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Greeting

Daniel Chodowiecki

  • Greeting 1
  • Greeting 2
  • Greeting 1
  • Greeting 2
Basic information
ID
Г-IV-2706
Author
Daniel Chodowiecki
Name
Greeting
Date of creation
the last quarter of the 18th c.
Country
Germany
Technique
etching
Material
paper
Dimensions
8.6 x 5.1 cm (height x width)
Additionally
Type
engraving
Genre
genre art
Provenance
Purchased from O. Bushel, 1977
Information about author
Author
Daniel Chodowiecki
Artist's lifetime
1726–1801
Country
Poland, Germany
Biography
Daniel Nikolaus Chodowiecki (1726, Gdańsk – 1801, Berlin) – a Polish-German artist, printmaker and painter, a master of etching and book illustration, a representative of the academic movement, and one of the leading exponents of sentimentalism in 18th-century German art.
The artist's father was a merchant, a descendant of a noble family. His mother came from a family of Swiss Huguenots. The young Daniel, continuing the family tradition, began working as a merchant. At the age of 17, he went to Berlin for a commercial apprenticeship, where he spent most of his life. Towards the end of his career, he became the director of the Prussian Academy of Arts (Preußische Akademie der Künste).
In the 1750s, the artist developed an interest in painting, and later in printmaking, becoming one of the leading book illustrators. Between 1770 and 1774, together with Johann Bernhard Basedow, the founder of the philanthropic movement in education, he worked on the four-volume publication "Elementary Textbook for Young People" ("Elementarwerk für die Jugend"). Chodowiecki created over 100 illustrations for it using the copper engraving technique, including some dedicated to the Crusades.
In 1781, the artist produced 12 illustrations for a play by Gustav Friedrich Wilhelm Großmann entitled "No More Than Six Dishes" ("Nicht mehr als sechs Schüsseln"). This comedy, with its strongly social-critical undertones, is considered one of the earliest outstanding dramatic works in German bourgeois literature.
Around 2,000 engravings by Chodowiecki on various subjects, executed in the techniques of etching and copper engraving, have survived to this day. One of his contemporaries wrote that, were it not for Chodowiecki's illustrations, countless books would never have found their readers. The artist created a large number of painted and graphic portraits, as well as genre scenes of burgher life, mostly executed in pen and ink. The total number of the artist's surviving drawings amounts to around 4,000.
Daniel Chodowiecki's works are held in Germany – at the Kupferstichkabinett (Museum of Prints and Drawings) in Berlin, the Museum of Fine Arts in Leipzig, and the Städel Museum in Frankfurt; in Poland – at the National Museum in Gdańsk; in Ukraine – at Borys Voznytskyi Lviv National Art Gallery, Vasyl Stefanyk Lviv National Scientific Library of Ukraine and the Kharkiv Art Museum, as well as in museums in Washington, Madrid and London.
Object description
An illustration for an unidentified work, created for one of the German pocket almanacs-calendars of the late 18th century. It depicts a scene from a literary work, possibly a play by Beaumarchais or Molière.
In the foreground on the right stands a young man, smartly dressed in a well-tailored coat and breeches. He is handing a box to a young woman standing before him in a white, low-cut gown. She looks fondly into the young man's eyes. The scene takes place indoors against a backdrop of drapery, behind which a bed is concealed. At the top left, the drapery is gathered up, and a wreath of flowers – perhaps anemones – is attached to it.
Two young women, depicted in the background on the left, are gazing intently at this decorative element. Their figures are partially obscured by an older woman in the foreground. She is holding a tray with a covered pot and is looking at the young man with a disapproving expression. In this scene, the artist has focused attention on the couple in love. It is possible that the young man arrived with a gift under a neutral pretext, which is why the young woman is looking at him specifically, rather than at the box.
Inscriptions
On the reverse, in the centre, an inscription in pencil in German cursive, in Kurrent script: "mit der rechten Fußspitze des im Hintergrund stehenden Mädchens vor den Anemonen auf der Schürze des danebenstehenden Mädchens". Below is the inventory number of the Lviv Picture Gallery.
Legal regulation
Borys Voznytskyi Lviv National Art Gallery

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