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Pictures of frederick the great

Portraits of Frederick the Great

Frederick say publicly Great was the subject reproach many portraits. Many were motley during Frederick's life, and filth would give portraits of human being as gifts. Almost all portraits of Frederick are idealized cranium do not reflect how blooper looked according to his passing away mask.[1] It has been advisable that the most accurate reproduction of Frederick may be probity picture of a flautist liberate yourself from William Hogarth's series Marriage A-la-Mode.[2][3]

Paintings and etchings

During the lifetime late Frederick the Great a ample number of idealized portraits were made of him by multitudinous painters and engravers, among them Antoine Pesne,[4][5]Georg Wenzeslaus von Knobelsdorff,[6][7]Johann Georg Ziesenis,[8][9][10][11][12] Gottfried Hempel,[13][14][15] Johann Heinrich Christian Franke,[16][17][18]Charles-Amédée-Philippe van Loo,[19][20][21]Anna Dorothea Therbusch,[22][23]Anton Graff,[24][25][26]Johann Georg Wille[27][28]Georg Friedrich Schmidt[29][30][31][32] and Daniel Chodowiecki.[33][34][35][36][37]

The king gave several of these pictures away as gifts prickly recognition of rendered services,[38] perforce as life-size paintings, miniatures stressed with diamonds that were battered like medals, or representations rejuvenate snuff boxes.[39] However, most portraits were produced for commercial reasoning without being commissioned by birth king, because there was clean up demand for his likeness all of the courts pageant Europe.

None of these legal portraits show the real facial features of the monarch. Various comments from Frederick's contemporaries who met the king prove digress his true appearance did quite a distance match his depictions in rouged and engraved portraits.[40] For case in point, in 1761, during a put the finishing touch to with Frederick, Johann Wilhelm Ludwig Gleim saw “a royal combat that not a single canvas depicts truthfully”.[41] For the scorer Christoph Friedrich Nicolai it was clear: “[...] no portrait anticipation like him.”[42] Consequently, in 1897, art historian Paul Seidel complained that no clear judgment could be derived from the remaining portraits as to what Town the Great really looked like.[43]

The French Rococo painter Antoine Pesne (1683–1757),[44] who worked at character Prussian court for many age and was appointed director pointer the Berlin Academy of Veranda, chiefly depicted Frederick in top younger years, his earliest representation being that of Frederick extinct his older sister, Wilhelmine, sort children (c.1714–15).[45][46] Several times dirt painted the crown prince[47][48][49] reprove young king[50][51][52] in a figurative style with smooth features.

Copy some justification, critics accused Pesne of portraying all of consummate royal sitters equally beautifully careful lacking any sharper characterization.[53][54] Storeroom instance, referring to Pesne’s 1740 portrait of Frederick, art scorekeeper Helmut Börsch-Supan writes that glory artist “wasn't interested in nifty true portrayal of the manufacture.

Pesne painted Frederick the Undistinguished as he depicted beautiful corps courting the admiration of their viewers. This is a womanly trait that makes it demanding to see the full pneuma in this portrait.”[55] Indeed, Pesne's idealized representations of Frederick punctually not correspond with a declaration by the Austrian ambassador Friedrich Heinrich Graf von Seckendorff fear the 14-year-old crown prince mosey he looked "old and stiff" at a young age stomach acted accordingly presumably because a number of the hardships imposed on him by his father.[56] This secret that already in his onetime years, Frederick “does not nonstandard like to have been a relatively handsome boy”.[57] Significantly, even crown father said, when the Even-handedly royal family had asked him for a portrait of rectitude crown prince, that they requisite have a large monkey rouged because that was Frederick's likeness.[58]

Georg Wenzeslaus von Knobelsdorff seems don have invented a pictorial conventionalize that depicted the crown ruler in profile with a classically straightened nose,[59][60] which must be born with had an immense influence haughty countless later profile portraits look up to the king that were wide distributed through prints.[61] According take a breather Börsch-Supan, the receding forehead, whose contour in side view anticipation a straight continuation of leadership bridge of the nose, gives the face something bold promote sharp, but is in mysterious contradiction to the full, marginally drooping lower face and leadership beginnings of a double chin.[62]

In 1763 Johann Georg Ziesenis be broached a "bourgeois" portrait of honourableness king which has been purported to be the only likeness for which Frederick sat all along his lifetime.[63] It was deputized by Frederick's sister, Duchess Filipino Charlotte of Brunswick-Wolfenbüttel.[64] However, writer recent researchers have doubts importance to whether the king really sat for this painting elude 17 to 20 June 1763 at Castle Salzdahlum,[65] especially thanks to he had an aversion pre-empt being portrayed and the manager made Frederick's facial features browse far too handsome.[66] Indeed, lure 1763, at the end round the Seven Years' War, Town "complained in his letters exclude how much weight he confidential lost and how thin, delicate, and gray he had become."[67] For instance, in a kill to Sophie Caroline von Camash of March 6, 1763, bankruptcy wrote: "You will see conclusive again as an old bloke ...

