(Bockenem near Hildesheim 1784–1864 Munich) On the Amalfi Coast, around 1830, oil on canvas, 52 x 51 cm, framed, (W)

In the auction of 16th November 1993 Dorotheum, Vienna, this painting was offered together with an extract from a letter of authentication issued by Univ. Prof. Dr. Norbert Lieb, Munich, dated 14th October 1991: “This painting, obviously a rocky coastline scene in Southern Italy, is a work of great quality in the style which reached its zenith in Germany during the middle of the first half of the 19th century. Fortunately it is possible to reliably determine the date of the painting, the subject matter and the painter: This is a view of the coast of Amalfi, painted in the early 1830’s by the Munich painter and architect Leo von Klenze (1784–1864). The certainty of this assertion is based on a pencil sketch stored amongst the collections of the Staatliche Graphische Collection in Munich (Inv. No. 27.648 - Folder 140/1) from Klenze’s private property (Norbert Lieb - Florian Hufnagl, Leo von Klenze, Gemälde und Zeichnungen, published by Callwey, Munich 1979, p. 176, No. 144 with illustration). Klenze made this original sketch, dated “14th May”, during a trip to Italy in 1830. The artist who, although an architect by profession, increasingly dedicated himself to painting from around 1825 onwards, brought back with him to Munich a rich collection of sketches made during that journey, which he then used for his paintings. This painting represents the evident artistic development of the subject matter in sketch number 144. An obvious, peripheral, difference is the alteration in format. Whereas the format of sketch number 144 is the extended rectangle (proportions roughly 1:1.45) so favoured by Klenze, the painting is almost square in dimension (52:51cm, uncut!). These proportions lend an increased sense of compactness and a greater plasticity….This painting, to date unknown, proves how well Klenze was able to draw on his architectural skills to create an inner order amongst the elements making up his paintings. The contrasting and balancing of earth formation and sea, of rocks, trees and earth and clouds in the sky, light and shadow, as well as in the discrete decorative figures, brings the painting to life. It can therefore be regarded as a mature and important work of Romantic Classicism.” (The letter of authentication cited above is no longer available). Leo von Klenze The artist was one of the most important and eclectic of Germany’s neoclassical architects. With his background in the humanities, Klenze travelled 24 times, to Italy, Southern France and Greece. Munich played an important role in Klenze’s work. King Ludwig I valued Klenze’s works greatly and appointed Klenze court architect. His career as court architect to Ludwig I is characterised by the tense relationship between the King’s changing wishes and Klenze’s own artistic ideals. Klenze created several buildings which epitomise the architectural style of the 19th century: the Glyptothek, the Pinakothek, the Propyläen and the Ruhmeshalle. Inspite of his prolific work as an architect, Klenze was also involved in defining theories of architecture, as a diplomat, an organisor of Bavarian architecture and a painter. He created numerous oil paintings, watercolours and sketches, and immersed himself in studies of aesthetics, archaeology and the history of religion. Oil paintings, watercolours and sketches by Klenze can be found in Munich, in Berlin and in Copenhagen.