Johann Gottfried Schadow - Book about his works

Here is a book I had not seen before which is digitized at Google Books: GOTTFRIED SCHADOW AUFSÄTZE UND BRIEFE HEBST EINEM VERZEICHNIS SEINER WERKE ZUR HUNDERTJÄHRIGEN FEIER SEINER GEBURT 20. MAI 1764 HERAUSGEGEBEN VON JULIUS FRIEDLAENDER.
in translation: GOTTFRIED SCHADOW ARTICLES AND LETTERS OF and a list WORKS HIS BIRTH CENTENARY CELEBRATION OF HIS 20th May 1764 PUBLISHED BY JULIUS FRIED COUNTRIES.

Among other interesting facts about his life and work was that the 1930s were a very prolific time in terms of his preparation of the teaching materials which form the basis for The Art Student's Guide to the Proportions of the Human Form and The Art Student's Guide to the Bones and Muscles of the Human Body and Lessons on Foreshortening

Here is a translation of a list of his written works in the 1930s:

1830
9th. Study of the bones and muscles of the conditions of the human body, and foreshortening. In thirty panels for use in the Royal Academy of Arts, Berlin 1830, large folio.
A leaf initiation, lithographed, like the panel is signed by G. Schadow and F. Berger. Several other panels contain only declarations.
1834
10th. Atlas of Polyclet of the measurements of people by gender and age, indicating the real nature of size after the Rhenish ruler, and paper by the difference of the face and head formation of the peoples of the earth, by Gottfried Schadow. - Polyclete ou theorie des mesures de l'homme etc. Berlin 1834th 4 °. l'III and 100 pages (German and French side by side).
This in large folio atlas with 29 unnumbered plates Jnhaltsverzeichniss. (These are signs of Schadow himself drawn on zinc.)
In the museum, leaves of Fine Art, edited by F. Kugler, fourth year, 1836, No. 5, is a critique of this and the following work.
1835
11th. -National Physionomy or observations about the difference, the facial features and the external design of the head, the outlines depicted on 29 sheets, continuation of Polyclet or the doctrine of the ratios of the human body, by Gottfried Schadow. - Physionomies national etc. Berlin 1835th 4 °. VI and 112 pages (German and French side by side). This atlas of 29 plates with a Table of contents (these panels are drawn on zinc by Schadow himself).
1843
12th. report on the performance of live images, which in the Hall of K. Academy of Arts', u Berlin on 5 Took place in May 1843 (relation etc). booklet in cross-Quart, 15 pages, German and French side by side (the preface is signed by Schadow). 6 zincography leaves, each of which contains two images.
"From the 'program in this issue appears that goods among the four Schadow representations: the group of the two Prussian princesses, Fortuna, Adam and Eve, Venus. Shown and discussed here is not the same, so it is not known whether the last fdrei were represented by executed works or designs.
See works of art and art views p. 337
13th. artwork and art views by Dr. Johann Gottfried Schadow. Berlin 1849th 8 °. Xxvi and 376 pages.
These images include a booklet entitled: Presentation by the images of the work of the sculptor Johann Gottfried Schadow, Ridolfo Schadow his son, and transparent picture of the professor piston nacb poems of Wolfgang von Goethe. Berlin 1849th 8 pages Folio XXXIII "leaves" images (there are several images on one page and printed uncut, so that there are truth Folio 29 boards in).

You can see the German text of the description of the plates of Polyclet; oder, von den Maassen des Menschen nach dem Geschlechte und Alter at Google Books in an 1877 edition or an 1886 edition but the only edition with the plates is my edition which is a new version of the 1883 English translation with plates reproduced by John Sutcliffe and a translation by James J. Wright. You can see it at Amazon.com or preview it at Google Books.

The Art Student's Guide To The Proportions Of The Human Form

The Art Student's Guide to the Bones and Muscles of the Human Body: and Lessons on Foreshortening

Johann Gottfried Schadow - Die Zeichnungen - The Drawings

Johann Gottfried Schadow. Die Zeichnungen


Approximately 2200 drawings make up this extensive survey of the graphic work of Johann Gottfried Schadow who is well known for his sculptures but less well known for his drawings.

