(Urfahr 1813–1890 Vienna)
The Toilet, signed, dated J. B. Reiter (1)842, oil on canvas, 63.5 x 49.5 cm, framed, (Rei)

Provenance:
Collection of Baron Gabriel Gudenus (1795-1876), Vienna and Waidhofen an der Thaya, acquired from the artist 1844;
by inheritance to his grandson, Count Philipp Gudenus (1877-1948), Waidhofen an der Thaya; Collection of Anna Brabee (1887-1964), Waidhofen an der Thaya;
Private Collection, Austria;
Private Collection, Vienna.

Catalogued and illustrated in:
Alice Strobl, Johann Baptist Reiter, published by Kulturverwaltung der Stadt Linz, Verlag Anton Scholl, Vienna, Munich 1963, p. 69, no. 48, ill. p. 127;
Bilder des Lebens, Johann Baptist Reiter und der Realismus des 19. Jahrhunderts, exhibition catalogue, Museum Francisco Carolinum, Linz 22 May 1990–19 August 1990 and Schloß Grafenegg 1 September 1990–28 October 1990, p. 37, no. 48;
Lothar Schultes, monograph and exhibition catalogue, Johann Baptist Reiter, published by Oberösterreichischen Landesmuseum and NORDICO Stadtmuseum Linz, 11 Juny 2013–3 November 2013, pp. 65–68, ill. 92, p. 66.

Johann Baptist Reiter was one of the most significant representatives of Biedermeier painting. He trained at the Viennese Academy and was influenced by the great artists of the time, such as Ferdinand Georg Waldmüller, Leopold Kuppelwieser and Peter Krafft. In line with tradition at the Academy, Reiter initially focused on historical and religious scenes. He developed a preference for genre painting and portrait painting, which increasingly came to dominate his artistic output. Reiter also borrowed compositional elements from the Dutch Masters of the 17th century. A perspective looking through multiple rooms, or, as in the present painting, the use of a mirror to give depth to a room, is also reflected in his work. The young woman’s back is to the viewer, who sees her face in the mirror, acting as a “second level of reality” (see Lothar Schultes, Johann Baptist Reiter, p. 67). She seems lost in thought, and is not disturbed by the entrance of the servants. A red shawl is draped over her upper body, only partially covering her nakedness. Contemporary viewers believed that the woman depicted could either have been Reiter’s first wife or one of his sisters. In any case, it is possible to discern a personal connection that Reiter reflects in this almost-intimate scene. The items placed randomly on the small table next to her are taken from everyday life. The pomade box she uses to curl her hair, along with her pearl jewellery and the carelessly discarded scarf, provide this closeness and realism.

The artist knew how to depict his protagonists with everyday immediacy. He runs the gamut from self-aware society ladies through to simple market traders or touching images of children. His portraits were very popular in society, and even though his art was enthusiastically received, it did not correspond to reality: he did not live in opulent luxury with multiple servants.
Johann Baptist Reiter’s art is based on his engaging with the emotional sphere of the subject of his portrait.