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©
Carmen Thyssen Collection
Wilhelm Trübner

Castle Grounds in Lichtenberg in Odenwald

1900
Oil on canvas.
91.5 x 78.5 cm
Carmen Thyssen Collection
Inv. no. (
CTB.1998.35
)
Not on display
  • Level 2 Permanent Collection
  • Level 1 Permanent Collection
  • Level 0 Carmen Thyssen Collection and Temporary exhibition rooms
  • Level -1 Temporary exhibition rooms, Conference room and EducaThyssen workshop
Level 2
Permanent Collection
1 2 3 4 5 6 7 8 9 10 11 12 14 13 15 16 17 18 22 19 20 21 23 24 25 26 27 28 29 Recommended start of the visitClassical rooms
1 14th Century. Early Italian Painting 2 15th Century. German and Spanish Painting 3 15th Century. Early Netherlandish Painting 4 15th Century. Italian Painting 5 15th and 16th Centuries. Renaissance Portraiture 6 16th Century. Villahermosa Gallery 7 16th Century. Italian Painting 8 15th and 16th Centuries. German Painting 9 15th and 16th Centuries. German Painting 10 16th Century. Netherlandish Painting 11 Tiziano, Tintoretto, Bassano and  El Greco 12 17th Century. Caravaggio and Baroque Painting 13 17th Century. Italian, French and Spanish Painting 14 17th Century. Italian, French and Spanish Painting 15 17th Century. Italian, French and Spanish Painting 16 18th Century. Italian Painting 17 18th Century. Italian Painting 18 18th Century. Italian Painting 19 Classical rooms 20 Classical rooms 21 Classical rooms 22 18th Century. Italian Painting 23 17th Century. Dutch Painting. Landscape 24 18th Century. French and English Painting 25 17th Century. Dutch Painting. Scenes of Daily Life and Interiors 26 17th Century. Dutch Painting. Landscape 27 17th Century. Dutch Painting. Portrait 28 17th Century. Dutch Painting. Landscape 29 19th Century. European Painting. Goya and Romanticism  
Level 1
Permanent Collection
30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 Postpop rooms Rodin room
30 18th and 19th Centuries. Transatlantic Relations 31 19th Century. American Landscape and Environmental Awareness 32 19th Century. American Landscape and Urban Life 33 Recovering the ligth. Restoration of Waterloo Bridge, by André Derain 34 20th Century. Expressionist Landscapes 35 20th Century. Expressionist Portraits 36 20th Century. The Language of the Body 37 20th Century. Urban unrest 38 20th Century. Flowers 39 20th Century. Pioneers of abstraction 40 20th Century. Popular flavor 41 20th Century. The Cubist Tradition I 42 20th Century. The Cubist Tradition II 43 20th Century. Abstract Utopias 44 20th Century. Dada and Surrealism 45 20th Century. Interwar Realisms 46 20th Century. American Abstraction I 48 20th Century. Post-ward American Art 49 20th Century. Post-ward European Figurative Art 50 20th Century. Informalisms 51 20th Century. Homo Ludens 52 20th Century. Pop Art 53 Postpop rooms 54 Postpop rooms 55 Postpop rooms 56 Postpop rooms Rodin Exhibition room
Level 0
Carmen Thyssen Collection and Temporary exhibition rooms
A B C D E F G H I J Hall Temporary exhibition rooms Access to Permanent Collection Entrance Access to Carmen Thyssen Collection Paseo del Prado Garden
A 17th and 18th Centuries. Old Masters B 19th Century. North American Landscape C 19th Century. French Naturalist Landscape D 19th Century. Impressionism E 19th Century. Monet and North American Impressionism F 19th Century. Gauguin and Postimpressionism G 19th and 20th Centuries. Neo Impressionism and its Wake H 20th Century. Early Avant-gardes I 20th Century. Between the Wars Painting. Cubism, Abstraction and Surrealism J 20th Century. North American Painting and Others • HALL
Level -1
Temporary exhibition rooms, Conference room and EducaThyssen workshop
Temporary exhibition rooms Conference room EducaThyssen Workshop
Wilhelm Trübner had a particular preference for historic and romantic places. He painted landscapes that were lived in, cultivated and architecturally defined. Among the buildings that appear in his works were Amorbach Monastery, Chiemsee Convent, Heidelberg Castle or Hemsbach Castle in Odenwald which he even leased for several years.

His affinity for historic places was combined with an interest in mysterious, fairy-story forest clearings and secluded spots in parks. Here Trübner was clearly inspired by German Romanticism, a feature evident in German art around 1900, to the extent that the idea of a second Biedermeier has been suggested, although its expression differs from artist to artist. Trübner, who came from an upper class Heidelberg family, was obviously familiar with knew the art of late German Romanticism, such as the paintings and prints of Ludwig Richter and Moritz von Schwind. 

In contrast to the Romantic artists, however, Trübner's drawings were less developed. He structured the surface of the painting with the brush. Using broad strokes the thick flecks of colour were added, wet on wet, to create a combination of muted tones. His instinctive feeling for colour and light unfailingly found the correct light value in nature for every part of the painting. The result is a network of shadows across the canvas, with a shifting play of light that brings the landscape to life. Trübner's representations of light and air in nature are in motion, but their form is firm. They are intimate and magnificent at the same time, simultaneously proof of a romantic and realistic conception of nature.

Also similar to other works of the period, the representation of Castle Grounds in Lichtenberg in Odenwald reveals a clear structure and an equilibrium between open landscape formation and the firm architecture of the painting. The narrow range of colours, reduced to a few shades, flows with countless nuances and is charged with coloured light values.

This bold way of applying the colours gives the painting its liveliness. In comparison with later landscapes, such as the Lake Starnberg, the shades of the painting are still quite dark and subdued. Compared to his works of the 1870s, this work has a carefree, youthful feel. In paintings such as the Castle Grounds in Lichtenberg in Odenwald the artist found a totally unmistakable personal style. Similar to those of Liebermann or Corinth, Trübner's landscapes of these years are among the best achievements of German art at the turn of the century. Liebermann is considered to be more European, but Trübner turned to a problem which was not dealt with consistently before the German Expressionists: the representation of spaces, specifically of spaces in depth, without the use of perspective, exclusively rendered through light and colour.

Numerous anecdotes have survived regarding visitors' confusion in the face of such "non-representational" art, also in view of the high prices demanded, for example, by Trübner. Thus, we know of the outrage of a Prussian civil servant, whose apparent words were: "I come into this exhibition, there's a green blob hanging on the wall. It says 'Trübner' underneath. Beckon a bigwig of the exhibition to come over. 'What's that supposed to cost?' Says the man: '10, 000 marks'. I say: 'My dear sir, you'll never sell this, this is Senior Civil Servant Berkow telling you, don't you know!'".

Angelika Wesenberg

20th CenturyPaintingOilcanvas
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Castle Grounds in Lichtenberg in Odenwald

Castle Grounds in Lichtenberg in Odenwald

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Poster Edgar Degas. Swaying Dancer, 1877-1879

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Castle Grounds in Lichtenberg in Odenwald. Parque del Palacio en Lichtenberg en el Odenwald, 1900
Castle Grounds in Lichtenberg in Odenwald
Wilhelm Trübner

©

Carmen Thyssen Collection

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Castle Grounds in Lichtenberg in Odenwald. Parque del Palacio en Lichtenberg en el Odenwald, 1900
Castle Grounds in Lichtenberg in Odenwald
Wilhelm Trübner

©

Carmen Thyssen Collection

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