Lisanne Heitel shows how a re-evaluation of coloration by Goethe and other renowned art theorists paved the way for a rediscovery of colours in the early 19th century. Her study examines the conflict between the painterly and the linear, and its manifold effects on art, theory and discourse in the first half of the 19th century. One focus is on the influence of American and English artists on German art, which has been rarely acknowledged to date. In fact, the reception of the Renaissance master Titian began with the American painter Washington Allston's arrival in Rome in 1805. Against this background, the works of Christian Gottlieb Schick and Joseph Anton Koch, as well as paintings by Joseph Anton Dräger and Erwin Speckter created two decades later are reassessed.

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Autorentext
Lisanne Heitel, University of Göttingen