Levin August, Count Bennigsen (1745-1826). Stroehling’s work in the Royal Collection allows us to trace a rare example of continuity between the masters of the Dutch Golden Age and those of the early nineteenth century. Stroehling was brought up in Dusseldorf where a magnificent collection of the polished, classicising and elegant works (often on copper) by artists such as Adriaen van der Werff (1659-1722) had been formed by Johann Wilhelm II, Elector Palatine (1658-1716). Stroehling worked all over Europe but spend much of the first two decades of the nineteenth century in London; between 181
Levin August, Count Bennigsen (1745-1826). Stroehling’s work in the Royal Collection allows us to trace a rare example of continuity between the masters of the Dutch Golden Age and those of the early nineteenth century. Stroehling was brought up in Dusseldorf where a magnificent collection of the polished, classicising and elegant works (often on copper) by artists such as Adriaen van der Werff (1659-1722) had been formed by Johann Wilhelm II, Elector Palatine (1658-1716). Stroehling worked all over Europe but spend much of the first two decades of the nineteenth century in London; between 1810 and 1820 he was even styled ‘Historical Painter to the Prince of Wales’. Stroehling’s work elsewhere tended to be life-sized portraiture, but the Royal Collection has an important group of small-scale portraits on copper, executed with fine detail and a glossy finish; Joseph Farington perceptively referred to them as ‘painted in a Vanderwerfe manner’. Stroehling’s price for these ‘Cabinet Pictures’ was 200 guineas each, an impressive sum in the period even for a life-sized work. circa 1810-1815. 781 by (, Royal coll.)
Size: 2051px × 2437px
Photo credit: © The Picture Art Collection / Alamy / Afripics
License: Licensed
Model Released: No
Keywords: ., /, /., 1810-1815., circa