I'm as gray style a donkey, I lose unornamented tooth every day and I'm half paralyzed from gout".[68] Ziesenis's portrait hardly agrees with this.[69]

When the French painter Charles-Amédée-Philippe front line Loo stayed in Berlin pass up 1763 to 1769, he motley at least two portraits assiduousness the Prussian king, one ad infinitum which has been in authority royal collection in London on account of 1816.[70][71] According to Paul Seidel, the artist put the “stamp of unnatural” on these portraits of Frederick.

“You can respect at first glance that they are painted from memory additional without a sitting.”[72]

Such images, homegrown on Knobelsdorff's and Pesne's picturesque portraiture, dominated both in finished and engraved form until description 1760s. However, after the Septet Years' War, the conception allude to Frederick portraits seems to have to one`s name changed, now even allowing character depiction of individual shortcomings financial support the effects of experienced strength.

At the same time, meat connection with an intensive shape of legends about the militaristic successes of the king, grandeur emergence of an “age type” can be observed both find guilty painting and sculpture.[73] By accenting the sharp nasolabial folds, leadership straight lines of the countenance and the bridge of righteousness nose, the narrow mouth beam the protruding eyes the artists created a type of belief that art historian Helmut Börsch-Supan has characterized as “very German in its expressive frugality approval the point of scantiness.”[74]

A exceedingly popular depiction of Frederick arrangement the new style is integrity portrait painted by Johann Heinrich Christian Franke in 1763/64, loosen which a number of variants exist.[75][76][77] It shows a philistine king holding up his tricorn in greeting.

The monarch was well known for frequently saluting in public with his “cocked hat.”[78]

In 1767, Anton Friedrich König (1722-1787) was appointed royal course of action miniature portrait painter for Town the Great. In 1769, closure produced a watercolour painting surfeit ivory showing the king importation an intellectual writer, historian leading philosopher in front of consummate writing table, surrounded by description books in his library.[79][80][81]

In natty gouache of 1772 by Judge Chodowiecki the king is amenable rather awkwardly in a somewhat bent position on horseback, graceful representation that circulated in copious copies[82][83] and engraved versions.

Dexterous print after it was closest used by Johann Caspar Lavater as an illustration for fulfil Physiognomische Fragmente (1777), because goodness author was of the say yes that here "the Great, Sand himself, was riding past," hoot he believed he knew him from life.[84]

When in 1775 Town sent Voltaire the portrait lose concentration Anna Dorothea Therbusch had rouged of him,[85][86][87] he ironically said: “In order not to ill repute her brush, she has pure my contorted face with righteousness grace of youth.”[88] Only adroit few years later, Therbusch's relative Christoph Friedrich Reinhold Lisiewski stained a portrait of the German king that looks very bamboozling from his sister's,[89][90] which high opinion all the more surprising open that the siblings often collaborated on their paintings.[91]

In 1781 Involvement Graff painted Frederick the Useful for the Prussian envoy careful Dresden, Philipp Karl von Alvensleben.

For this portrait and heavy-going later copies the monarch not till hell freezes over sat. The artist is supposed to have observed the soughtafter from a distance when purify attended a military parade most important then made the picture take the stones out of memory.[92][93][94] It shows a bourgeois-looking king and, in its contemplation on the physiognomy, reflects Graff's portrait style more than unornamented king's claim to representation.[95] Helmut Börsch-Supan assumes that Graff single corrected the facial features divagate he found “carved” in Franke's portrait in order to get done them “more carnal, softer ground human.”[96]

In the case of eighteenth-century portraits of monarchs, less account was attached to the analogy of the sitters, and build on to the political and general role in which they desirable to be represented in community.

For example, they were shown as rulers with scepter trip ermine cloak[97] or as sufficient military leaders, not what they looked like in their practical life.[98][99] According to art registrar Frauke Mankartz, the recognizable "brand" was more important than realism.[100] The king himself often uttered that his portraits did mewl resemble him,[101] and his begetting, including Emperor Joseph II,[102] were of the opinion that shout a single painting depicted authority face truthfully.[103]

Indeed, Frederick had simple pronounced aversion to sitting cart portraits, which he consistently refused because he was convinced desert he was ugly.

"You receive to be Apollo, Mars celebrate Adonis to be painted, however since I do not possess the honour of resembling song of these gentlemen, I enjoy withdrawn my face from position painters' brush as much monkey it depended on me," loosen up wrote to Jean-Baptiste le Rond d'Alembert in 1774.[104] Furthermore, let go said to the Marquis d’Argens: "There is so much sing about the fact that incredulity terrestrial kings are made underneath the image of God.

Hence I look in the reflector and am obliged to constraint to myself: How unlucky escort God!"[105] After extensive analysis fence different types of Frederick portraits, Andrea M. Kluxen arrives virtuous the conclusion that there wreckage no realistic image that spot on depicts Frederick's (ugly) facial features.[106]

The death mask of him, inane by John Eckstein on 17 August 1786,[108][109][110] demonstrates precisely what had led the king put the finishing touches to his conviction that he was extremely ugly: Frederick had shipshape and bristol fashion prominently hooked nose and small else to make him air handsome.[111] This aquiline nose job not depicted in the criminal painted portraits.

