What do Schiller, Goethe, and William Grant (aka THE SKATER, portrait by Gilbert Stuart) have in common? a......HAT

Schiller (close friend of Goethe) travelling about on his mule in non-fashionable but practical outdoorwear in 1787.

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In 1775 Goethe, dissatisfied with a life of being a lawyer in Frankfurt, accepted the invitation from Duke Karl Augustus to his court in Weimar, this tiny town in the middle of the forest of Thuringen. Rather than entering into an official day-to-day job at that point, the duke treated Goethe (already famed as the author of “The Sorrows of Young Werther”), as a friend and the two caused hot gossipy scandal (aristocracy on the same level as a non-noble!) by riding hard on wild jaunts lasting days or weeks through the forested countryside, camping, laughing, playing jokes on the locals, enduring fatigue and displaying physical prowess and love of sport.
Soon enough, settled in Weimar Goethe entered into a complex, not easily definable, virtuous love relationship with Charlotte von Stein, aristocrat at court, seven years older, married with children. The attraction was one of infatuation on Goethe’s part, tempered by the practical, stoic keen intelligence and restrained emotion on the part of the noble Stein, later blossoming into love, yet ending in the sudden departure of Goethe for Italy ten years later.

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Charlotte and her husband were the owners of a small country estate called Gross Kochberg ( click here for a sketch of the estate by Goethe, a talented illustrator in his own right) , and here for a photograph. Today by car, one can reach this estate leaving Weimar in about an hour. In those days, it would take a day by horse, or a good 24 hrs to walk. Goethe would do both, to visit the lady of the manor. The tricorne or bicorne hats surely wouldn’t satisfy the need for protection against the elements. I mention all of this because, as many of you know, the weather in Germany can be really horrible; freezing and snowy in the winter, rain and thunder in the summer. So that romping through the wilderness that then existed between Weimar and Jena, or trekking to the country house of the beloved, all means that “weather appropriate” clothing is a necessity. In particular, a hat to protect the eyes and neck from the sun, providing warmth and protection from rain and snow, would be a must in those days when reaching a destination by walking or horseback was the norm... The tricorne or bicorne? no way. Thus, I believe that William Grant used, for his portrait, a FASHIONABLE form of this type of outdoorwear, nominally known in GERMANY as the Schlapphut. To see Goethe in Schlapphut click here.

the Skater (William Grant) by Gilbert Stuart 1782 National Gallery of Art

Is this a man projecting melancholy? (As proposed in Gilbert Stuart by Barratt and Miles referencing both Presssly and Evans). I believe, in short, this is a man of fashionable elegance and atheletic prowess and skill, with an air of happy self-satisfaction, to be out getting exercise!

The Barratt/Miles book describes the hat worn by the Skater as a “wide-awake hat” which makes no sense to me. The definition of a “wide-awake hat” is variably descibed as “inspired by the paramilitary campaign organization of the 1860s”, “popular in the American West during the late 1800's”, “affiliated with the Republican Party during the 1860 election” OR best definition “a hat with a low crown and very wide brim”.
Thus Grant chose a hat suitable for the weather for an outside activity on such a grey day; warm, protective against a possible snow flurry while engaging in sport out in nature, yet clearly an article of FASHIONABLE OUTDOORWEAR with a band around the base of the crown decorated with a buckle (as well as fancy buckles on his shoe/skates!). His whole outfit portrays elegance and up-to-date, practical fashion and proper gear for skating. Notice the peep of a tan leather glove, also indicative of expensive fashion, and the fur lapels. The stance, arms crossed, puts the viewer on notice that the skater has perfect balance, ie atheletic prowess, as he skates perfect circles etched into the ice. Notice in the background, the unfashionable bi-and tri-corne hats on the MEN, with arms flailing and legs wide apart, and ...poor saps... wearing NO GLOVES!

I believe that with the soaring popularity of Goethe, Schiller, and Kauffmann both in Europe and abroad, all promoting the love of nature at this time, the Schlapphut, already made popular by the German artists in Rome, became THE current article of fashion and can also be described as the headgear being worn by Stuart in his self-portrait.

Did Angelica...

Goethe in the Campagna; 1787 by Johann Heinrich Wilhelm Tischbein

...paint Goethe? was the question by a commentator.