The book includes drawings after antique sculpture, animal, nude and motion studies, portraits of his contemporaries, monuments and cartoons.

He was mostly interested in physiognomy and this book includes examples of his studies of the
physique and growth of humans from infant to old man. These works were published in 1834 and 1835 in Polyklet oder von den Massen des Menschen or Polykleitos or Guide to the Proportions of the Human Form and Nationalphysiognomien.

Review of the book with more illustrations: Johann Gottfried Schadow - Die Zeichnungen - Präsentation des soeben erschienenen Werkverzeichnisses mit Vorstellung eines neu erworbenen Schadow-Porträts




The former is available in English translation as an e-book at Figure-Drawings.com or as a printed book at Amazon.com: The Art Student's Guide to the Proportions of the Human Form.








Porträtzeichnung der Königin Luise by Johann Gottfried Schadow.

Friederike Helene Unger by Johann Gottfried Schadow.


Marie Christine Schlegel by Johann Gottfried Schadow.










Johann Gottfried Schadow und die Kunst seiner Zeit (German Edition)

Neoclassicism and Romanticism: Architecture - Sculpture - Painting - Drawings 1750-1848

Wo die Götter wohnen. Johann Gottfried Schadows Weg zur Kunst

Schadow, Sokrates und das Judentum. Johann Gottfried Schadow, Sokrates im Keller

Kunstwerke und Kunstansichten: 3 Bände

Klassiker der Karikatur

Johann Gottfried Schadow (Klassiker der Karikatur) (German Edition)

Best Books on Artistic Anatomy - 1891

The Best Books: - A READER'S GUIDE TO THE CHOICE OF THE BEST AVAILABLE BOOKS
(ABOUT 50,000)
IN EVERY DEPARTMENT OF SCIENCE ART AND LITERATURE
WITH THE DATES OF THE FIRST AND LAST EDITIONS
AND THE PRICE SIZE AND PUBLISHERS NAME OF EACH BOOK
By William Swan Sonnenschein

This listing of the best books on Artistic Anatomy from 1891 lists a couple of republished books available for purchase.

Dr. G. Schadow's The Sculptor & Art Student's Guide to the Proportions of Human Form as available at Amazon.com as:
The Art Student's Guide to the Proportions of the Human Form
Or download a copy at Figure-Drawings.com.

Another book by Dr. Schadow:
The Art Student's Guide to the Bones and Muscles of the Human Body and Lessons on Foreshortening Or download a copy at Figure-Drawings.com.

Dr. J. Fau's Anatomy of the External Forms of Man is available both at Lulu.com and at Amazon.com as:
Anatomy for Art Students, Painters and Sculptors
Or download a copy at Figure-Drawings.com.




Some more references about Johann Gottfried Schadow:


From Johnson's Universal Cyclopedia: a new edition - By Johnson, A. J., company, A.J. Johnson Company, 1895

Schadow, Johann Gottfried : sculptor; b. in Berlin, May 20, 1764; studied drawing and sculpture in his native city and at Rome 1785-87, and was appointed professor at the Academy of Art in Berlin in 1788. His life was spent chiefly at Berlin from this time on, but he traveled much, especially in Italy. His style is founded upon classical traditions. His principal works are statues of Frederick the Great, in Stettin ; Leopold of Dessau, in Ziethcn, and the Count de la Marck, in Berlin ; Luther, in Wittenberg; the monument of Marshal Blilcher, at Rostock ; and a number of busts, some of which are in the Walhalla on the Danube near Ratisbon, etc. He also modeled the quadriga over the Brandenburg gate of Berlin, and a frieze on the outside of the mint in that city. D. in Berlin, Jan. 27, 1850.