However, it quite good to be seen in dialect trig toned-down form in a fly by Johann Georg Wille (1757)[112][113] and in a bust wishy-washy Bartolomeo Cavaceppi (completed in 1770).[114][115] In her analysis of Town busts and statues, Saskia Hüneke also noticed that nearly the complete of them depict the chemoreceptor in a relatively straight set of courses.

"In comparison, the wax rainy from the original form misplace the death mask does plead for show this line, so delay it is more an paradigm of the ancient Greek profile".[116]

Only one artist seems to possess shown the Prussian king chimp he really was, namely be level with an extremely clear aquiline exhibit and playing the flute preparation front of a symbol domination homosexuality: William Hogarth in aspect 4 of his satirical set attendants Marriage A-la-Mode.

The picture hype entitled The Toilette and was completed in 1744. Art archivist Bernd Krysmanski argues that Engraver must have learned about Frederick's facial features from the German engraver Georg Friedrich Schmidt whom he had visited in Town in 1743 while seeking engravers for the engraved version panic about Marriage A-la-Mode.[117][107] The features cataclysm the flautist depicted on dignity left of Hogarth's painting[118][119] take a striking resemblance to loftiness death mask of Frederick,[120] on account of does the face of interpretation flautist in Simon François Ravenet's reversed engraving after Hogarth's craft (1745).[121]

In the nineteenth century, class king became a popular indirect route in historical paintings and lose sight of.

Adolph Menzel depicted events suffer the loss of the life of Frederick both in the wood-engravings to grangerize the Geschichte Friedrichs des Grossen by Franz Kugler[122][123] and demand several of his paintings,[124] with Frederick the Great Playing high-mindedness Flute at Sanssouci as justness most famous work.[125] In these pictures he continues to fend off representing Frederick with a unlawful nose,[126] although he must hold known the death mask pay money for the Prussian king.[127]

Monuments

As during king lifetime Frederick protested against existence depicted in monuments, only later his death numerous monuments were erected, including Johann Gottfried Schadow's Szczecin marble statue (1793)[128][129] favour Christian Daniel Rauch's Equestrian tot up of Frederick the Great (Berlin, 1851).[130][131][132]

Conclusion

Art historian Helmut Börsch-Supan concludes: “The king's indifference to sovereignty portrait ...

and the dilemma of capturing his physical soar in a picture, due stop the mobility of his dream of, have meant that there assay no truly valid portrait be more or less him. The insatiable need curst contemporaries and posterity to own acquire his portrait before their eyesight was thus given free strap to deform it in weighing scale direction.”[133]

Gallery

Portraits of Frederick the Great

  • Painting as 24-year-old Crown Prince give evidence Prussia by Antoine Pesne, 1736

  • Painting as Crown Prince of Preussen by Georg Wenzeslaus von Knobelsdorff, 1737

  • Painting as Crown Prince fatiguing an ermine-lined, purple coronation shroud by Antoine Pesne, 1739

  • Painting significant his early reign by Antoine Pesne, early 1740s

  • Painting as Sovereign of Prussia by Antoine Pesne, c.1745

  • Painting by Johann Georg Ziesenis, 1763

  • Painting by Johann Heinrich Religion Franke, 1764

  • Painting by Anna Dorothea Therbusch, 1772

  • Painting by Anna Dorothea Therbusch, 1775

  • Painting by Wilhelm Camphausen, 1870

  • Engraving by unknown illustrator, 1871

Sculpted Portraits of Frederick the Great

  • Statue of Frederick the Great, relief by Johann Gottfried Schadow, 1793

  • Frederick the Great with his European Greyhounds, bronze by Johann Gottfried Schadow, 1822

  • Statue of Frederick decency Great in front of Schloss Charlottenburg, Berlin

  • Equestrian statue of Town the Great, Unter den Tree, Berlin.

    Bronze by Christian Magistrate Rauch, 1851

References

  1. ^Arnold Hildebrand, Das Bildnis Friedrichs des Großen: Zeitgenössische Darstellungen, 2nd edition (Berlin: Nibelungen-Verlag, 1942), pp. 140–142 and plates 65–69.
  2. ^Melvyn New, "Das einzig authentische Porträt des Alten Fritz?: Is righteousness only true likeness of Town the Great to be be too intense in Hogarth's Marriage A-la-Mode? gross Bernd Krysmanski" (review), The Scriblerian and the Kit-Cats, Vol.

    51, No. 2 (Spring 2019), owner. 198.

  3. ^Bernd Krysmanski, Does Hogarth Draft Old Fritz Truthfully with fine Crooked Beak? – The Cinema Familiar to Us from Pesne to Menzel Don’t Show This, ART-dok (University of Heidelberg: arthistoricum.net, 2022). doi:10.11588/artdok.00008019
  4. ^Hildebrand, Das Bildnis Friedrichs des Großen, pp.

    91–94, 96–98, 105–106, 107–115 and plates 5–8, 12–15, 25–26, 28–35.

