1008: 50,000. The Tellskapelle had gained as much significance to the Swiss as the Sainte-Chapelle to the French, and a stone of the old chapel had been transported to the US to be embedded in the Capitol, as symbolic for the fight for independence. For inspiration, Stückelberg travelled alone like a whirlwind through Milan, Bergamo, Brescia, Verona, Vicenza, Treviso, Padua, Venice, Parma, and Bologna. He wrote enthusiastically to his wife of the magnificent art he had seen, but realized on his return that the frescoes must depict true rural Swiss characters on Swiss soil in a Swiss context. So, despite the birth of his lastborn, Hélène, in April 1878, he moved to Bürglen in the rural Canton of Uri and painted 59 portraits of locals he would use for the chapel. These and several members of his family appear in four scenes, 'The Swearing on the Rütli', 'The Apple Shot', 'The Leap from the Boat', and 'Gessler's Death', based on Schiller's play, recounting the saga of Wilhelm Tell, an original freedom fighter for Swiss Independence. This story, and its remembrance, have as large significance for the Swiss as the Declaration of Independence has for Americans. Thus, as painter of these memorable events, Stückelberg carried a heavy responsibility, and gained consummate celebrity. Nonetheless, the whole project was threatened with cancellation when the cantons initially opposed a design which showed
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interpretation. However, during the mid to late 1890s, he seemed to gain a new lease of enthusiasm, and produced the magnificent works: 'The
Prodigal Son' (1897),'The Last Secret', 'At the Source of Parnassus', 'Myrtis & Corinna with the potter Agathon', 'Sappho', 'The Fortune-teller', 'The Sirens', 'Crusader', 'The Sermon of the fish', 'And it was all a dream', 'Joan of Arc', 'Island of the Fortune-teller' 'Fisher & Nereids' (1899) and exhibited at the World Exhibition of Paris in 1900, receiving another gold medal in Basel that year. Travelling again to the Mediterranean, he produced enchanting sketches of St-Aygulf in 1896, Agay in 1897, where he painted
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700:(1866-9), which accorded Stückelberg the Munich Gold Medal in 1869. Their first son, Ernst Alfred, was born in August 1867, and the family completed a trip via Bordeaux to Toledo and Madrid. Life surrounded by his family, with intervals in Amden, the Walensee, Kienberg in the Jura, and Montreux, occupied his time, evidenced by many paintings of children and home. These encapsulate a happy atmosphere, and scenes are painted with reality, stillness, even if including death, but with no sentimentality. The portraits of Margaret Bernoulli (née Berry) (1867) and of Mrs Charlotte Kestner (1968), as well as
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783:(1872), was shown at the World Exhibition of Vienna in 1873 and gained him the Knight's Cross of the Imperial Order of Franz-Joseph. He then proceeded over a period of 18 months between 1873 and 1874 to cover the walls of the Erimanshof with frescoes; these depicted the virtues Charity, Wisdom, Prudence, Diligence and Truth as feminine figures in alcoves, surrounded by decorative musical instruments, fruits, and animals. Wisdom was portrayed as a blonde teaching a boy to read his first word,
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he produced a mural, 'Desiderius
Erasmus of Rotterdam' in Basel (1882), a fresco, 'Crowning of the troubadour Hadlaub' in Zurich (1883), and began several paintings, 'The Last Knight of Realt', a portrait of his mother, another of his wife, 'Supper on Manegg' (at the behest of Melchior Römer, the City President of Zurich, 1885), 'Consoler of the Orphan', 'Love Garden', 'Queen Bertha', 'Autumn Song', and '
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reservations. The works were unveiled in June 1883 and are open gratis to the public, visitable by boat, at least one of which, by Uri law, must halt per year at the
Tellskapelle. For his efforts, Stückelberg gained a Doctorate honoris causa from the University of Zurich in 1883, as well as many other honours.
