CARL ROTTMANN (1797-1850)
Acrocorinth (575m - 1,886 ft)
Greece
Acrocorinth (575m - 1,886 ft)
Greece
In Corinth with Akrocorinth, 1847, oil on canvas, Neue Pinacothek Munchen
The rock formation
Acrocorinth (575m - 1,886 ft) (Ακροκόρινθος) or "Upper Corinth", the acropolis of ancient Corinth, is a monolithic rock overseeing the ancient city of Corinth, Greece. Acrocorinth was continuously occupied from archaic times to the early 19th century. Along with Demetrias and Chalcis, the Acrocorinth during the Hellenistic period formed one of the so-called "Fetters of Greece" - three fortresses garrisoned by the Macedonians to secure their control of the Greek city-states. The city's archaic acropolis, already an easily defensible position due to its geomorphology, was further heavily fortified during the Byzantine Empire as it became the seat of the strategos of the thema of Hellas and later of the Peloponnese. It was defended against the Crusaders for three years by Leo Sgouros.
The highest peak on the site was home to a temple to Aphrodite which was converted to a church in and then became a mosque. The American School's Corinth Excavations began excavations on it in 1929. Currently, Acrocorinth is one of the most important medieval castle sites of Greece.
In a Corinthian myth related in the 2nd century CE to Pausanias, Briareus, one of the Hecatonchires, was the arbitrator in a dispute between Poseidonand Helios, between the sea and the sun: his verdict was that the Isthmus of Corinth belonged to Poseidon and the acropolis of Corinth (Acrocorinth) to Helios.
The Upper Pirene spring is located within the encircling walls. "The spring, which is behind the temple, they say was the gift of Asopus to Sisyphus. The latter knew, so runs the legend, that Zeus had ravished Aegina, the daughter of Asopus, but refused to give information to the seeker before he had a spring given him on the Acrocorinthus."
Acrocorinth (575m - 1,886 ft) (Ακροκόρινθος) or "Upper Corinth", the acropolis of ancient Corinth, is a monolithic rock overseeing the ancient city of Corinth, Greece. Acrocorinth was continuously occupied from archaic times to the early 19th century. Along with Demetrias and Chalcis, the Acrocorinth during the Hellenistic period formed one of the so-called "Fetters of Greece" - three fortresses garrisoned by the Macedonians to secure their control of the Greek city-states. The city's archaic acropolis, already an easily defensible position due to its geomorphology, was further heavily fortified during the Byzantine Empire as it became the seat of the strategos of the thema of Hellas and later of the Peloponnese. It was defended against the Crusaders for three years by Leo Sgouros.
The highest peak on the site was home to a temple to Aphrodite which was converted to a church in and then became a mosque. The American School's Corinth Excavations began excavations on it in 1929. Currently, Acrocorinth is one of the most important medieval castle sites of Greece.
In a Corinthian myth related in the 2nd century CE to Pausanias, Briareus, one of the Hecatonchires, was the arbitrator in a dispute between Poseidonand Helios, between the sea and the sun: his verdict was that the Isthmus of Corinth belonged to Poseidon and the acropolis of Corinth (Acrocorinth) to Helios.
The Upper Pirene spring is located within the encircling walls. "The spring, which is behind the temple, they say was the gift of Asopus to Sisyphus. The latter knew, so runs the legend, that Zeus had ravished Aegina, the daughter of Asopus, but refused to give information to the seeker before he had a spring given him on the Acrocorinthus."
The painter
Carl Anton Joseph Rottmann was a German landscape painter and the most famous member of the Rottmann family of painters. Rottmann belonged to the circle of artists around the Ludwig I of Bavaria, who commissioned large landscape paintings exclusively from him. He is best known for mythical and heroising landscapes. The landscape painter Karl Lindemann-Frommel belonged to his school. Rottmann received his first drawing lessons from his father, Friedrich Rottmann, who taught drawing at the university in Heidelberg. He formed himself chiefly through the study of nature and of great masterworks. In his first artistic period, he painted atmospheric phenomena. After gaining prominence with Heidelberg at Sunset (a water color), and Castle Eltz, he settled in Munich in 1822 and devoted himself to Bavarian scenery. Here his second period began, and in 1824 he married Friedericke, the daughter of his uncle, Friedrich Ludwig von Sckell, who served as an attendant at court. Through this connection, he made the acquaintance of King Ludwig I of Bavaria, who in 1826/27 sponsored his travels in Italy in order to widen his repertoire, which up to that point consisted solely of domestic, German, landscapes. In Italy, Rottmann made sketches for the 28 Italian landscapes in fresco which he was commissioned to paint in the arcades of the Hofgarten at Munich. The cycle, completed in 1833, gave visual expression to Ludwig’s alliance with Italy, and raised the genre of landscape painting to the height of history painting, the preferred mode of the King’s other great commissions for monumental painting. The frescos unfortunately deteriorated under climatic influences. The cartoons for them are in the Darmstadt Gallery.
In 1834 Rottmann traveled to Greece to prepare for a commission from Ludwig for a second cycle; one might mark here the beginning of his third period. At first also intended for the Hofgarten arcade, the 23 great landscapes (of which the one above) were eventually installed in the newly built Neue Pinakothek where they were given their own hall.