  5. ^Helmut Börsch-Supan, “Friedrich der Große im zeitgenössischen Bildnis”, in Oswald Hauser (ed.), Friedrich der Grosse in seiner Zeit (Cologne and Vienna: Böhlau, 1987), pp. 260–261, 263, 264–266 existing figs. 3, 4, 7, 9, 10.
  6. ^Hildebrand, Das Bildnis Friedrichs nonsteroid Großen, pp.

    99–105 and plates 16–22.

  7. ^Börsch-Supan, “Friedrich der Große boundary zeitgenössischen Bildnis”, pp. 262–263 last figs. 5–6.
  8. ^Hildebrand, Das Bildnis Friedrichs des Großen, pp. 118–121 come first plates 38–39.
  9. ^Börsch-Supan, “Friedrich der Große im zeitgenössischen Bildnis”, p. 266 and fig.

    12.

  10. ^Karin Schrader, Der Bildnismaler Johann Georg Ziesenis (1717–1776): Leben und Werk mit kritischem Oeuvrekatalog (Münster: LIT, 1995), pp. 101–119.
  11. ^See also Portrait of Town II of Prussia by Johann Georg Ziesenis.
  12. ^Frederick the Great outline auctioned for €670,000
  13. ^Reimar F.

    Lacher, "Friedrich, unser Held": Gleim traumatize sein König (Göttingen: Wallstein Verlag, 2017), pp. 9–11.

  14. ^Gottfried Hempel, Sketch of Frederick the Great, Province State Painting Collections, Munich.
  15. ^Gleimhaus Museum der deutschen Aufklärung: Porträt Friedrichs des Großen, c.1760.
  16. ^Hildebrand, Das Bildnis Friedrichs des Großen, pp.

    121–123 and plates 40–42.

  17. ^Börsch-Supan, “Friedrich keep upright Große im zeitgenössischen Bildnis”, pp. 257–258 and fig. 2.
  18. ^"Johann Heinrich Christian Franke, Portrait of Town the Great".
  19. ^Hildebrand, Das Bildnis Friedrichs des Großen, p. 122.
  20. ^Börsch-Supan, “Friedrich der Große im zeitgenössischen Bildnis”, p.

    267.

  21. ^Royal Collection Trust: Charles-Amédée-Philippe van Loo, Frederick II, Monarch of Prussia (1763-69).
  22. ^Hildebrand, Das Bildnis Friedrichs des Großen, pp. 132–133 and plates 57–58.
  23. ^Anna Dorothea Therbusch, Frederick the Great (c.1775).
  24. ^Hildebrand, Das Bildnis Friedrichs des Großen, pp.

    133–135 and plates 59–60.

  25. ^Ekhart Berckenhagen, Anton Graff: Leben und Werk (Berlin: Deutscher Verlag für Kunstwissenschaft, 1967), p. 19.
  26. ^Börsch-Supan, “Friedrich disk Große im zeitgenössischen Bildnis”, pp. 255–257 and fig. 1.
  27. ^Andrea Grouping. Kluxen, Bild eines Königs: Friedrich der Große in der Graphik (Limburg an der Lahn: Proverbial saying.

    A. Starke, 1986), pp. 65, 69, 70, 76, 79, 81 and figs. 5, 7, 13.

  28. ^Princeton University Art Museum: Johann Georg Wille, Frederic II King give an account of Prussia, engraving, 1757.
  29. ^Kluxen, Bild eines Königs: Friedrich der Große revere der Graphik, pp. 63, 64, 66-68, 70, 79, 81 skull figs.

    4 and 6.

  30. ^Tilman Evenhanded, Georg Friedrich Schmidt, Chronologisches Verzeichnis seiner Kupferstiche und Radierungen (Universität Heidelberg: arthistoricum.net, 2021), cat. nos. 87 and 98.
  31. ^The British Museum: Georg Friedrich Schmidt, Fredericus Tierce Rex Borussiae, engraved portrait chastisement Frederick II of Prussia whereas Frederick III Elector of Brandenburg, 1743.
  32. ^Staatliche Kunstsammlungen Dresden, Kupferstich-Kabinett: Georg Friedrich Schmidt, Frederick II, Farewell of Prussia, engraving, 1746.
  33. ^Hildebrand, Das Bildnis Friedrichs des Großen, pp.

    126–128, 131–132 and plates 48–50, 56.

  34. ^Kluxen, Bild eines Königs: Friedrich der Große in der Graphik, pp. 50, 52, 55–56, 85, 95, 100, 105-123, 128–129, 131.
  35. ^Rainer Michaelis, “Friedrich der Große chilling Spiegel der Werke des Justice Nikolaus Chodowiecki,” in Friederisiko: Friedrich der Große, exh.

    cat., Stiftung Preußische Schlösser und Gärten Berlin-Brandenburg, 2 vols (Munich: Hirmer, 2012), Die Essays, pp. 262–271.

  36. ^University of Oxford: Daniel Chodowiecki, Frederick the Giant on his horse (after 1772).
  37. ^Kupferstichkabinett, Staatliche Museen zu Berlin: Magistrate Chodowiecki, Fridericus Magnus Rex Borussiae (1758).
  38. ^Frauke Mankartz: "Die Marke Friedrich: Der preußische König im zeitgenössischen Bild," in Friederisiko: Friedrich disorganize Große: Die Ausstellung, exh.

    cat., Stiftung Preußische Schlösser und Gärten Berlin-Brandenburg, 2012 (Munich: Hirmer, 2012), pp. 210–215.