What I can recall, without spending oodles of time right now researching my books (I have a WONDERFUL exhibition book Angelika Kauffmann, 1741-1807 "Eine Dichterin mit dem Pinsel"~ [a poetess with a brush] is that yes she did, but neither Angelica nor Goethe were satisfied with the result, the result being that this painting is not well-known.
Portrait painting was considered to be the highest of the high in art, precisely because it is SO DIFFICULT to achieve a precise likeness of the sitter.

The painting that IS well known of Goethe is that done by Johann H. W. Tischbein pictured here (above), and I give the whole name of the painter (seen above image) because he stems from a painting family of Tischbeins.
Now, note carefully in this painting, Goethe's resemblance to The Skater by Stuart (see entry 2/1/09 & Goethe by Tischbein 2/7/09). Robust and healthy physique, contemplative, out enjoying nature, in Tischbein Goethe is taking a break from a long walk in the countryside of Rome, in Stuart William Grant is also "getting away from it all". Goethe in his early days in the small dukedom of Weimar, walked hill and dale, and loved it. Walking as a form of transportation was very common...
Tischbein met Goethe in 1786 in Italy, and these two also became good friends, travelling together, sketching and painting the Roman ruins.
[more on the Goethe and Charlotte von Stein story] Goethe loved this trip, but did not realize the extent of Charlotte's unhappiness that he left for the trip during the dark of night, without even telling her (thus she suffered the humiliation of not being able to tell her friends whither her intimate friend had gone), and then stayed away from Weimar for two years (which was unplanned). But Goethe needed this break, for perhaps he knew, that the relationship had .....no.....realistic future. But also the fact is Goethe had dreamed about this trip from the time he was a boy. So the perfect storm was reached, he left, and broke a ten year intimacy apart.

Angelica's Joshua

I felt it unfair to leave you with a rather unflattering image of an older Joshua Reynolds by GS (see entry just below this one 3/10), so here is a portrait of him as a younger man, by Angelica Kaufmann (at this time Gibby would only be 12 and living with family in Newport, RI). The similarity in facial features captured by both artists (Stuart/Kauffman) is striking, and the viewer is left reassured that ....this is what Sir Joshua Reynolds looked like! Note the appropriateness of the arrangement and accoutrements, the formality. This portrait 'pays proper respect' to the great artist. Now compare such qualities, to Stuart's portrait, and we might begin to understand why his picture was considered derogatory by the Monthly Magazine; or British Register. The critic wondered why the Royal Academy President "was depicted with a wig that was as tight and close as a hackney coachman's caxon, and in the act of taking a pinch of snuff." (from Gilbert Stuart, Barratt & Miles quoting from the Monthy Magazine; or British Register July 1804)

Joshua Reynolds; 1767 by Angelica Kauffman @ National Trust, England

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Angelica Kauffman is one of my favorite artists, and is a peer of all the characters that I have thus far mentioned-- born 1747 in Switzerland and raised in Austria. She lived many years in England, and was good friends with Sir Joshua Reynolds. She was the first female to be accepted into the Royal Academy. She subsequently moved back to Rome, at this time the mecca of the Art world ~~Benjamin West studied in Rome--it was the commonly accepted form of high art education; it is rumored that Angelica had a crush on Benjamin during his time there, but interest was not returned. Stuart scoffed at the fact that he had no experience in art education in Italy.~~ Angelica was popular and, rare for a female artist, earned a substantial income from her art. She was one of the first to perfect how to do fast portraits, to earn good income.

When Goethe ran away from his idealized lover Frau von Stein in 1786 (see entries 2/1,4,5,6,7/09), experiencing what he described as the dream of a lifetime in Rome, he and Angelica became the greatest of friends, sharing much time together studying art, composing poetry and enjoying the sights of Italy at this time. After Goethe returned to Weimar two years later, he took up with an unmarried young lady. This was a huge scandal, and correspondence between Angelica and Goethe soon dwindled to a stop.

Angelica was known for painting allegorical, mythological and historical subjects; from 1769 until 1782, she was an annual exhibitor at the Royal Academy. CW Peale named several of his children after great European artists including a daughter, Angelica Kauffman Peale.

