Friedrich Schüz, Bergamo

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Price: on request

Description

‘Bergamo’ (city of Bergamo, seen from the top of the San Vigilio Castle (Castello di San Vigilio), situated on a hill next to the old city.

Displayed at the GDK 1942 room 5. Bought by company Ernst Seifert GmbH for 2,500 Reichsmark.
Original frame and remains of the original GDK stickers (and medal cord) at the back.

Remains of an original GDK sticker at the back. Still readable is the name of the buyer: textile company ‘Ernst Seifert Gmbh, Glauchau’ (near Chemnitz).

Left: remains at the back of the GDK red-white twisted medal cord and staple.
Right: an example of the original GDK medal.
 

Remains at the back of the original GDK sticker: ‘Grosse Deutsche Kunstausstellung 1942 im Haus der Deutschen Kunst zu München’. 

‘Bergamo’ by Schüz, displayed at the GDK 1942 room 5.

City of Bergamo, seen from the top of the San Vigilio Castle (Castello di San Vigilio), situated on a hill next to the old city. Photo: 2024.

San Vigilio Castle, locally known as Castello di San Vigilio, lies in the city of Bergamo, in the Bergamo province in the Lombardy region in Italy. The first fortification upon this almost 500 m high hill is thought to have been a Roman watch tower. The first mention of a fortification here dates from the 6th century. During the next centuries a small chapel was built in the vicinity of the castle and the castle was thus called Castello della Cappella. In 889 the castle was conquered by the Frankish troops of Arnulf of Carinthia, the Carolingian king of East Francia. In 1166, because of its strategic importance, the city of Bergamo, situated on an adjacent hill, ordered a new castle to be built to replace the old one. After the Visconti family came to regional power, they started to enlarge and strengthen the castle until it was completed in 1335. The 15th century saw the beginning of the domination of the Venetian Republic, and at the end of that century they updated and strengthened the castle. It was besieged and taken several times in the first part of the 15th century by French, Spanish and Venetian troops. In the 2nd part of that century, the Venetians constructed the Bergamo city walls. San Vigilio Castle, situated on a hill next to the old city, was changed considerably because of this; its central keep was demolished to allow for a subterranean tunnel connecting the castle to the northern bastion of the city. Also, barracks and a castellan’s residence were erected in the castle. That the castle remained a strategic stronghold is attested by the fact that in 1797, after the disintegration of the Venetian Republic, the French troops of the Cisalpine Republic first settled here when they took over the city. In the first part of the 19th century, the Austrian Empire took over and dismantled the castle. After this it lost its military purpose. At the end of the 19th century, the castle came into private hands before being acquired by the Bergamo municipality in the mid-20th century. San Vigilio Castle is freely accessible as it now serves as a public park. A nice castle on a great setting, offering fantastic views over the city of Bergamo and the surrounding countryside.

– condition : II
– size : 61 x 80 cm
– signed : right, below
– type : oil on board

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BIOGRAPHY: FRIEDRICH SCHÜZ

Friedrich Schüz, ‘Quirinal’ (‘Pallazo del Quirinale, Rome’). GDK 1943 room 5. Bought by Albert Speer for 7,500 Reichsmark.
Left: ‘Quirinal’ by Schüz, depicted in ‘Kunst dem Volk’, 1943.
Right: ‘Quirinal’ by Schüz, depicted in ‘Die Kunst für Alle’, 1942/43. Also depicted in ‘Düsseldorfer Künstler im Haus der Deutschen Kunst 1943’.
 

‘Quirinal’  and ‘Alt-Rom’ by Schüz, depicted in ‘Düsseldorfer Künstler im Haus der Deutschen Kunst 1943’.

Friedrich Schüz, ‘Alt-Rom’. GDK 1943 room 5. Sold for 7,500 Reichsmark. Size 70 x 100 cm. Depicted in ‘Düsseldorfer Künstler im Haus der Deutschen Kunst 1943’. According to the ‘Stadtarchiv Düsseldorf (alt: Bestand IV Nr. 0-1-4-1877.0000) the work was bought by the city of Düsseldorf in 1944.