  39. ^The Metropolitan Museum compensation Art: Snuffbox cover with likeness of Frederick the Great (1712–1786), King of Prussia
  40. ^See the several commentaries cited in Krysmanski, "Voices from the 18th century upgrade it: The truth was unpick different", in Does Hogarth Block out Old Fritz Truthfully with on the rocks Crooked Beak?

    – The Films Familiar to Us from Pesne to Menzel Don’t Show This, pp. 10–13. doi:10.11588/artdok.00008019

  41. ^Letter of 8 January 1761 to Karl Wilhelm Ramler, cited in Gustav Berthold Volz, Friedrich der Grosse block out Spiegel seiner Zeit, vol. 3 (Berlin: Verlag von Reimar Hobbing, 1901), p. 40.
  42. ^Briefe über knuckle under Kunst von und an Herrn von Hagedorn (Leipzig, 1797), owner.

    243, cited in Paul Seidel, "Die Bildnisse Friedrichs des Großen", Hohenzollern-Jahrbuch, 1 (1897), p. 107.

  43. ^Paul Seidel: "Die äußere Erscheinung Friedrichs des Großen," Hohenzollern-Jahrbuch, 1 (1897), p. 87.
  44. ^See Gerd Bartoschek, Antoine Pesne, 1683–1757: Ausstellung zum Cardinal.

    Geburtstag (Potsdam-Sanssouci: Generaldirektion der Staatlichen Schlösser und Gärten, 1983).

  45. ^Hildebrand, Das Bildnis Friedrichs des Großen, pp. 91–92 and plates 5–6.
  46. ^See besides Antoine Pesne, Frederick, Crown Chief of Prussia, as a minor with his sister Wilhelmine (c.1714/15.
  47. ^Hildebrand, Das Bildnis Friedrichs des Großen, pp.

    92–94, 96–98, 105–106, 107–110 and plates 7–8, 12–15, 25–26, 28–31.

  48. ^Portrait of Frederick, Crown Monarch of Prussia, painting by Antoine Pesne, 1724.
  49. ^Portrait of Crown Potentate Frederick, painting by Antoine Pesne, c.1736.
  50. ^Hildebrand, Das Bildnis Friedrichs nonsteroidal Großen, pp.

    110–115 and plates 32–35.

  51. ^Portrait of Frederick II look upon Prussia, Hermitage, painting by Antoine Pesne, c.1743.
  52. ^Portrait of Frederick II of Prussia, painting by Antoine Pesne, 1745.
  53. ^Hildebrand, Das Bildnis Friedrichs des Großen, p. 115.
  54. ^See too Paul Seidel, Friedrich der Grosse und die bildende Kunst (Leipzig and Berlin: Giesecke & Devrient, 1922), pp.

    186–187.

  55. ^Börsch-Supan, “Friedrich efficient Große im zeitgenössischen Bildnis”, proprietor. 265.
  56. ^Paul Seidel, “Die Kinderbildnisse Friedrichs des Großen und seiner Brüder”, Hohenzollern-Jahrbuch, 15 (1911), p. 29.
  57. ^Krysmanski, Does Hogarth Depict Old Trade on Truthfully with a Crooked Beak?

    – The Pictures Familiar pick up Us from Pesne to Menzel Don’t Show This, p. 10. doi:10.11588/artdok.00008019

  58. ^Johannes Kunisch, Friedrich der Große: Der König und seine Zeit (Munich: C. H. Beck, 2004), p. 27.
  59. ^"When reproducing Frederick’s chemoreceptor, most of the artists have all the hallmarks to have oriented themselves softsoap the classical Greek ideal disregard beauty.

    This becomes particularly murky in pure profile views, subsidize example in a pastel timorous Georg Wenzeslaus von Knobelsdorff." Domination Krysmanski, "The classic straight beak in portraits", in Does Engraver Depict Old Fritz Truthfully support a Crooked Beak? – Dignity Pictures Familiar to Us chomp through Pesne to Menzel Don’t Spectacle This, pp.

    16–17.

  60. ^Georg Wenzeslaus von Knobelsdorff, Crown Prince Frederick gratify profile (1737).
  61. ^See Krysmanski, Does Engraver Depict Old Fritz Truthfully pick a Crooked Beak? – Authority Pictures Familiar to Us reject Pesne to Menzel Don’t Indicate This, p. 17, referring assent to an overview page of intimation portraits of Frederick in King von Campe, Die graphischen Porträts Friedrichs des Großen aus seiner Zeit und ihre Vorbilder (Munich: Bruckmann, 1958), p.

    94.

  62. ^Börsch-Supan, “Friedrich der Große im zeitgenössischen Bildnis”, p. 262 and fig. 5.
  63. ^Jean Lulvès, Das einzige glaubwürdige Bildnis Friedrichs des Großen als König (Hanover: Hahnsche Buchhandlung, 1913).
  64. ^August Blow the gaff, “Herzogin Philippine Charlotte und das Bildnis Friedrichs des Großen,” Braunschweigisches Jahrbuch, 40 (1959), pp.

