| In Waldmüller’s 1822 portrait of Portrait of the Architect Charles de Moreau (1758 –1841), we have a record of one of the most important architects of the age, who was responsible, above all, for the building projects undertaken by the Esterházy family, to whom the Liechtensteins were at this time closely related. Moreau was the architect of the planned, albeit only partly executed, re-building of the palace at Eisenstadt, where the aim was to create a truly princely residence complete with library and theatre. Posed frontally, the sitter looks directly at the spectator, in a manner that seems to reflect his style as an architect, which was characterised by a certain rigidity and severity. At the same time, we do not feel that we are here encountering a closed and secretive face; its seeming openness invites us, even challenges us, to engage in dialogue. |
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Oil on canvas
height 55 cm, width 45 cm
Signed and dated at lower left: Waldmüller 1822
Inv.-No. GE1597
Provenance: before 1913 in the possession of Klara Schuster, Veinna; Marie Hirnczicz, Vienna; acquired by Prince Johann II von Liechtenstein
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| Further works on display |
 | | Mountain Landscape with the Ruin of Liechtenstein near Mödling, 1859 | |
| | View of Mödling, 1848 | |
| | Lime-kiln in the Hinterbrühl, c. 1845 | |
| | The Ruins of the Greek Theatre at Taormina on Sicily, 1844 | |
| | The Ruins of the Temple of Juno Lacinia at Agrigento, c. 1845 | |
| | Lake Fuschl with the Schafberg, c. 1835 | |
| | Portrait of Thiery, Landlord of the Wolf-in-the-Meadow Inn, 1833 | |
| | Portrait of the Future Emperor Franz Josef I of Austria (1830-1916) as a Grenadier with Toy Soldiers, 1832 | |
| | Revival to New Life, 1852 | |
| | Maternal Admonition, 1850 | |
| | The lesson, 1837 | |
| | Ruines of the greek theater in Taormina towards the straits of Messina, 1844 | |
| | The halted Pilgrimage, 1853 | |
| | Roses, 1843 | |
| | Flowers in a Porcelain Vase with Candlestick and Silver Vessels, 1839 |
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| Related themes |
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