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Upon the outbreak of the Franco-Prussian War, Werner was sent with the staff of the 3rd Corps d'Armée under the command of Prince Frederick William of Prussia in October 1870. In January 1871, he was summoned to the Prussian headquarters in Versailles[1][2] and commissioned to immortalize the proclamation of the German Empire at the Hall of Mirrors. This painting marked Werner's final breakthrough, he became acquainted with numerous German federal princes he portrayed, met with Chancellor Otto von Bismarck and Field Marshal Helmuth von Moltke, as well as with Emperor Wilhelm I. Afterwards he returned to Berlin, now the German capital, and married Malwine Schroedter, daughter of his tutor Adolf Schroedter in August 1871.[3]
In Berlin, Werner designed a large velarium stretching over the Unter den Linden boulevard at the triumphant arrival of the victorious German troops. He received further public commissions to create the mural decorations in the portico of the Victory Column, whereby he used his velarium as a cartoon for an innovative stained glassmosaic. He continued to commemorate the Franco-Prussian War in several commissioned paintings.
In 1873 Werner was appointed professor at the Berlin Academy.[1] His career reached its peak when he became, in 1875, director of the Academy. After 1888, while in William II's court, Werner tutored the emperor to become a painter.[4] In 1909, he succeeded Hugo von Tschudi in directing the Nationalgalerie in Berlin.[5] He died in Berlin in 1915 and was interred at the Alter Zwölf-Apostel-Kirchhof in the Schöneberg neighborhood of Berlin.
Works
Werner's more important works include The Capitulation of Sedan, Proclamation of the German Empire at Versailles, Moltke before Paris, Moltke at Versailles, The Meeting of Bismarck and Napoleon III, Christ and the Tribute Money, William I Visiting the Tombs, The Congress of Berlin, and some decorations executed in mosaic for the Berlin Victory Column. Werner's work is chiefly interesting for the historic value of his pictures of the events of the Franco-Prussian War.[1]
Werner was good friends with Norwegian painter Hans Gude whom he met at the Karlsruhe school, and whom he would later work with at the Berlin Academy.[6] Gude wrote of Werner in 1873,
Even then [Werner] manifested a versatile and rich talent, besides incredible assiduity and capacity for work; he was one of the best on our side. He was also tireless in inventing all sorts of high jinks to amuse us on the Sunday afternoons when the entire group assembled.
Eröffnung des Reichstages, 1888 in Weißen Saal, Berlin Palace, 1893
Other well-known works
1864 Kinderkopf im Profil (Child's Head in Profile)
1867 Kauernder Jüngling (Crouching Boy)
1872 Allegorie auf die Entstehung der deutschen Einheit (study for a mosaic at the Siegessäule in Berlin)
1873 Husar und älterer Offizier (Hussar and An Older Officer)
1877 Die Proklamation des Deutschen Kaiserreiches (The Proclamation of the German Empire). Destroyed in World War II; another version was painted in 1885
1879 Taufe in meinem Hause (Baptism in My House)
1881 Wilhelm I of Prussia at the sarcophagus of his mother Queen Louise in the Charlottenburg Mausoleum (19 July 1870)
^Joachim Reinhardt, Anton von Werner "Dr. Joachim Reinhardt" accessed on 2 May 2006.
^Fulbrook, Mary and John Breuilly (1997) German History Since 1800 "Oxford University Press US". 640 p. ISBN0-340-69200-6.
^Malyon, John. ART / 4 / 2Day "Estate of Bernard Safran". accessed on 2 May 2006.
^ abHaverkamp, Frode. Hans Fredrik Gude: From National Romanticism to Realism in Landscape (in Norwegian). trans. Joan Fuglesang.
^Quoted on Tate website: Ronald Alley, Catalogue of the Tate Gallery's Collection of Modern Art Other Than Works by British Artists, Tate Gallery and Sotheby Parke-Bernet, London, 1981, pp. 227–8
Further reading
Bartmann, Dominik (1985). Anton von Werner. Zur Kunst und Kunstpolitik im Deutschen Kaiserreich (in German). Berlin: Deutscher Verlag für Kunstwissenschaft. ISBN3-87157-108-3.
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