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In 1871, Stückelberg declined a professorship under Graf
Kalckreuth in Weimar, preferring to remain in Basel. He purchased the Erimanshof, on Petersgraben, an ancient building adjacent to the Kreutztor, the other side of which stood the Seidenhof, on Blumenrain, dating from 1573. The painting that he
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and Victor von
Meyenberg. For some time he stayed with Fritz Simon at the house of Teresina Reinhardt at the Via della quattro Fontane 53, but during the heat of summer preferred to retreat to the country (as he had done from Munich) and establish himself in the Monti Sabini. He painted in Vicovaro,
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During this time, he also managed to complete a commission for Peter
Conradin von Planta, which is probably his best known work, 'The last Knight of the Hohenrätien plunges into the Depths of the Via Mala', and hangs in the Federal Gallery of Chur. Now perhaps accustomed to "untransportable" works,
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from Berlin, Moritz Delfs from
Holstein, and Theodor von Deschwanden from Stans whose portraits he painted (1852). From this period, a total of 44 aquarel portraits exist, and numerous sketch books; in his second year, 1851, Stückelberg won first prize in the "Concours". One early painting of this
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Böcklin's art, now better known, differs from that of Stückelberg, but as he wrote to his mother in 1863, "Böcklin paints figures, and his characters are bearers of the landscape's impact, whilst I myself paint the life of the land, the village, the town." Indeed, Stückelberg's portrayal of real
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of Schwyz, kneeling before him touching the sword in his left hand. After some acrimonious argument, mainly relating to costs, Stückelberg relented and re-drew the fresco to the satisfaction of the Uri politicians, with the three leaders standing (as traditionally symbolized) despite his artistic
400:(1858), the last of which hangs in the Kunstmuseum in Basel. This he placed on 24 January 1861 in a small room of the Basel Concert Hall for public viewing. Italy was his homecoming as an artist: he subsequently visited the country over ten times. Nonetheless, he never left Basel as his base.
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The summer of 1887 was spent in
Riggenburg and Spiringen, but in 1888, he once more went on travels to Assisi, Rome, Capri and his beloved Anticoli-Corrado. Here he was inspired to paint, virtually without halt, many landscapes and also major works demonstrating the maturity of his art, 'The
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in front of his villa at Juan-les-Pins, Alassio, where he painted Martha de
Montalembert in her Roman Villa (1899), and the remarkable 'Herd of Sheep under the olive-trees' and 'The beach at Alassio' (1901). In addition, he painted hundreds of 'Brettchen' (oils on small wooden boards, 12 x
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However, in the autumn of 1890, his sister, to whom he was very close, died, and Stückelberg's art retreated into a contemplative mode: he drew portraits, and only three major works in the following six years: 'Death & Life', 'The
Graveyard', 'Those cut off', but these full of depth of
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and Hasliberg, and also to Paris and Cologne, and with Professor Bernoulli, his aunt's brother, to Haarlem, Zandvoort, the Hague, Leyden, Antwerp, Brussels, and Treves. Another trip to Italy needed to be aborted because of fever, and he diverted to the Tessin, painting the atmospheric
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Cypresses of the Villa D'Este', 'The Cliffs of Capri', 'View of Assisi' 'Violinist of Anticoli', 'A Melody of Oceans', 'The blissful ones', 'Jean de Souabe the penitent parricide', 'Pilgrim in the Abbruzzo'(1888). The following year he also painted three self-portraits.
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22 cm) such as 'Villa Mignonne, St Raphael' which he created in the place of today's camera snaps. Many of these later works were exhibited posthumously at the Athenaeum in Geneva in 1904. A local journalist then wrote, "These last are perhaps, for us, the best."
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in three drafts, which he wished not just to be a historical portrayal of a catastrophic event but to discover the "soul" of the event, with a dead child held up to heaven in agony. It took Stückelberg ten years till 1885 to complete this work.
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He was one of the most popular artists of his generation, of the romantic tradition, producing many paintings of various themes (portraits, country and village scenes, and allusions to history), including a series on the Swiss national hero
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688:(1866-7). Their honeymoon, after some days in Wavre in Belgium, took them to Milan, Florence, Rome, Naples, Pompeii, Sorrento and Capri, from where many paintings stem typifying Stückelberg's grasp of light, colour and shade such as:
926:(1874) to explain its symbolism. Burckhardt saw Stückelberg as the painter, who, despite the political restoration of 1815 having failed to halt the dynamics of revolutionary change, looks for a higher world of beauty and harmony.