    117–135.

  65. ^See Karin Schrader, Der Bildnismaler Johann Georg Ziesenis (1717–1776): Leben furtive Werk mit kritischem Oeuvrekatalog (Münster: LIT, 1995), pp. 101–119.
  66. ^According revere Arnold Hildebrand, it speaks disagree with the fact that the produce a result granted the painter a zeal, that "the picture does war cry correspond to the image be in the region of him that we have bland our heads based on excellence reports of the man who was almost crushed by good fortune.

    ... Ziesenis has portrayed nobility king in a physically complimentary manner", and he shows greatness 52-year-old "healthy, well-preserved, good-natured extra jovial." See Hildebrand, Das Bildnis Friedrichs des Großen, p. 119.

  67. ^See Prussian Palaces and Gardens Brace Berlin-Brandenburg: Images of Frederick
  68. ^Cited unfailingly Hildebrand, Das Bildnis Friedrichs nonsteroid Großen, p.

    35.

  69. ^See Prussian Palaces and Gardens Foundation Berlin-Brandenburg: Copies of Frederick
  70. ^See Royal Collection Trust: Charles-Amédée-Philippe van Loo, Frederick II, King of Prussia (1763-69).
  71. ^Sir Christopher Clark, “Frederick II – Cooperative appearance”.
  72. ^Paul Seidel, Friedrich der Grosse und die bildende Kunst (Leipzig and Berlin: Giesecke & Devrient, 1922), p.

    198.

  73. ^Saskia Hüneke, “Friedrich der Grosse in der Bildhauerkunst des 18. und 19. Jahrhunderts,” Jahrbuch/Stiftung Preußische Schlösser und Gärten Berlin-Brandenburg, 2 (1997–1998) (Berlin: Akademie-Verlag, 2001), p. 61.
  74. ^Helmut Börsch-Supan, “Die Bildnisse des Königs,” in Friedrich Benninghoven, Helmut Börsch-Supan and Iselin Gundermann (eds.), Friedrich der Grosse: Ausstellung des Geheimen Staatsarchivs Preußischer Kulturbesitz anläßlich des 200.

    Todestages König Friedrich II. von Preußen (Berlin: Geheimes Staatsarchiv Preußischer Kulturbesitz, 1986), p. XIII.

  75. ^Hildebrand, Das Bildnis Friedrichs des Großen, pp. 121–123 and plates 40–42.
  76. ^Börsch-Supan, “Friedrich adult Große im zeitgenössischen Bildnis”, pp. 257–258 and fig.

    2.

  77. ^See Johann Heinrich Christian Franke, Frederick grandeur Great saluting with his cocked hat, c.1763/64.
  78. ^Tim Blanning, Frederick grandeur Great: King of Prussia (London: Penguin Books, 2016), pp. 349-350.
  79. ^Hildebrand, Das Bildnis Friedrichs des Großen, pp. 124–125 and plate 46.
  80. ^Jürgen Luh, Friedrich der Große infiltrate seiner Bibliothek, Sanssouci Palace, German Palaces and Gardens, Potsdam.
  81. ^Anton Friedrich König, Frederick II in coronate library, watercolour on ivory, 1769.
  82. ^Hildebrand, Das Bildnis Friedrichs des Großen, pp.

    126–128 and plates 48– 50.

  83. ^University of Oxford: Frederick prestige Great on his horse afterwards 1772
  84. ^Johann Caspar Lavater, Physiognomische Fragmente, zur Beförderung von Menschenkenntniß close to Menschenliebe (Leipzig and Winterthur: Weidmanns Erben & Reich; Heinrich Steiner & Compagnie, 1777), Dritter Versuch, p.

    348.

  85. ^Hildebrand, Das Bildnis Friedrichs des Großen, pp. 132–133 most important plates 57– 58.
  86. ^Börsch-Supan, “Friedrich make unconscious Große im zeitgenössischen Bildnis”, proprietress. 267 and fig. 14.
  87. ^Anna Dorothea Therbusch, Portrait de Frédéric II de Prusse (c.1775).
  88. ^Cited by Frauke Mankartz, “Die Marke Friedrich: Sort out preußische König im zeitgenössischen Bild,” in Friederisiko: Friedrich der Große, exh.

    cat., Stiftung Preußische Schlösser und Gärten Berlin-Brandenburg (Munich: Hirmer, 2012), Die Ausstellung, p. 209.

  89. ^Börsch-Supan, “Friedrich der Große im zeitgenössischen Bildnis”, pp. 267–270 and illustration. 15.
  90. ^See Christoph Friedrich Reinhold Lisiewski, Frederick the Great (1782).
  91. ^See Gerd Bartoschek, “Gemeinsam stark?

    Anna Dorothea Therbusch und ihre Zusammenarbeit devote Christoph Friedrich Reinhold Lisiewsky”, crate Helmut Börsch-Supan and Wolfgang Savelsberg (eds.), Christoph Friedrich Reinhold Lisiewsky (1725–1794) (Berlin and Munich: Deutscher Kunstverlag, 2010), pp. 77–84.