From A History of European and American Sculpture from the early Christian Period to the Present Day, Volume 2, By Chandler Rathfon Post, Cambridge, Harvard University Press and London, Humphrey Milford, Oxford University Press, 1921:

The most prominent German sculptor of the neoclassic period, Johann Gottfried Schadow (1764-1850), transports us from southern Germany to Berlin. It is necessary to describe Schadow as "of the neoclassic period," and not as essentially neoclassic himself, since, although inevitably somewhat influenced by the rococo style of his youth and by the prevalent antiquarianism, he was, in his lesser degree like Houdon, independent of any movement, and recognized as his guides only nature and his own conceptions. If he must be assigned to any tendency, it would be to the rococo. His naturalism is, of course, more in harmony with this style; and he may be described, especially in his feminine figures, as a belated and highly individual representative of the eighteenth century, with that increasing interest in the antique which marked so much of the sculpture in the second half of the century. Born in Berlin, he was apprenticed to Tassaert, who, as a rococo artist, had a more enduring effect upon Schadow than has usually been recognized. Having made a romantic marriage, he obtained enough money from his father-in-law to spend the coveted period of study in Italy, where he was influenced by the art of the Cinquecento as well as by the antique. In 1788 he returned to Berlin as court sculptor, and although Frederick the Great had died two years before, Schadow's works embodied not only the pride of that monarch's epoch but also, stylistically, the curious fusion of French rococo taste with German solidity exemplified by Frederick himself. His position corresponded to that of Schluter under Frederick I, but his lack of full sympathy with neoclassicism or with the later romanticism cost him his popularity, so that the great body of his production falls within the space of about twenty years from the time of his appointment. In 1791 he made a journey to Copenhagen, Stockholm, and Petrograd to learn bronze-casting, but the more important effect of this event was the acquisition of inspiration by acquaintance with monuments executed with historical realism and not according to the bald principles of neoclassicism.
He approached nearest to the neoclassic in his early decoration of the Parolesaal and the yellow Pfeilersaal of the Royal Palace at Berlin, in the copper Quadriga driven by Victory, the metopes of the Centaurs and Lapithae, and the resting Mars, all on the Brandenburg Gate, Berlin, and in his last work in marble, the recumbent maiden now in the National Gallery, Berlin. But these suggest almost as much the French eighteenth century as they do the antique, and in fact belong to neither one style nor the other. They are rather the outcome of Schadow's personal style, in which now reminiscences of one epoch are apparent, now those of another, but which remains nevertheless essentially his own and is permeated by naturalism. His feminine forms are even more real than those of Dannecker; one has only to compare the Sappho of the latter with the above-mentioned recumbent maiden.

Perhaps the most striking instances of his realism, all with contemporary military uniforms, are the statues of the generals Ziethen and Leopold von Dessau, now in the Kaiser Friedrich Museum, and the statuette of Frederick the Great accompanied by two dogs in the Hohenzollern Museum at Berlin. The reliefs on the pedestal of the Ziethen monument, representing battle scenes, reject the laws of neoclassicism by indulging, as also on the Tauentzien monument at Breslau, in pictorial perspective. At other times, especially in his late works, the reliefs for his monument to Bliicher at Rostock and the relief of the apotheosis of Queen Louise in the church at Paretz, he was curiously archaeological in his avoidance of pictorial perspective. In the representation at Rostock of the battle of Ligny, for instance, the main episode of Bliicher lying under a horse and protected by the genius of Germany is set at the bottom of the relief, and the details of the cavalry battle, which ought to be in the background, are simply placed, as in certain ancient reliefs, at a higher level, with the figures in slightly smaller compass; and even the fall of Bliicher is treated with ancient conventionalism. Both at Rostock and Paretz, the elaborate allegories are due to literary interference — in the Bliicher monument that of Goethe.

