Ulrich Loth – Between Caravaggio and Rubens

Exhibition at the Alte Pinakothek Munich

Ulrich Loth – Between Caravaggio and Rubens
Duration of exhibition > 07.09.2008

For the first time an exhibition is being dedicated to Ulrich Loth (before 1599 – 1662), thus providing a long overdue opportunity to rediscover one of Munich’s leading painters of the 17th century.
The Alte Pinakothek is presenting the full range of Ulrich Loth’s oeuvre and inviting visitors to acquaint themselves with this unjustifiably forgotten master of early Baroque painting in Germany.

Ulrich Loth
Jakob und Esau
© Bayerische Staatsgemäldesammlungen – Alte Pinakothek Munich

Ulrich Loth was one of Peter Candid’s pupils and became painter to the court of Elector Maximilian I. of Bavaria. To complete his training as an artist he spent four years in Italy. From there, Ulrich Loth returned in 1623 as Germany’s first successor to Caravaggio and determined the new direction of painting at the Munich court, which up till then had been shaped by Mannerism.
Despite the difficult times during the Thirty Years War Loth remained very active. After quitting court service in 1629, he was able to work both for the court and on the »free market«. This way he received numerous commissions to produce altarpieces demonstrating the new orientation of his painting: the high Baroque style of Peter Paul Rubens, on which he modelled his works to the very last.

Among the highlights of the exhibition at the Alte Pinakothek is the four-panelled »Isaac Cycle« that was originally created before 1637 for the Schleißheim Old Palace (Altes Schloss Schleißheim) and is now re-assembled for the first time in 200 years: At the beginning of the 19th century two of the panels were removed from Munich by Napoleonic troops and taken to France, from where they were not handed back. Both these works are now returning from Nancy and Mainz to the Alte Pinakothek on temporary loan.
Equally impressive is the presentation of six large-format altarpieces, among them Loth’s magnificent principal work, the »Adulation of the Kings« from Munich’s Frauenkirche, and the »Death of Mary« from the Mariendom in Freising, which is painted in the style of Caravaggio.

The penitent Magdalen
© Bayerische Staatsgemäldesammlungen – Alte Pinakothek Munich

Christ calling St. Peter and St. Andrew
© Bayerische Staatsgemäldesammlungen – Alte Pinakothek Munich

Hercules wearing the Robe of Nessus
© Bayerische Staatsgemäldesammlungen – Alte Pinakothek Munich

The exhibition at the Alte Pinakothek allows visitors to admire these important paintings for the first time in all their fine detail. Several of Loth’s works – including his monumental altarpieces and Caravaggio-like half-figure paintings – were elaborately restored in anticipation of the exhibition and can now be viewed again for the first time in many decades.

Newly discovered archive material reveals how artists lived in 17th century Munich. Thus it provides an important contribution to research into the area of 17th century German painting, which has been little considered up to now. The catalogue accompanying the exhibition gives detailed explanations of Loth’s works and includes comprehensive inventory listings. On the 850th anniversary of the founding of Loth’s home city Munich, the exhibition is reaching out to the town centre, where visitors can discover further works by the painter in the churches St. Peter, Heilig Geist and the Frauenkirche.

Text © Alte Pinakothek München
Images © All rights reserved


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~ by Stampfli & Turci on July 31, 2008.

One Response to “Ulrich Loth – Between Caravaggio and Rubens”

  1. […] – concerning Ivan Drago, and an accounting of the similarities between myself an 2 Oct 2008 Ulrich Loth – Between Caravaggio and Rubens 31 Jul 2008 Caravaggio, 16th-century Artist used Photographic Techniques 11 Mar 2009 […]

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