(Munich 1808–1885) Maids on the Alpine Pastures, signed with rhombus signature, on the reverse remains of old labels, oil on canvas, 30 x 41 cm, framed, (W)

Compare:
Günther Roennefahrt, Carl Spitzweg - beschreibendes Verzeichnis seiner Gemälde, Bruckmann 1960, no. 369–377, 379, 380.
Siegfried Wichmann, Carl Spitzweg, Verzeichnis seiner Werke, Besler Verlag Stuttgart 2002, no. 1448–1457, 1459.

Provenance:
formerly Collection of Countess Giovanna D’Arco di Bologna;
thence by descent;
Casa d’asta, Babuino, 27 October 2010, lot 264;
Italian private property.

Letter of authentication
issued by Prof. Dr. phil. Dr. H. C. Jens Christian Jensen is available.

From the letter of authentication issued by Prof. Dr. phil. Jens Christian Jensen:
“The painting is set amongst rocks, forming a natural pedestal for the girls, one divided into small sections and differentiated, in a style characteristic of the older Spitzweg. This contrasts with the general treatment of the background. The high, misty sky hangs behind the rocky plateau like a thin film. To the left, the slope leading down to the valley floor filled with fir trees is depicted in detail before sinking into blackness in the background. The group of figures is composed of flecks of colour, but in Spitzweg’s typical style - not worked thoroughly, yet the harmony of the colours is impressive.
 Conclusion: I consider the painting (….) an original work by Spitzweg and one which has not been completely finished – a common occurance in the artist’s body of work. Accordingly the signature may have been overwritten. The overall impression of the painting is harmonious and this is typical of the idyllic subject matter that Carl Spitzweg preferred to paint in his later years, and the case for all his works which deal with the theme of maids in alpine pastures. The painting (….) can be dated circa 1870/75.” 

Carl Spitzweg, known for his humorous depictions of human nature, was self-taught, giving up his studies of chemistry, botany and pharmacy and subsequent work as a pharmacist to finally turn to painting. His friendship with Eduard Schleich, with whom he made many study trips to Italy, Germany, London and Paris, significantly influenced his artistic representations of landscapes and mountain ranges decorated with rustic figures. Spitzweg had the ability to bring together an exact observation of nature, the formation of clouds and play of light to lend his works an atmospheric impact. Thanks to his pharmaceutical and chemical training, Spitzweg was able to mix his own paints and these had a special brilliance and durability, as is evident in the present work. Initially working in the style of the late Romantics, Spitzweg increasingly turned towards Impressionism, this change also expressed in modifications to his method of applying colour. Glazed colours give way to pastose textures. In the work here Spitzweg chose, as so often, an elevated view, stressing the breadth of the country and freeing it from the constraints of time. This representational form ushered in the next generation of landscape painters for whom perceptions of nature would play a central role.