His many portrait busts, as was to be expected, are convincing pieces of realism in the manner rather of the best eighteenth-century work: notable examples are the Frederick the Great (formerly in the possession of the Kaiser), the Princess Louise (in the National Gallery, Berlin), and the rector Meierotto (in the Joachimsthaler Gymnasium at Berlin). The dead are usually clothed in antique garb, the living in contemporary costume. His neoclassic leanings are revealed, however, in the fact that he is said to have modelled first an ideal head for his portraits and then to have accommodated the individual's features to it. His most renowned work is the standing portrait group of the two sisters, the princesses Louise and Friederike of Prussia in the Palace at Berlin (Fig. 152). He has attained that agreeable fusion of naturalism, even in small details, and ancient grace, which is often to be discerned, with the naturalism less dominant, in the production of Dannecker, and which was much assisted by the similarity of the fashionable Empire costume to that of ancient Rome. The same manner is found in other achievements of Schadow, as in the mourning widow, suggested perhaps by the Agrippina statue, upon the tomb of Count Arnim at Boitzenburg and in the sepulchral figure of the nine year old Count von der Mark on his tomb in the Dorotheen-Kirche, Berlin. This early and famous work depended for its ideas upon the painter Puhlmann and had been ordered first from Tassaert. Although all its forms and elements are neoclassic and reflect Schadow's recent sojourn at Rome, it belongs more or less to the dramatic type of mausoleum of the eighteenth century: the relief on the sarcophagus represents Death or Time dragging the boy away from the school of Minerva to Hades, and in a niche above the sarcophagus sit the three Fates deciding his destiny. Schadow's tombs, however, like the majority of those of the period in Germany, are normally of the sentimental, less complicated, neoclassic type with urn, bust or medallion, and colder allegorical figures, posing but comparatively inactive. Characteristic is the Darjes monument on the "Anger" at Frankfort on the Oder. His naturalism rescued the allegorical figures from the absolute frigidity of the ordinary neoclassicist, and bestowed upon them that French rococo loveliness which is so potent an ingredient of the charm in the portrait group of the two royal sisters.


From The Encyclopaedia Britannica: Eleventh Edition, Volume 24

SCHADOW, a distinguished name in the annals of German art.

I. Johann Gottfried Schadow '(1764-1850), sculptor, was born and died in Berlin, where his father was a poor tailor. His first teacher was an inferior sculptor, Tassaert, patronized by Frederick the Great; the master offered his daughter in marriage, but the pupil preferred to elope with a girl to Vienna, and the father-in-law not only condoned the offence but furnished money wherewith to visit Italy. Three years' study in Rome formed his style, and in 1788 he returned to Berlin to succeed Tassaert as sculptor to the court and secretary to the Academy. Over half a century he produced upwards of two hundred works, varied in style as in subjects.

Among his ambitious efforts are Frederick the Great in Stettin, Blucher in Rostock and Luther in Wittenberg. His portrait statues include Frederick the Great playing the flute, and the crown-princess Louise and her sister. His busts, which reach a total of more than one hundred, comprise seventeen colossal heads in the Walhalla, Ratisbon; from the life were modelled Goethe, Wieland and Fichte Of church monuments and memorial works thirty are enumerated; vet Schadow hardly ranks among Christian sculptors. He ia claimed by classicists and idealists: the quadriga on the Brandenburger Tor and the allegorical frieze on the facade of the Royal Mint, both in Berlin, arc judged among the happiest studies from the antique. Schadow, as director of the Berlin Academy, had great influence. He wrote on the proportions of the human figure, on national physiognomy, &c.; and many volumes by himself and others describe and illustrate his method and his work.

Kunst-Werke Und Kunst-Ansichten (1849) (German Edition)

Dr. Schadow's own book Kunst-werke und Kunst-Ansichten is available for viewing at Google Books.
By Johann Gottfried Schadow

Johann Gottfried Schadow - Drawings

Johann Gottfried Schadow (1764-1850)
Portrait of Charlotte Susanna Juliane Schadow
Black chalk, heightened with white- 33.5 x 27.6 cm
Paris, Musée du Louvre

From: Maîtres du dessin européen du XVIe au XXe siècle. La collection Georges Pébereau
16th to 20th century masters of European drawing. The Georges Péberau collection. Paris, musée du Louvre from 22 november 2009 to 22 february 2010.

