Old Man with an Umbrella (n.d.). Oil on canvas, 34x26in. This genre portrait, possibly
done when Carl von Marr was anart student in Munich, recalls the work of the Munich realist
Wilhelm Leibl. Photo courtesy of West Bend Gallery of Fine Arts, West Bend, Wisconsin.
CARL VON MARK: POETIC REALIST
arl von Marr (1858-1936) was an Ameri-
can-born artist who settled in Munich and
became the director of the Munich Academy.
His name was originally Carl Marr, the aristo-
cratic von being added after his election to the
nobility in 1909. In his early work Marr strove
to emulate the dramatic historical painting of
the academic tradition in which he was
trained, but he soon began to turn toward the
genre realism of such Munich painters as Wil-
helm Leibl. In the end, Marr became a master
in the portrayal of warmly intimate domestic
scenes. While his success as an academic
painter was initially based on the recognition
accorded his early historical canvasses, it is the
thesis of the present article that Marr's real
achievement is best exemplified by the poetic
realism of his later works.¹
Marr was the oldest of the four children of
John Marr, a German-born engraver who had
settled in Milwaukee, Wisconsin, in 1855. Marr
was educated in Milwaukee at the German-Eng-
lish Academy, a liberal private school. His artis-
tic talent was soon noticed, and from the age of
nine he received private instruction from
Henry Vianden, a German immigrant artist
who was a pioneer art teacher in Wisconsin.
As the result of a childhood illness, Marr suf-
fered from impaired hearing throughout his life.
His deafness caused difficulties in school, where
he was a shy, insecure boy. He left school at the
age of fifteen and became an apprentice in his
father's engraving business. In the meantime,
Vianden sent some of Marr's sketches to the
Weimar Art School, where they were favorably
received. It was then that Marr's father resolved
to send his talented son to Germany for study.
In 1875 Marr went to Weimar. He was only
seventeen and because of his youth and inex-
perience was required to take private lessons
before being regularly admitted to the Weimar
Art School. His tutor during this period was
Karl Gehrts, a young artist who was only five
years older than Marr himself. In due course
Marr was accepted by the art school and placed
in the class of Ferdinand Schauss, where he fol-
lowed the usual first-year program of drawing
from plaster casts. The following year Marr
went on to Berlin, enrolling in the Berlin Acad-
emy as a student of the genre and portrait
painter Karl Gussow. Marr also received in-
struction in Berlin from Anton Alexander von
Werner, a popular painter of historical can-
vasses. In 1877 Marr went on to the Munich
Academy where his first teacher was Otto Seitz,
an artist known for his genre portraits and
drawings. From the Seitz class Marr graduated
to the composition class taught by Gabriel
Max, a painter of portraits and figure studies
who was also an illustrator. The faculty at the
Munich Academy was favorably impressed with
Marr's work and in 1874 he was awarded a sil-
ver medal, the first of many such awards he was
to receive in the course of a brilliant career as
an academically sound artist.
Marr returned to Milwaukee in 1880 and
soon opened a studio there. His presence in
the city was warmly acknowledged by the local
press, but though his work was viewed with in-
terest and respect by the local public, they did
not buy. By early 1882 Marr gave up trying to
make a living in Milwaukee. He exhibited his
work in Detroit at the end of January and then
went on to Boston and New York, where he
found temporary work as an illustrator. Later
that year he returned to Munich, which he
now made his permanent home.
In Munich Marr briefly continued his stud-
ies at the academy, this time under Wilhelm
Lindenschmidt, a painter of genre and histori-
cal subjects who was also known for his land-
scapes in the Barbizon manner. Marr soon
opened his own studio, however, where he pro-
vided instruction to classes of women, who at
that time were not yet admitted to the academy
for study. He also soon received a teaching post
at the academy.
Marr made frequent trips back to Milwaukee
to visit his relatives there and often stayed for
the summer. When he returned for the sum-
mer of 1887 members of the local German-
American community held a banquet in his
honor at Schlitz Park with more than a hun-
dred guests in attendance. The press in Mil-
waukee regarded him with reverence and his
visits to the city were always an occasion for
press coverage. While in Milwaukee he often
painted at the studio of Francesco Spicuzza,
working mostly on portraits of relatives and
prominent local citizens.