Friedrich Schüz, ‘Florenze’ (‘Florence’). GDK 1944 room 5. Bought for 15,000 Reichsmark by the Deutsche Arbeitsfront, Berlin. Depicted in the GDK-exhibition catalog and on postcards. In the possession of the Pinakothek/ Bayerische Staatsgemaldesammlungen.

Friedrich Schüz, ‘Alt-Rom’, number 16 in a series of 16 paintings and 4 sculptures, depicted in the ‘Grosse Deutsche Kunstausstellung 1943’-folder.

Friedrich Schüz, ‘Florenz – Ponte Vecchio‘. GDK 1941 room 35. Bought for 2,000 Reichsmark by the ‘Deutsche Arbeitsfront Berlin’. Depicted in ‘Die Kunst für Alle’, 1941/42.

Friedrich Schüz, ‘Salzburg’. GDK 1943 room 37. Sold for 2,500 Reichsmark. Depicted in ‘Die Kunst im Deutschen Reich‘, 1943, and in ‘Düsseldorfer Künstler im Haus der Deutschen Kunst 1943’.

Friedrich Schüz, ‘Danzica‘ (‘Danzig – Marienkirche‘). GDK 1940 room 35. Displayed at the ‘Ausstellung Düsseldorfer Kunst der Gegenwart, Florenze, 1943’. Depicted in the exhibition catalog. According to the ‘Stadtarchiv Düsseldorf’ (document alt: Bestand IV  Nr. 0-1-4-1877.0000) the ‘Kunstsammlungen’ had proposed in January 1944 to the Düsseldorfer Oberbürgermeister to buy this panting; however, the work was already donated to Gauleiter Florian.

Friedrich Schüz, ‘Alt-Braunau’. GDK 1942 room 4. Bought by Hitler for 2,500 Reichsmark. Also printed on postcards.

Friedrich Schüz, ‘Mariënburg’. GDK 1941 room 35. Bought for 3,000 Reichsmark by the Deutsche Arbeitsfront Berlin. Also displayed at the ‘Herbstausstellung Düsseldorfer Künstler’, 1941, Kunsthalle Düsseldorf.

Friedrich Schüz, ‘Danzig-Krahntor’ (‘Crane-gate in the city of Danzig‘). GDK 1940 room 35. Sold for 1,800 Reichsmark to Wilhelm Schmidding. Depicted in ‘Kunst dem Volk’, 1940.

Left: Friedrich Schüz, ‘Rom-Pantheon’. GDK 1943 room 28. Sold for 1,500 Reichsmark. Depicted in ‘Düsseldorfer Künstler im Haus der Deutschen Kunst 1943’.
Right: Friedrich Schüz, ‘Düsseldorf’. Displayed at the ‘Frühjahrs Ausstellung, Kunsthalle Düsseldorf’, 1942. Depicted in the exhibition catalog.
 

Friedrich Schüz, ‘Prag’ (‘City of Prague’). GDK 1941 room 37.

Friedrich Schüz, ‘Chioggi’ (‘Chioggia’, coastal town and commune of the Metropolitan City of Venice in the Veneto region of northern Italy). GDK 1941 room 30.

Friedrich Schütz, ‘Piazza del Popolo’. Around 1910. Size 61 x 80 cm. In the possession of the Stadtmuseum Tübingen.

Friedrich Schüz, ‘Taormina – Antikes Theater‘ (‘The ancient theatre of Taormina, Sicily’). GDK 1942 room 4. Bought by Hitler for 4,000 Reichsmark.

Friedrich Schüz, ‘Nürnberg – Burg’ (‘Imperial Castle of Nuremberg’). GDK 1942 room 4. Sold for 4,500 Reichsmark.
Depicted in the ‘Düsseldorfer Kunstmappe’, Dritte Folge, issued by Gauleiter Florian, 1942.