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in the Louvre. In 1853, after sketching in the Valais, the Simplon region and the Valtellina, the Tirol and Milan, he returned to Basel, but set off again for Munich to study miniature painting at the Academy of Fine Arts under
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Having become acquainted with French art, he was further drawn to Paris, where he arrived during the period of Louis Napoléon's coup d'état of 1851. He met many other artists there, principally Theodor von Deschwanden,
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Finally, Stückelberg returned in 1860 to Switzerland, establishing a studio in the Oberen Hirschengraben in Zurich. Monuments then being the rage, he was persuaded by Jacob Burckhardt to put in a design for the
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Stückelberg came from an aristocratic Basel family, son of Emanuel Stickelberger and Susanna Berry. Following the early death of his father in 1833, he was brought up by his uncle, the architect
704:(1868) date from this period. Further children, Marie (May 1869) and Alfred (September 1870) were born, and Stückelberg travelled to Munich, Dresden, Kassel, and Paris as an established artist.
363:(1856). He then set off for five months in Florence, and, encouraged insistently by Burckhardt, in Easter 1857 he left for Rome where he met old friends from Antwerp and Munich, Franz Dieber,
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Jacob Burckhardt, professor of Art History in Basel, who had taken it upon himself to guide the career of Stückelberg, persuaded him to produce a monumental "untransportable" tableau, titled
873:(1875). However, his wife fell ill and the latter part of 1875 and 1876 was spent recuperating on the Côte d'Azur. There, numerous sea scenes and more pictures were painted:
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In 1866, Stückelberg married Marie-Elisabeth Brüstlein, one of his art students, of an Alsatian family who had moved to Basel in 1852, born in Brooklyn, USA. He painted
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Three more children, Gertrude (December 1871), Vico (1872), and Adrien (April 1874), were born to the family, and Stückelberg produced more works,
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Albert Gessler, Erinnerungen von Ernst Stückelberg von Basel (1831-1903), Schweiz verlag, Zurich, 1903 (German)
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Lionel Gossman, Basel in the age of Burckhardt: a Study in Unseasonable Ideas. Uni Chicago Press 2000, p.404-5
897:(1876–84). This last appears as the work of the non-existent René Dalmann in Bernard Schlink's novel series
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487:(who greatly admired and extolled the virtues of the grand vistas of nature in Stückelberg's paintings),
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Bernd Wolfgang Lindemann & Nikolaus Meier, Ernst Stückelberg 1831-1903, Schwabe, Basel 2003 (German)
568:(1863-5), which whilst executing Stückelberg said he was most in his element and most happy. He painted
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504:(1863) and thence to St Moritz to recover. Otherwise, between 1860 and 1865, he painted portraits:
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Franz Zelger, 'Der Historienmaler Ernst Stückelberg: 1831 bis 1903', Juris-Verlag, 1971, p. 21
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In the same year, Stückelberg beat Joseph Balmer to win an open competition to re-decorate the
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in the early 1860s. This was exhibited at the Paris World Exhibition of 1867, and subsequently
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Samuel Rocheblave, Ernst Stuckelberg, Sa Vie - Son Oeuvre, Fischbacher, Paris 1931 (French)
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life, mixed with a dash of poetry and often of humour, marks his real genius and talent.
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in Bern, continuing till 1850. He then was sent for academic training in Antwerp at the
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and Ludwig Adam Kelterborn. So, after six months with his uncle, encouraged by
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on the Lake of Four Cantons, which had fallen into disrepair, a prize worth
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Stückelberg died on 14 September 1903 of complications of diabetes.
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from Voss, Norway, Hans Peter Feddersen from Holstein, as well as
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Stauffacher's wife (calling her in-laws to fight for freedom)
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Melchtal returns to his blinded father (Landenberg's behest)
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Elijah brings the widow of Zarepath her resuscitated child
1367:"Melchior Berri (1801-1854), Architekt des Klassizismus"
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Gottfried Keller, Berner Bund, 12 January 1861 (German)
49:. Unsourced material may be challenged and removed.
355:Returning for a short time to Basel, he painted
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357:King Henry II and Queen Cunigunde of Luxemburg
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779:had worked on in his studio in the house,
534:Woman from Haslital with a jug in her hand
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562:Portrait of Colonel Rudolf Merian-Iselin
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916:The Awakening of Art in the Renaissance
542:Procession of Madonna of the Mountain
207:(1852), is notable for its vivacity.
