularizing Swiss landscapes through finely crafted illustrated books and series of prints. Their workshop became a hub for the production of high-quality vedute (views), catering to both Swiss patrons and the increasing number of international visitors. The Lorys understood the commercial potential of their art, producing works in various formats and price ranges to appeal to a diverse clientele. Their success was built on a combination of artistic talent, technical proficiency, and an astute understanding of the market.
Their collaborative works often involved a meticulous process, starting with on-site sketches, developing these into detailed watercolors, and then translating them into prints, frequently hand-colored to enhance their appeal. This process allowed for a balance between artistic interpretation and faithful representation, a hallmark of the best landscape art of the period.
Key Themes and Artistic Style
Mathias Gabriel Lory's oeuvre is dominated by the Swiss landscape. He depicted the iconic peaks of the Alps, the serene beauty of its lakes, the charm of its rural villages, and the grandeur of its castles and waterfalls. His approach, while informed by the Romantic appreciation for nature's grandeur, often retained a strong element of topographical accuracy. This made his works valuable not only as art but also as visual documents of specific locations.
His style is characterized by careful attention to detail, a refined sense of composition, and a delicate handling of color, especially in his watercolors. He was adept at capturing the play of light and shadow, the textures of rock and foliage, and the vastness of Alpine panoramas. While his father's influence is evident, Mathias developed his own distinct touch, often imbuing his scenes with a tranquil, almost idyllic quality.
The tradition of the "Kleinmeister" (little masters) was strong in Switzerland at this time. These artists specialized in small-format, highly detailed views, often in watercolor or print, intended for travelers. The Lorys, particularly Mathias, elevated this tradition, producing works of exceptional quality and sophistication. Their images helped to shape the visual identity of Switzerland in the European imagination.
Major Published Works and Illustrations
Mathias Gabriel Lory, both independently and with his father, contributed to several significant illustrated publications that cemented their reputation. These books were often a blend of travelogue, art album, and geographical documentation.
One of his most notable individual achievements is _Voyage dans l'Oberland bernois_ (1822). This work, a veritable guide to the Bernese Oberland, featured a collection of colored prints and maps showcasing the region's principal mountains, glaciers, and picturesque sites. The illustrations are remarkable for their clarity and beauty, offering viewers a vivid journey through one of Switzerland's most celebrated areas. The book catered directly to the interests of tourists and armchair travelers, providing both practical information and aesthetic delight.
Another important publication was _Costumes suisses_ (1824). This book focused on the traditional attire of various Swiss cantons, illustrated with numerous watercolors. It reflects a growing interest in folk culture and national identity that was characteristic of the Romantic era. Lory's depictions of these costumes are detailed and lively, capturing the character of the people as well as their dress.
_Souvenirs de la Suisse_ (1829), as its title suggests, was a collection of Swiss views, likely intended to evoke memories for those who had visited or to inspire those who wished to. Like his other works, it featured high-quality illustrations that showcased his mastery of landscape.
In collaboration with his father, Mathias contributed to seminal works such as _Le Voyage pittoresque de Genève à Milan par le Simplon_. This publication documented the scenic route over the Simplon Pass, a marvel of early 19th-century engineering and a popular tourist itinerary. Their illustrations captured the dramatic engineering feats alongside the natural splendor of the Alpine crossing.
They also produced _Principes de paysage, pour apprendre à dessiner et à colorer en aquarelle_ (Principles of Landscape, to learn to draw and color in watercolor). This instructional manual, with text by Bernard Paul and 37 aquatints by the Lorys, aimed to teach aspiring artists the techniques of landscape painting. It demonstrates their deep understanding of the medium and their commitment to artistic education. The plates themselves are exquisite examples of landscape composition and watercolor technique.
Another significant collaborative project was _Voyage pittoresque aux glaciers de Chamouni_ (1815), which focused on the Chamonix valley and its famous glaciers, including Mont Blanc. These images were among the most iconic representations of the high Alps available at the time. Mathias also provided illustrations for works like _Voyage pittoresque du Landeron_, further showcasing his versatility in depicting diverse Swiss locales.