Friedrich Schüz, ‘Rom zur Goethezeit‘ (‘Rome at the Time of Goethe’). GDK 1944 room 23. Sold for 12,000 Reichsmark.
Right: ‘Rom zur Goethezeit‘  by Schüz, depicted in ‘Die Kunst für Alle’, 1944.
 

Friedrich Schüz, ‘Salzburg – Blick von der Burg‘ (‘Salzburg  – View from the Castle‘). Probably displayed at the GDK 1939, but not listed in the exhibition catalog. Bought by Von Ribbentrop. Size 52 x 66 cm. Offered in 2010 by a German auction house. With GDK medal and stickers on the back.        

Friedrich Schüz, ‘Rom – Spanishe Treppe’ (‘Spanish Stepps, Rome‘). GDK 1940 room 35.

Friedrich Schüz, ‘Villa bei Rom’ (‘Villa near Rome). Displayed at the ‘Grosse Düsseldorfer Kunstausstellung 1924’; depicted in the exhibition catalog.

Friedrich Schüz, ‘Engelbotschaft‘ (‘Message form Angel‘). Tempera. Displayed at the ‘Grosse Berliner Kunstausstellung’, 1917. Schüz displayed 7 works at the ‘Grosse Berliner Kunstausstellung 1917‘ (located in 1917 and 1918 in Düsseldorf): ‘Engelbotschaft’, ‘Tarantella’, ‘Idyll’, ‘Kinder im Walde‘, ‘Dante vor seiner Verbannung‘, ‘Christus mit seinen Jüngern vor einer Herberge‘ and ‘Joseph und seine Brüder‘.

After the end of WWII, in 1950, Schüz was declared ‘unbelastet’ (exonerated) during the denazification process.

Das Abendmahl/ The Holy Supper
In 1908 Schüz travelled, on instruction of the Düsseldorfer Regierungsmeister Schleicher, to Italy to create copies of Renaissance paintings. At the same time, the Munich publisher Callwey commissioned him to create a copy of The Holy Supper by Leonardo DaVinci, located in the Milanese Church Santa Maria delle Grazie. From 1909-1917 Schüz made a half size replica for the ‘Gemeindesaal der evangelischen Kirche in Düren‘ (destructed).
Between 1952 and 1953, after decades of studying DaVinci’s main mural painting, Schüz created a replica in the dimensions of original The Last Supper, for the Evangelical Last Supper Church in Haigerloch.

Friedrich Schüz, postcard, ‘Rekonstruktion des Heiligen Abendmal’.
 

Friedrich Schüz, painter of German and Roman cities
Friedrich Schüz , born in 1874 in Düsseldorf as the eldest son of the Swabian genre painter Theodor Schüz, was a German painter and grafiker.
He followed in his father’s footsteps after initially studying architecture at the Technical Universities of Hannover and Stuttgart and then, from 1899 – 1908, he studied painting at the Düsseldorf Academy under Heinrich Lauenstein, Peter Janssen der Ältere, and Eduard von Gebhardt. Schüz, known for his landscape and city-views, was a member of the ‘Düsseldorfer Künstlerverein Malkasten‘ and the ‘Allgemeinen Deutschen Kunstgenossenschaft‘. He was a friend of the Munich painter and sculptor Franz von Stuck, who taught Wassily Kandinsky and Paul Klee.

Schüz participated in the following exhibitions:

  • ‘Grosse Düsseldorfer Kunstausstellung’ 1924 (‘Madonna del Lasso’, ‘Dante’, ‘Villa d’Este’, ‘Stiege in Schwaben’, ‘Napoli -Porta Capuana’, ‘Aus Italien’, ‘Italienische Spinnerin’, ‘Liebesfrühling’, ‘Johannesknabe’);
  • ‘Austellung ‘Deutsche Kunst’, 1928, Kunstpalast Düsseldorf;
  • ‘Grosse Kunstausstellung Düsseldorf’, 1937 (‘Runkel an der Lahn‘, ‘St. Anna-Orgel‘);
  • ‘Frühjahrs Ausstellung Düsseldorf’, 1940 (‘Danzig mit Krahntor’, ‘Kinderbildnis’);
  • ‘Herbstausstellung Düsseldorfer Künstler’, 1940 (‘Prag’, ‘Sassnitz auf Rügen’);
  • ‘Rheinische Kunstausstellung’, 1941, Wien, (‘Spalato‘);
  • ‘Rheinische Kunstausstellung’, 1941, Danzig (‘Wechselmündung‘, ‘Hradschin – Prag‘);
  • ‘Herbstausstellung Düsseldorfer Künstler’, 1941, Kunsthalle Düsseldorf (‘Regensburg‘, ‘Die Marienburg‘, ‘Danzig-Marienkirche‘);
  • ‘Kunstausstellung für deutsche Soldaten’, 1942, NS-Gemeinde Kraft durch Freude (‘Danzig – Marienkiriche‘);
  • ‘Winter Ausstellung Düsseldorfer Künstler’, 1942 (‘Rügen’, ‘Sassnitz’);
  • ‘Frühjahrs Ausstellung, Kunsthalle Düsseldorf’, 1942 (‘Rom – Thermen’, ‘Prag -Hradschin’, ‘Düsseldorf’, ‘Schloss Linderhof’, ‘Waldhaus’, ‘Spalato’);
  • ‘Ausstellung Düsseldorfer Kunst der Gegenwart’,1943, Florenze (‘Roma Antica’, ‘Salisburgo – Ponte statale’, ‘Casa nel bosco’, ‘Roma – Terme’, ‘Danzica’);
  • ‘Frühjahrs Ausstellung Düsseldorfer Künstler’, 1944, Kunsthalle (‘Boote am Strand’).

According to the ‘Stadtarchiv Düsseldorf’ (document alt: Bestand IV  Nr. 0-1-4-1877.0000) the work ‘Danzig’ displayed at the GDK 1940 and at the ‘Ausstellung Düsseldorfer Kunst der Gegenwart, Florenze, 1943’, was aquired by Gauleiter Florian.
At the Great German Art Exhibitions, Schüz was represented with 27 works, all of them views on German and Italian cities. The works were bought for prices of up to 15,000 Reichsmark by i.a.:
– Adolf Hitler (4);
– Deutsche Arbeitsfront Berlin (4);
– Hermann Göring (1);
– Albert Speer (1).

Friedrich Schüz in Hitler’s private appartement in the Prinzregentenstrasse
In April 1943, Hitler had 21 paintings from the Great German Art Exhibition delivered to his Munich apartment on Prinzregentestrasse. It is fair to assume that these works, which mainly comprised landscapes and still lifes by painters such as Anton Müller-Wischin, Franz Xaver Wolf, Friedrich Schüz, Herman Urban, Sepp Happ, Sepp Meindl, Willy ter Hell and Ludwig Platzöder, were his personal favourites (‘Hitlers Salon’, Ines Schlenker, 2007).

Das Abendmahl/ The Holy Supper
In 1908 Schüz travelled, on instruction of the Düsseldorfer Regierungsmeister Schleicher, to Italy to create copies of Renaissance paintings. At the same time, the Munich publisher Callwey commissioned him to create a copy of The Holy Supper by Leonardo DaVinci, located in the Milanese Church Santa Maria delle Grazie. From 1909-1917 Schüz made a half size replica for the ‘Gemeindesaal der evangelischen Kirche in Düren‘ (destructed).
Between 1952 and 1953, after decades of studying DaVinci’s main mural painting, Schüz created a replica in the dimensions of original Last Supper, for the Evangelical Last Supper Church in Haigerloch.

After the end of WWII, in 1950, Schüz was declared as ‘unbelastet’ (exonerated) during the denazification process.
In 1954 Schüz was awarded the Bundesverdienstkreuz. In the same year he died Tübingen. His estate is located in the Stadtmuseum Tübingen.
A permanent exhibition is dedicated to the Schüz family of painters in Haigerloch, as all three sons of the genre painter Theodor Schüz had an artistic streak. This exhibition features numerous watercolours by the Protestant pastor Martin Schüz, works by Friedrich Schüz, and works by the third brother Hans.