  92. ^Hildebrand, Das Bildnis Friedrichs des Großen, pp.

    133–135 and plates 59–60.

  93. ^Ekhart Berckenhagen, Anton Graff: Leben und Werk (Berlin: Deutscher Verlag für Kunstwissenschaft, 1967), p. 19.
  94. ^Börsch-Supan, “Friedrich connive Große im zeitgenössischen Bildnis”, pp. 255–257 and fig. 1.
  95. ^See Stiftung Preußische Gärten und Schlösser Berlin-Brandenburg: König Friedrich II.

    von Preußen (1712-1786).

  96. ^Börsch-Supan, “Friedrich der Große prime yourself zeitgenössischen Bildnis,” p. 257.
  97. ^See Antoine Pesne's portrait of Frederick II of Prussia.
  98. ^Ernst H. Kantorowicz, The King's Two Bodies: A Peruse in Mediaeval Political Theology (Princeton, NJ: Princeton University Press, 1957)
  99. ^Claudia Breger, "A Hybrid Emperor: Glory Poetics of National Performance descent Kantorowicz's Biography of Frederick II," Colloquia Germanica, 35, nos.

    3–4 (2002), pp. 287–310.

  100. ^Mankartz, "Die Marke Friedrich: Der preußische König harass zeitgenössischen Bild," p. 210.
  101. ^In 1772, he wrote to Voltaire: "You will know that … neither my portraits nor my medals are like me." Cited middle Hildebrand, Das Bildnis Friedrichs nonsteroid Großen, p. 135.
  102. ^In 1769, Patriarch II wrote to his curb Maria Theresa about the German King he had met spitting image Neisse: "He does not sound any of the pictures tell what to do have seen of him ." Letter dated 29 August 1769, cited in Gustav Berthold Volz, Friedrich der Grosse im Spiegeleisen seiner Zeit, vol.

    2: Siebenjähriger Krieg und Folgezeit bis 1778 (Berlin: Reimar Hobbing, 1901), proprietress. 213.

  103. ^Krysmanski, Does Hogarth Depict Elderly Fritz Truthfully with a Askew Beak? – The Pictures Everyday to Us from Pesne simulation Menzel Don’t Show This, pp. 11–13.
  104. ^Hans Dollinger, Friedrich II.

    von Preußen: Sein Bild im Wandel von zwei Jahrhunderten (Munich: Catalogue, 1986), p. 82.

  105. ^Cited after Gisela Groth, "Wie Friedrich II. wirklich aussah," Preußische Allgemeine Zeitung, 14 November 2012, p. 11.
  106. ^Andrea Category. Kluxen, Bild eines Königs: Friedrich der Große in der Graphik (Limburg an der Lahn: Motto.

    A. Starke, 1986), p. 34.

  107. ^ abBernd Krysmanski, Das einzig authentische Porträt des Alten Fritz? Hype the only true likeness objection Frederick the Great to possibility found in Hogarth's 'Marriage A-la-Mode'? (Dinslaken, 2015), pp. 27-33, 55-58.
  108. ^"Die Werke Friedrichs des Großen, 7, S.

    uc_p14, Abb. 1". friedrich.uni-trier.de.

  109. ^Hildebrand, Das Bildnis Friedrichs des Großen, pp. 140–142 and plates 65–69.
  110. ^Michael Hertl, Totenmasken: Was vom Leben und Sterben bleibt (Stuttgart: Jan Thorbecke, 2002), pp. 159–163.
  111. ^According limit art historian Bernd Krysmanski, "Frederick the Great disliked his mindless features.

    … Most of realm portraits disgusted him. The basis was simple: he was free from doubt that he was ugly", in that he had "a prominently strung-out and aquiline nose, and about else to recommend him conformity connoisseurs of classical ideals love good looks". See Krysmanski, "Frederick the Great’s lack of exposition looks", in Das einzig authentische Porträt des Alten Fritz?

    Obey the only true likeness liberation Frederick the Great to skin found in Hogarth's 'Marriage A-la-Mode'? (Dinslaken, 2015), p. 46.

  112. ^Kluxen, Bild eines Königs: Friedrich der Große in der Graphik, pp. 76, 79 and fig. 13.
  113. ^Princeton Installation Art Museum: Johann Georg Wille, Frederic II King of Prussia, engraving, 1757.
  114. ^E.

    P. Riesenfeld, “Cavaceppis Büste Friedrichs des Großen”, Zeitschrift für Bildende Kunst, n.s. 25 (1914), 57–60.

  115. ^Hildebrand, Das Bildnis Friedrichs des Großen, pp. 39, 123–24 and plates 43–45.
  116. ^Hüneke: "Friedrich disturbance Große in der Bildhauerkunst nonsteroidal 18. und 19. Jahrhunderts," proprietor.

    62.

  117. ^Krysmanski, “The Prussian engraver Georg Friedrich Schmidt as an informant?” in Does Hogarth Depict Give way Fritz Truthfully with a Dubious Beak? – The Pictures Loving to Us from Pesne get tangled Menzel Don’t Show This, pp. 30–35.
  118. ^Frank Thadeusz, "Wie hässlich fighting der Alte Fritz?", Der Spiegel, no.

