Oil Painting, 'Sketches in Switzerland: the Matterhorn', Karl Heffner, German school, 1883-1894

The summit of a mountain with areas of snow seen in the distance through a grove of small trees.

Bequeathed by John Hill

Bequeathed by John Hill, 1894

Historical significance: This painting is a fine example of Heffner's mature manner which became broader and sketchier under the influence of such English painters as John Turner and John Constable but also the French Realists Camille Corot and Théodore Rousseau.
The colours are here applied with a thick impasto, reminiscent of Paul Cézanne's technique. It is a good example of the Realist movement that developed in the Germanic countries in the second half of the 19th century under the influence of French realism and the Barbizon school.
In 1883, Heffner made his first journey to Italy and may have stopped by Switzerland on his way. This work was probably executed in open air, following the tradition of Realist paintings.
This work may have been painted directly for the English market as Heffner regularly supplied pictures to the English art dealer Thomas Wallis, whose business activities brought to Munich. Such pictures attracted patrons and collectors and hitherto a great extent of Heffner's oeuvre is to be found in private collections rather in public institutions.

Karl Heffner (1849-1925) was born in Würzburg where he first studied music. He was a pupil of Adolf Stademann (1824-1895) and Adolf Heinrich Lier (1826-1882) in Munich. He travelled extensively in Germany, England, Italy and Holland, exhibited in Vienna and Munich between 1873 and 1883, and in the Royal Academy in London between 1880 and 1881.

Heffner was one of the greatest exponents of the Munich School of Paintings led by A. Stademan and A. G. Lier who were his masters. This painting is part of group of six famous Swiss views mounted together and depicts the Matterhorn (in German) or Monte Cervino (in Italian), a mountain (4,478 m) in the Pennine Alps on the border between Switzerland and Italy. Following the Realist technique, this work was probably executed directly after the motif in open air. It work is a fine example of Heffner's mature manner, which became broader and sketchier over the years.

866E-1894