Diana Bathing 18th Century Oil on Canvas by Friedrich Olenhanz 1765-1839

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About the Item

"As the incarnate of dawn shines in the morning, such a blushed Diane's complexion exposed without veils to the eyes of a mortal" Les Métamorphoses by Ovide Less tragic is our destiny than that of Acteon who, having surprised the goddess Diane in the bath, is transformed into a deer and devoured by her own dogs before the eyes of her companions. Despite the imminent drama, it is under his delicate brush, moved by an impudent eye, that Friedrich Olenhanz makes his composition a charming object of contemplation. A painter at the Vienna court, a portraitist of the Liechtenstein family and the court, he mixes with his first talent that of the performance of a mythological episode. Here, the singular features of the goddess suggest the true face that inspired them and that could be that of Caterina Odescalchi "As the incarnate of the dawn shines in the morning, such a blushed the complexion of Diana exposed without veils to the eyes of a mortal" Ovid, Les Métamorphoses (1765 - 1839), Countess of Bracciano, Sirmio and Ceri. Known by Oelenhainz, he had not long before painted a portrait of the young woman, represented at the middle of his body, with his head girded with a beaded ribbon and dressed in a yellow dress. But here with charm, the painter exceeds the conventions of classical portraiture by contextualizing the model against the background of mythological narrative. Clearing herself from dark skins, the pudically striped young goddess hangs her gesture, the rose rising to her cheeks as we break the sacredness of the place. The presence of other nymphs remains anecdotal and our attention is focused on the body highlighted by the goddess. This is offered in a setting of red and white draperies, echo the shades chosen for its flesh and from which emanates all the brightness of the painting. Admitted to the Academy of Fine Arts in Vienna in 1789, Oelenhainz exhibited this work at the Salon of 1789, when it was in the collection of a Count Überacker before it was engraved ten years later by a certain Traunfellner (picture 2). The engraving mentions a dedication to Prince Charles-Philippe of Schwarzenberg (1771-1820) for reasons that remain unknown to us. Would the painting as the engraving be only witnesses of relations of which they are no longer than distant echoes?

Creator:
FRIEDRICH OELENHAINZ ENDINGEN (1765 - 1839, Austrian)
Creation Year:
1789
Dimensions:
Height: 24.41 in (62 cm)Width: 19.49 in (49.5 cm)Depth: 1.97 in (5 cm)
Medium:
Canvas,Oil
Movement & Style:
French School
Period:
18th Century
Condition:
Gallery Location:
LA BOUILLE, FR
Reference Number:
1stDibs: LU1808211359062

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