Collaborations and Artistic Circle
Beyond his pivotal collaboration with his father, Mathias Gabriel Lory engaged with other figures in the artistic and literary worlds. A notable relationship was with Charles La Trobe, an English writer and artist who later became the first Lieutenant-Governor of Victoria, Australia. La Trobe and Lory were close friends, and their shared passion for the Swiss landscape led to collaborations on three illustrated books, with La Trobe providing the text for at least one. An uncredited watercolor portrait of La Trobe is also attributed to Lory, underscoring their personal connection.
Lory's marriage to Louise de Meuron brought him into another artistic family. Louise was the daughter of Maximilien de Meuron (1785-1868), a prominent Swiss landscape painter from Neuchâtel. Maximilien de Meuron, a contemporary and peer, shared Lory's dedication to depicting Swiss scenery, though his style often leaned more towards a Romantic grandeur. This connection undoubtedly enriched Lory's artistic environment and provided further avenues for exchange and influence.
Mathias Gabriel Lory also collaborated with the publisher and printmaker Schoberl on various series of Swiss views, further expanding the reach of his imagery. These collaborations were essential for the production and distribution of illustrated books and print series, which were complex undertakings requiring diverse skills.
The Swiss Landscape Tradition and Lory's Contemporaries
Mathias Gabriel Lory operated within a vibrant tradition of Swiss landscape painting and printmaking. The allure of the Alps had been drawing artists for decades before him, and he was part of a generation that brought this genre to new heights of popularity and refinement.
Several artists were his contemporaries or immediate predecessors and contributed to this rich artistic milieu:
Gabriel Ludwig Lory (Lory père) (1763-1840): His father and primary collaborator, whose influence was foundational.
Maximilien de Meuron (1785-1868): His father-in-law, a distinguished landscape painter from Neuchâtel, known for his Romantic depictions of Swiss scenery.
Caspar Wolf (1735-1783): An earlier pioneer of Alpine painting, whose dramatic and scientifically informed views set a precedent for later artists.
Johann Ludwig Aberli (1723-1786): A key figure in developing the Swiss vedute tradition, particularly known for his colored outline etchings (Aberli-Manier).
Sigismund Freudenberger (1745-1801): Known for his genre scenes and idyllic landscapes, contributing to the picturesque representation of Swiss life.
Chrétien de Mechel (1737-1817): A prominent engraver and art dealer in Basel, who published works by various artists, including views of Switzerland.
Jean-Antoine Linck (1766-1843) and his brother Jean-Philippe Linck (1770-1812): Genevan painters and printmakers specializing in Alpine views, particularly of the Mont Blanc massif. Their detailed and often panoramic works were highly regarded.
Charles-François Exchaquet (1746-1792): A surveyor and artist who created remarkable relief maps and views of Alpine regions, particularly around Mont Blanc.
Alexandre Calame (1810-1864): A slightly younger contemporary who became one of Switzerland's most famous Romantic landscape painters, known for his dramatic Alpine scenes.
François Diday (1802-1877): Calame's teacher and another significant figure in Genevan landscape painting, specializing in Alpine subjects.
Samuel Hieronymus Grimm (1733-1794): A Swiss-born watercolorist and poet who spent much of his career in England but also produced many Swiss views.
Carl Ludwig Hackert (active late 18th - early 19th century): Brother of the more famous Jacob Philipp Hackert, Carl Ludwig also produced landscape views, including Alpine scenes.
Jean-Claude Nattes (c. 1765 – 1839): A watercolorist and topographical draughtsman, born in England but of French descent, who also depicted Alpine scenes.
Louis Goppé (active early 19th century): An artist mentioned in connection with Mont Blanc imagery, contributing to the visual record of the region.