- 6 7 -
C
Carl von Marr: Poetic Realist
The Flagellants (1889). Oil on canvas, 13'10" x 25'8". This large canvas, which depicts a scene from Italian history, took Carl von
Marr several years to complete. Although it is his undisputed masterpiece, it is perhaps less in tune with today's taste than the less dramatic
scenes which he turned to in his later career. Photo courtesy of West Bend Gallery of Fine Arts, West Bend, Wisconsin.
Marr's training in Munich had inculcated a
respect for historical painting, the artists he
most admired being Adolph von Menzel
(1815-1905) and Ernest Meissonier (1815-
1891). During the first years after his return to
Munich in 1892 Marr was much absorbed by
this kind of painting. His most important work
from this period is The Flagellants (1889), an
immense painting with more than a hundred
figures. Based on an incident which occurred
in 1348, the subject matter for the painting was
drawn from a history of Rome in the Middle
Ages by the German historian Ferdinand Gre-
gorovius. Marr made the first sketch for the
painting in 1884 and by 1887 had completed
the preliminary research, which included two
trips to Italy. He painted the picture in his Mu-
nich studio during the next two years and won
a gold medal when it was exhibited in Munich
in 1889. The painting won another gold medal
when it was exhibited at the International Ex-
hibition in Berlin the following year. In 1893
Marr attended the Chicago World's Fair as a
delegate of the Society of Munich Artists and
exhibited The Flagellants at the fair. The paint-
ing was subsequently purchased by Louise
Schandein, wife of the Milwaukee brewer Emil
Schandein, and presented as a gift to the city of
Milwaukee. It was at first hung in the Milwau-
kee Public Library and was later displayed for
many years in the Milwaukee Auditorium
Building. In 1975 the painting was thoroughly
restored and installed in its present location at
the West Bend Art Museum in West Bend, Wis-
consin.
The Flagellants is the only important work
from Marr's historical period which is now in
the United States. In 1890 Marr won a Gold
Medal at the International Exhibition in Berlin
for the painting Germany in 1806. The painting,
which depicts a scene from the time of the
Napoleonic Wars, shows a dimly lit room in
which a group of French officers is playing
cards while suffering German women and chil-
dren are seen in the background. The Children
of Bunzlau (1885), which was awarded a silver
- 6 8 -
Carl von Marr: Poetic Realist
medal by the Munich Academy, is another
scene from the period of the Napoleonic Wars.
The large painting depicts an incident which
happened in 1813. A group of hungry French
prisoners were being held captive by Cossack
guards who refused to let the women of the
town of Bunzlau bring food to the prisoners.
When the women then sent their children with
baskets of provisions, the Cossack guards al-
lowed the children to pass. The painting was at
one time owned by a museum in East Prussia,
but its present whereabouts is uncertain.
By the turn of the century public taste for
dramatic historical painting was waning, and
Marr moved on to other types of expression.
Sometimes he produced paintings based on
motifs from classical mythology such as The
Hesperides and The Fall of Icarus, but more fre-
quently he turned to biblical subjects. The
Widow's Son depicts the miracle related in Luke
7:11-16 in which Christ, while visiting the town
of Nain, restores to life a widow's only son.
Even before the turn of the century Marr
had begun to paint interior scenes of notable
warmth and intimacy. Paintings such as Sum-
mer Afternoon (1892) and The Red Chair (c.
1895) bring the same sort of warmth to scenes
of domestic life in an exterior setting. Wind
and Waves (c. 1925) is a late work which ap-
pears to reflect the influence of the Swiss neo-
romantic painter Arnold Böcklin.
Marr occasionally did murals. At Schloss
Stein, a castle near Nürnberg, he did a series of
murals depicting the Seven Ages of Man on the
four walls of a banquet hall. He is also reported
to have done a ceiling painting at a church in
Burgheim, Bavaria, northwest of Munich.
Marr's work contains many portraits, a num-
ber of which can be seen at the West Bend Art
Museuma. These paintings are illuminated by
the same poetic vision which is apparent in his
domestic scenes. Of particular interest is Por-
trait of the Artist's Father (1891), which shows the
engraver John Marr in his shop surrounded by
the implements if his trade. The work recalls
the type of genre portrait which was a specialty
of the Munich artist Wilhelm Leibl.²
Like many artists who reached the peak of
their powers at the turn of the century, Marr
found himself cast in the role of a cultural con-
servative by the generation of modernists
which emerged just before World War I. He
was even forced to flee from Munich when the
city was briefly taken over by left-wing insur-
gents in 1919. He was confused by German ex-
pressionist painting, which he could neither
understand nor appreciate.
Summer Afternoon (1892). Oil on canvas, 52-3/4 x 81-1/2 in.