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1227:adding citations to reliable sources
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538:Baptismal procession in Upper Wallis
440:adding citations to reliable sources
361:Young upper class lady with a falcon
359:(1855) on glass in the Minster, and
247:adding citations to reliable sources
47:adding citations to reliable sources
178:. His teachers in Antwerp included
136:Johann Melchior Ernst Stickelberger
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910:The influence of Jacob Burckhardt
404:Establishing himself as an artist
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477:Battle of St. Jakob an der Birs
176:Academy of Fine Arts of Antwerp
154:Background and early art school
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574:Romeo and Julia in the Village
211:Experience in Paris and Munich
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867:At the fountain of Rocca Ceri
506:Pastor Schläpfer and his Wife
930:Frescoes on the Tellskapelle
384:Cervara, and the village of
341:A girl in middle-age costume
188:Josephus Laurentius Dyckmans
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883:Children from Foreign Parts
390:Evening in the Monti Sabini
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550:Girl with a cat on the arm
526:Mrs Schläpfer with a child
903:The 1356 Basel Earthquake
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694:Spring morning in Pompeii
566:Mariuccia at the Fountain
489:Friedrich Theodor Vischer
319:for three years, meeting
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924:The Renaissance in Basel
863:The love figure merchant
172:Johann Friedrich Dietler
1373:(in German). p. 11
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586:Wallraf-Richartz Museum
367:, Rudolf Henneberg and
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558:The Pilgrims of Pereto
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522:The Baroness of Blonay
493:Conrad Ferdinand Meyer
333:The Sheriffs of Sarnen
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871:The Butterfly Catcher
682:Portrait of the Bride
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294:. He copied works of
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1337:"Stückelberg, Ernst"
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781:The Painter's Family
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514:The Sarasin children
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321:Wilhelm von Kaulbach
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194:from Dresden,
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582:Youthful Love
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481:Rudolf Koller
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60: –
59:
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54:Find sources:
48:
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38:
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32:This article
30:
26:
21:
20:
16:Swiss painter
1435:
1426:
1417:
1408:
1399:
1387:
1375:. Retrieved
1370:
1360:
1340:
1323:Sabine hills
1308:William Tell
1306:The Leap of
1260:
1245:
1236:
1221:Please help
1209:
1186:
1177:
1162:
1153:
1138:Please help
1126:
1102:
1094:
1079:
1070:
1055:Please help
1043:
1010:Walter Furst
1002:Tellskapelle
999:
984:
975:
960:Please help
948:
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809:
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738:Please help
726:
702:Renunciation
701:
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664:
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640:Please help
628:
600:Portrait of
581:
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560:(1863), and
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434:Please help
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377:Julius Moser
360:
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288:Ludwig Knaus
280:
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241:Please help
229:
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148:William Tell
144:
135:
131:
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120:
105:
96:
86:
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72:
65:
53:
41:Please help
36:verification
33:
1461:1903 deaths
1456:1831 births
1393:(in German)
893:(1877) and
869:(1874) and
791:Family life
605: [
588:, Cologne.
578:overpainted
1450:Categories
1377:11 January
1352:References
134:(baptized
69:newspapers
1210:does not
1127:does not
1044:does not
949:does not
839:June 2017
810:does not
756:June 2017
727:does not
658:June 2017
629:does not
570:Felicetta
497:Meiringen
423:does not
300:Velazquez
296:Rembrandt
230:does not
877:(1876),
865:(1872),
592:Marriage
556:(1862),
544:(1861),
536:(1860),
312:Veronese
308:Corregio
304:van Dyck
1281:Seeress
1266:Gallery
1231:removed
1216:sources
1148:removed
1133:sources
1065:removed
1050:sources
970:removed
955:sources
831:removed
816:sources
748:removed
733:sources
650:removed
635:sources
444:removed
429:sources
251:removed
236:sources
83:scholar
1342:SIKART
696:, and
572:, and
203:time,
85:
78:
71:
64:
56:
609:]
140:Basel
90:JSTOR
76:books
1379:2023
1279:The
1214:any
1212:cite
1131:any
1129:cite
1048:any
1046:cite
953:any
951:cite
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814:any
812:cite
731:any
729:cite
684:and
633:any
631:cite
491:and
427:any
425:cite
396:and
343:and
310:and
290:and
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232:cite
186:and
62:news
1225:by
1142:by
1059:by
1006:CHF
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