These artists, along with Lory, contributed to a collective visual narrative of Switzerland. While some, like Calame, embraced a more overtly Romantic and dramatic interpretation, Lory often maintained a balance, his works appealing for their clarity, charm, and faithful representation, even as they conveyed the beauty of the landscapes. There is no specific record of direct artistic collaboration between Mathias Gabriel Lory and figures like Jean-Antoine Linck or Carl Ludwig Hackert on specific joint projects, but they were undoubtedly aware of each other's work, operating within the same specialized market for Alpine views and contributing to the broader European fascination with Mont Blanc and other iconic Swiss sites.
Techniques and Media: Watercolor and the Art of the Print
Mathias Gabriel Lory's mastery of watercolor was central to his art. This medium, with its transparency and luminosity, was ideal for capturing the subtle nuances of light, atmosphere, and color in the Swiss landscape. His watercolors are characterized by delicate washes, precise brushwork, and a harmonious palette. He understood how to use the white of the paper to create highlights and convey a sense of airiness.
Equally important was his skill as a printmaker. Etching and aquatint were the primary techniques used for reproducing his views in larger quantities. Aquatint, in particular, allowed for the creation of tonal areas, mimicking the effects of watercolor washes. Many of these prints were then meticulously hand-colored, often by a team of colorists in the workshop, to enhance their visual appeal and market value. The "contour print," an outline etching that served as a guide for hand-coloring, was a common product.
The Lorys' publication, Principes de paysage, demonstrates their deep understanding of these techniques and their desire to codify and teach them. The production of illustrated books was a complex enterprise, involving drawing, engraving, printing, coloring, and binding, and the Lory workshop was proficient in managing these various stages.
Personal Life
Details about Mathias Gabriel Lory's personal life beyond his artistic career are relatively scarce, a common situation for artists of his era unless they achieved superstar status or left extensive personal correspondence. His birth in 1784 and death in 1846 frame a life dedicated to art. His upbringing under his artist father, Gabriel Ludwig Lory, was undoubtedly the most formative aspect of his early life.
A significant personal event was his marriage to Louise de Meuron. This union connected him to another prominent artistic family in Neuchâtel, that of the landscape painter Maximilien de Meuron. Such marriages within artistic or artisan circles were not uncommon, fostering networks of skill and patronage. It is plausible that Louise shared an appreciation for art, given her background, and may have contributed to the supportive environment necessary for Lory's prolific output. They resided and worked in Bern and Neuchâtel, the heartlands of his artistic inspiration.
Legacy and Enduring Appeal
Mathias Gabriel Lory left a rich legacy as one of Switzerland's foremost landscape artists of the early 19th century. His works, and those produced with his father, played a crucial role in shaping the visual perception of Switzerland both domestically and internationally. They catered to and further stimulated the burgeoning tourist industry, providing visitors with beautiful and accurate mementos of their travels.
His paintings and prints are more than just picturesque views; they are valuable historical documents. They record the appearance of landscapes, towns, and traditional ways of life before the more radical transformations of the later 19th and 20th centuries. For art historians, they offer insights into the techniques and aesthetics of landscape art during a period of transition from Neoclassicism to Romanticism.
Today, Mathias Gabriel Lory's works are held in high esteem. They are sought after by collectors and feature in museum collections. His prints and illustrated books continue to be appreciated for their artistic quality and historical significance. Auction records, such as those from Wannenes, indicate the continued market interest in his works, where he is recognized among important 19th-century European artists. His illustrations are still reproduced, and his name is synonymous with the classic era of Swiss landscape depiction.
Conclusion: A Lasting Vision of Switzerland
Mathias Gabriel Lory, through his dedication, skill, and collaborative spirit, created an enduring vision of Switzerland. Working alongside his father and within a vibrant community of artists, he captured the essence of his country's natural beauty with a clarity and charm that continue to resonate. His watercolors and prints are a testament to a profound love for the Swiss landscape and a mastery of his craft. As an artist, a documentarian, and a key figure in the popularization of Alpine scenery, Mathias Gabriel Lory holds a distinguished and lasting place in the annals of art history. His contributions helped define an era and left behind a visual legacy that remains a source of delight and historical insight.