Article in The Art Tribune.

More about Dr. Schadow at Figure-Drawings.com: The Sculptor and Art Student's Guide to the Proportions of the Human Form and at Amazon.com.

Other posts with mentions of Dr. Schadow.

  

Skeleton of a horse from Johann Gottfried Schadow, Die Quadriga, heads from Johann Gottfried Schadow. Die Zeichnungen

 

 Head from Johann Gottfried Schadow. Die Zeichnungen,  Porträtzeichnung der Königin Luise

Schadow–Gesellschaft e.V. - Internationales Forum für Kunst, Bildung und Wissenschaft

Kunst-Werke Und Kunst-Ansichten (1849) (German Edition)

History of Artistic Anatomy

I found two references to Gottfried Schadow's teaching and writing.

The first is from History and bibliography of Artistic Anatomy By Boris Röhrl:

"During the first half of the century, lessons at the academies were organized according to French patterns but closer to the methods of the 18th century, thus more modern didactics could not have been understood, like the morphology of Gerdy which appeared in a German translation in 1830. The drawing of anatomical preparations and attending demonstrations in anatomical theatre were still compulsory. Artistic anatomy was a fixed part of the curriculum at the great academies in Munich, Dusseldorf, Berlin and Dresden, at which chairs for artistic anatomy were also founded. New books were mainly written by teachers at the institutes. Old fashioned ways of teaching, such as copying of anatomical patterns depicting single bones, were heavily attacked by adherents of the Romantic movement. Although the Romantics had censured the academies, their criticism was not targeted at a total abolition of the old system, but on an adjustment of lectures to a Western European level. From 1830 onwards, teaching methods began quickly to change towards a medical direction. The publication of teaching manuals was strongly encouraged, because it was hoped that Germany would overtake the French example and the predominance of French books - an attempt that never succeeded. One of the first remarkable German publications of the 19th century was initiated by the director of the Dusseldorf academy, Gottfried Schadow, who edited a folio sized atlas with figures from Albinus in 1830. His atlas on proportions, printed four years later, entitled Policlet, was more successful and was re-printed six times. Copies from this work are still used in modern anatomies. Schadow tried to reform the curriculum at the academy in Dusseldorf, which was later regarded as the leading German art school, around the middle of the century."

The second is from a Japanese site Studies in Western Art No. 2 - Special Issue: Art Academies:

Miyuki Ozeki

The History of the Kuenigliche Akademie der Kuenste zu Berlin

"The Royal Academy of the Arts in Berlin was, in 1696, the third public art academy to be founded in Europe, after Rome and Paris. However throughout the 18th century it was no more than a small private school of little importance. Only after two reforms executed about 1800 was it enlivened and reborn as the most modern institution for art education in German-speaking countries. While the first refom since 1786 was led by the teachers and concerned the methodology of teaching art based on neo-classical aesthetics, the second reform of 1809 was instigated by ministers and aimed at reorganizing the whole cultural administration in Prussia. With the foundation of a ministry for culture the academy achieved its independence from the unstable patronage of the monarchy, enabling its continuous development under the initiative of the director Gottfried Schadow. But its mechanical and overloaded teaching curriculum gradually estranged its pupils . By introducing a "Meisterklasse (master course)" at the Duesseldorfer academy Wilhelm Schadow extended the horizon of art education. However, he simultaneously disclosed its duality : Is art democratic enough to be achieved by the educational systems offered by the art schools? Or does art only derive from the genius of an individual person? The separation of the educational department from the Berliner academy in the year 1875, as a result of which the Hochschule der Kuenste was founded, symbolizes the contradictory task of an art academy which originally started as a liberal society of free artists and ended as an art school that regulated the artistic development of the individual."

Other posts about Gottfried Schadow.
Related Book: The Ingenious Machine of Nature: Four Centuries of Art and Anatomy