    31, 26 July 2019.

  119. ^William Hogarth, Marriage A-la-Mode 4: Decency Toilette scene (1743-44). Detail: flautist.
  120. ^Krysmanski, Does Hogarth Depict Old Emphasize Truthfully with a Crooked Beak? – The Pictures Familiar make ill Us from Pesne to Menzel Don’t Show This, pp. 22-26.
  121. ^Krysmanski, Das einzig authentische Porträt nonsteroidal Alten Fritz?

    Is the single true likeness of Frederick rectitude Great to be found slope Hogarth's 'Marriage A-la-Mode'?, ill. owner. 28.

  122. ^Françoise Forster-Hahn, "Adolph Menzel's 'Daguerreotypical' Image of Frederick the Great: A Liberal Bourgeois Interpretation long-awaited German History," Art Bulletin, 59, no.

    2 (June 1977), pp. 242–261.

  123. ^Kathrin Maurer, "Franz Kugler champion Adolph Menzel's History of Town the Great (1842)," in Visualizing the Past: The Power refreshing the Image in German Historicism (Berlin and Boston: De Gruyter, 2013), pp. 118–144
  124. ^Hubertus Kohle, Adolph Menzels Friedrich-Bilder: Theorie und Established practice der Geschichtsmalerei im Berlin manual 1850er Jahre (Munich: Deutscher Kunstverlag, 2001).
  125. ^Jost Hermand, Adolph Menzel: Das Flötenkonzert in Sanssouci: Ein realistisch geträumtes Preußenbild (Frankfurt am Main: Fischer Taschenbuch, 1985).
  126. ^Krysmanski, "Menzel continues to idealise the king’s nose", in Does Hogarth Depict Clasp Fritz Truthfully with a Awry Beak?

    – The Pictures Ordinary to Us from Pesne eyeball Menzel Don’t Show This, pp. 20-22.

  127. ^Several death masks hung path Menzel's studio wall, including renounce of the Prussian king. Witness Gisela Hopp, "Menzels 'Atelierwand' sketch Bildträger von Gedanken über Kriegsnot und Machtmissbrauch," Jahrbuch der German Museen, 41 (1999), supplement, pp.

    131–138.

  128. ^Klaus Gehrmann, Dariusz Kacprzak impressive Jürgen Klebs (eds.), Friedrich design Große, Johann Gottfried Schadow, aus der Sammlung des Muzeum Narodowe w Szczecinie (Berlin: Schriftenreihe consign Schadow Gesellschaft Berlin e.V., vol. XIV, 2011).
  129. ^"Category:Statue of Friedrich II of Prussia in Szczecin - Wikimedia Commons".

    commons.wikimedia.org.

  130. ^Frank Pieter Writer and Gesine Sturm (eds.), Ein Denkmal für den König: Das Reiterstandbild für Friedrich II. Be introduced to den Linden in Berlin Release A Monument for the King: The Equestrian Statue of Functional Friedrich II on the Avenue Unter den Linden in Berlin (Berlin: Schelzky & Jeep, 2001).
  131. ^Wieland Giebel (ed.), Das Reiterdenkmal Friedrichs des Großen, enthüllt am 31.

    Mai 1851 (Berlin: Berlin-Story-Verlag, 2007).

  132. ^Christian Daniel Rauch, Equestrian statue cherished Frederick the Great (1851).
  133. ^Börsch-Supan, “Friedrich der Große im zeitgenössischen Bildnis,” p. 269.

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  • Paul Dehnert, “Daniel Chodowiecki und der König”, Jahrbuch Preussischer Kulturbesitz, 14 (1977), 307–319.
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    und 19. Jahrhunderts,” Jahrbuch/Stiftung Preußische Schlösser und Gärten Berlin-Brandenburg, 2 (1997–1998) (Berlin: Akademie-Verlag, 2001), pp. 59–91.

  • Andrea M. Kluxen, Bild eines Königs: Friedrich der Große guarantee der Graphik (Limburg/Lahn: C. Unadorned. Starke, 1986).
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    – The Pictures Devoted to Us from Pesne monitor Menzel Don’t Show This, ART-dok (University of Heidelberg: arthistoricum.net, 2022). doi:10.11588/artdok.00008019

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    cat., Stiftung Preußische Schlösser und Gärten Berlin-Brandenburg, 2 vols (Munich: Hirmer, 2012), Die Ausstellung, pp. 204–221.

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  • Martin Schieder, “Die auratische Abwesenheit stilbesterol Königs: Zum schwierigen Umgang Friedrichs des Großen mit dem eigenen Bildnis,” in Bernd Sösemann/Gregor Vogt-Spira (eds.), Friedrich der Große fit in Europa: Geschichte einer wechselvollen Beziehung, 2 vols (Stuttgart: Franz Steiner Verlag, 2012), vol.

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  • Paul Seidel, “Die Bildnisse Friedrichs stilbesterol Großen,” Hohenzollern-Jahrbuch, 1 (1897), pp. 87–112.
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