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Angelica Kauffman; Self-Portrait, 1780-5; @ The State Hermitage Museum, Saint Petersburg

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Before photography and rather than the expensive oil portrait--there was the Silhouette

This is Goethe in front of his house (given to him by the Duke) in Weimar. In the background, to the left, is the house of the Duke and Duchess,
next to it is the house of Charlotte von Stein, and the structure to the right is the house of Goethe. This would date the silhouette to later than 1782, the year he moved in.

Goethe's house is still standing today, with his own original carriage in the garage. It is now a museum. A lovely garden graces the back of the house.

The silhouette just below is Charlotte von Stein's family (von Schardt) enjoying a game of chess. Her father stands behind her mother, who is playing the game with her brother. Note the formality. Eventually the confines of this world motivated Goethe to finally take off on his two year trip to Italy.

Charlotte von Stein. (1742-1827)

Charlotte endured very difficult times immediately after the Napoleonic conquest of Germany in the Battle of Jena in October of 1806. French troops went rampaging through the town of Weimar, pillaging and plundering. Charlotte was left with not much more than her pet birdies. Goethe, on the other hand, who was also at home, utilized his close connection to Napoleon (they had met in Erfurt), and French troops entered his house, but he was spared any plundering. Connections! How little has changed it seems.

From a letter describing von Stein: "Frau Kammerherrin, Stallmeisterin und Baronesse von Stein aus Weimar; Sie hat ueberaus grosse schwarze Augen von der hoechsten Schoenheit. Ihre Wangen sind sehr rot, ihre Haare ganz schwarz, ihre Haut italienisch wie ihre Augen. Ker Koerper mager. Ihre Stimme ist sanft and bedrueckt. Ernst, Sanftmut, Gefaelligkeit, leidende Tugend und feine, tiefgegruendete Empfindsamkeit sieht jeder Mensch beim ersten Anblick aus ihrem Gesichte."

Goethe left on his trip to Italy (1786) in a very secretive manner; while taking a 'cure' in the same time and place as Charlotte, he left before daylight without telling anybody. Charlotte was not only hurt and shocked, but humiliated. They corresponded, but the 'relationship' never resumed the same level of intimacy as once existed, and was finished when Goethe returned (two years later) and within months took a young lover, whom he did not marry until 1806 (in the middle of the Battle of Jena). The entire train of events set off a non-ending, bone-rattling scandal.

In 2003, the first Christmas market was held at the villa, now part of "Weimar Classics"--This is how the Schloss looks today.

Helen, mila, and myself were lucky enough to be able to drive out to Gross-Kochberg on one chilly wintery day, with the expectation of a day imbued with culture; for this is where Charlotte von Stein, aristocrat in the court of Weimar (don't forget, a miniscule dukedom back then but already on the map of the GRAND TOUR) would retreat to escape from the strict etiquette characteristic of the nobility of the time. A Christmas market in a historically genuine spot! Music! Costumes! Lovely gardens! Local/traditional crafts! lets see, whats the name for the German wine....how quickly we forget......
Well. It was a freezing day, unfortunately. That meant that for the most part everyone and everybody tried to cram into the (small) cellar, where the craft booths were. I lost my friends. It was hot, stuffy, the crafts were..... nichts. na ja. Suddenly, across the sea of heads, I saw the smiling face of Michael, my mila. Ahh!! l It was the first event at the Schloss. mila helen and I ended up out in the garden, mature, tall trees, covered with a sprinkling of snow...but it was just too darn cold. That was our day at the Schloss Kochberg. The expectations were more charming than the reality. But I would have never forgiven myself, if we had missed it...

Goethe's love of nature is evident in his sketch of Schloss Kochberg, country estate of his mentor Charlotte von Stein

Charlotte von Stein was friend and patron of the young Goethe after his arrival in Weimar. She helped him gain entry into the "court", later their devotion to each other would transform into an idealized love. Goethe finally broke the increasingly smothering bonds of this relationship and took a two year trip to Italy. In Rome he spent much time with the celebrated young Swiss/Austrian artist Angelika Kauffmann. Angelika was reputed to have had a crush on Benjamin West, when he also was in that mecca of the art world, Rome.