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Wilhelm Trübner - Schlosspark Lichtenberg mit Bank (Odenwald)

Schlosspark Lichtenberg mit Bank (Odenwald) (1900)

Wilhelm Trübner (German, 1851-1917)
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License: All public domain files can be freely used for personal and commercial projects.
Why is this image in the public domain?
The Artist died in 1917 so this work is in the public domain in its country of origin and other countries where the copyright term is the Artist's life plus 70 years or fewer.
Wilhelm Trübner

Wilhelm Trübner was a German realist painter of the circle of Wilhelm Leibl.

Trübner was born in Heidelberg. He was the third son of a silver- and goldsmith, Johann Georg Trübner, and his wife Anna Maria. In 1867 he began training as a goldsmith in Hanau, and met classicist painter Anselm Feuerbach who encouraged him to study painting. In that year he began studies at the Kunstschule in Karlsruhe under Karl Friedrich Schick. He was influenced by artists he met in Karlsruhe, such as Hans Canon and Feodor Dietz. In 1869 he began studying at the Kunstacademie in Munich, where he was greatly impressed by an international exhibition of paintings by Leibl and Gustave Courbet. Courbet visited Munich in 1869, not only exhibiting his work but demonstrating his alla prima method of working quickly from nature in public performances. This had an immediate impact on many of the city's young artists, who found Courbet's approach an invigorating alternative to the shopworn academic tradition.

In 1870 he made the acquaintance of Carl Schuch and Albert Lang. In August 1871, the three artists painted landscapes together during hikes in Hohenschwangau and Bernried, where they met Leibl. In 1872 Trübner met Hans Thoma, another German painter who greatly admired the unsentimental realism of Wilhelm Leibl. Together Trübner, Schuch, Lang, and Thoma formed the core of the group of artists known as the "Leibl circle".

The early 1870s were a period of discovery for Trübner. He travelled to Italy, Holland and Belgium, and in Paris encountered the art of Manet, whose influence can be seen in the spontaneous yet restrained style of Trübner's portraits and landscapes. According to art historian Eberhard Ruhmer, "Trübner reached his relatively brief artistic peak between 1872 and 1876, during which time he made some of the most important contributions to the Leibl circle’s achievement and produced the most effective examples of what he called 'purist painting'" – paintings in which formal concerns take precedence over subject. His works of this period, such as On the Sofa (1872) and Carpenters on the Banks of Wessling Lake (1876), depict prosaic scenes with a somber realism and subdued color. Subsequently, Trübner attempted to achieve greater success by brightening his palette, and he frequently painted historical and literary subjects.

He published writings on art theory in 1892 and 1898, which express above all the idea that "beauty must lie in the painting itself, not in the subject". By urging the viewer to discover beauty in a painting's formal values, its colors, proportions, and surface, Trübner advanced a philosophy of "art for art's sake". In 1901 he joined the recently formed Berlin Secession, at the time Germany's most important forum for the exhibition of avant-garde art. From 1903 until his death in 1917 he was a professor at the Academy of Arts in Karlsruhe, also serving as director from 1904 to 1910.

More Artworks by Wilhelm Trübner (View all 75 Artworks)

Frauenchiemsee, Klosterwiese mit Kirchturm III

Frauenchiemsee, Klosterwiese mit Kirchturm III (1891)

Wilhelm Trübner (German, 1851-1917)
Prozession im Kreuzgang in Seeon

Prozession im Kreuzgang in Seeon (1892)

Wilhelm Trübner (German, 1851-1917)
On the Sofa

On the Sofa (1872)

Wilhelm Trübner (German, 1851-1917)
Portrait of Countess G.

Portrait of Countess G.

Wilhelm Trübner (German, 1851-1917)
Zwei Edelfräulein und ein Knappe reiten auf die Jagd, dabei Bursche und Rüden

Zwei Edelfräulein und ein Knappe reiten auf die Jagd, dabei Bursche und Rüden (1870)

Wilhelm Trübner (German, 1851-1917)
Männlicher Akt (Studie zur Gigantenschlacht)

Männlicher Akt (Studie zur Gigantenschlacht)

Wilhelm Trübner (German, 1851-1917)
Zwei weibliche Akte, auf dem Rücken liegend

Zwei weibliche Akte, auf dem Rücken liegend

Wilhelm Trübner (German, 1851-1917)
Buchenwald mit Liebespaar

Buchenwald mit Liebespaar (1876)

Wilhelm Trübner (German, 1851-1917)
Portrait of a Dame with a Violet Dress

Portrait of a Dame with a Violet Dress (1873)

Wilhelm Trübner (German, 1851-1917)
Portrait of an Unknown Lady

Portrait of an Unknown Lady (1894)

Wilhelm Trübner (German, 1851-1917)
Studiosus Michaelis, mit Papierrolle

Studiosus Michaelis, mit Papierrolle (1873)

Wilhelm Trübner (German, 1851-1917)
View of Heidelberg

View of Heidelberg

Wilhelm Trübner (German, 1851-1917)
A View of Frauenchiemsee

A View of Frauenchiemsee (1891)

Wilhelm Trübner (German, 1851-1917)
Nikolaus Trübner als Dragoner

Nikolaus Trübner als Dragoner (1871)

Wilhelm Trübner (German, 1851-1917)
Stift Neuburg, Parkmauer mit Forellenteich II

Stift Neuburg, Parkmauer mit Forellenteich II (1913)

Wilhelm Trübner (German, 1851-1917)
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