A poetic realist, Carl von Marr was able to bring matchless skill
to the depiction of intimate scenes such as the one shown here.
Photo courtesy of West Bend Gallery of Fine Arts,
West Bend, Wisconsin.
The school of late nineteenth-century poetic
realism which Marr's best work exemplifies has
long been out of fashion, though there are cur-
rently signs of a sympathetic reappraisal.
Nonetheless, the technical skill and inherent
good taste of his painting distinguish him as an
artist who deserves to be taken seriously de-
spite changes in what is deemed fashionable.
Despite his inability to come to grips with mod-
ernism, his work exhibits growth and evolu-
tion, the stiff formalism of his early period giv-
ing way to a mature style characterized by
warmth and fluidity.
Marr probably began teaching at the Mu-
nich Academy during the 1880s, though he was
not promoted to professor until 1893. He did
not marry until 1916, by which time he was al-
ready in his late fifties. His wife, Elsie Fellerer
Messerschmidt, was the widow of the Munich
artist Pius Ferdinand Messerschmidt, who had
been Marr's colleague and close friend. Marr
had no children of his own but adopted his
wife's two daughters by her previous marriage.
- 6 9 -
Carl von Marr: Poetic Realist
John Marr - Father (1891). Oil on canvas, 50 '½ x 50 ½ in.
Carl von Marr's skill as a portrait artist is displayed to full effect
in this study of the artist's father. John Marr (1831-1921) was a
metal engraver and sculptor who is shown here among the tools
of his trade. Photo courtesy of West Bend Gallery of Fine Arts,
West Bend, Wisconsin.
Although Marr's studio was near the academy
in Munich, he lived with his family in a country
house at Solln, a village on the outskirts of
town which has now become a residential
neighborhood within the city. Marr's wife died
only three years after they were married.
Marr in his sixties was a fair complexioned
man with blue eyes, thinning blond hair, and a
pointed beard. He was short, solidly built, and
agile. Quiet and dignified in manner, he
nonetheless was possessed of a sense of humor
which sometimes showed through his sedate
manner. Among his students in Munich were
the Wisconsin-born artists Alexander Mueller
and Adam Emory Albright. Marr remained a
professor at the academy until retiring in 1923,
after which he had his own private school of
painting in Munich for several years. From
1919 to 1923 he was director of the Munich
Academy. In addition to the numerous decora-
tions which he received in the course of a dis-
tinguished career he was awarded an honorary
doctorate by the University of Wisconsin in
1929.
Marr kept up his American citizenship for
several years, but lost it after accepting a posi-
tion as professor at the academy. When he died
in 1936 there was a secular service in Munich
followed by burial at the village cemetery in
Solln, where his wife is also buried. There was a
memorial exhibition of his work at the Milwau-
kee Art Institute in November 1936, which
brought together thirty-four of his paintings,
all from Milwaukee collections.
. Peter C. Merrill
Florida Atlantic University
Silent Devotion (1896). Oil on canvas, 46x57 in. By the
1890s Carl von Marr had turned away from the historical
painting of his early period in favor of intimate domestic scenes
such as the one shown here. Photo courtesy of West Bend Gallery
of Fine Arts, West Bend, Wisconsin.
- 7 0 -
Carl von Marr: Poetic Realist
Wind and Waves (c. 1925). Oil on canvas, 27x39 in. This painting, from Carl von Marr's late period, reflects the influence of the
Swiss painter Arnold Böcklin (1827-1901). Photo courtesy of West Bend Gallery of Fine Arts, West Bend, Wisconsin.
NOTES
1
The list of published sources on Carl von Marr and his
work is too extensive to be given here. One recent source
which must be mentioned, however, is Thomas Lidtke's
color-illustrated book, Carl von Marr: American-German
Painter (West Bend, Wisconsin: West Bend Gallery of Fine
Arts, 1986). For the biographical information on von Marr
contained in the present article I have drawn particularly
on the many articles about him which appeared during his
lifetime in such Milwaukee newspapers as the Milwaukee
Journal and the Milwaukee Sentinel An index of the latter is
available at the Milwaukee Public Library.
2
Many of the paintings discussed in this article may be
found at the West Bend Art Museum in West Bend, Wis-
consin, which has the most comprehensive collection of
Carl von Marr's works to be found anywhere in the world. I
am much indebted to Thomas Lidtke, the executive direc-
tor of the museum, for providing the illustrations used in
this article.
- 7 1 -
 |