A gold medal at the 1892-1893 Chicago World's Fair recognized the painting Icarus, a work by Arthur Fitger that underscored his prominence as a decorator of public buildings. Born in Delmenhorst in 1840, this versatile figure navigated the intersections of literature, visual arts, and institutional criticism within the Grand Duchy of Oldenburg and beyond throughout his life.
Artistic Training and Travel
Fitger began his formal education in 1858 at the Akademie zu München under the guidance of Moritz von Schwind, Peter von Cornelius, and Bonaventura Genelli. His development continued with travel to Antwerp and Paris, followed by a residence in Rome from 1863 to 1865, funded by a grand ducal scholarship. Before settling in Bremen in 1869, he split his professional time between Vienna and Berlin.
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Known for expansive decorative schemes, Fitger completed numerous commissions in Bremen, including murals for the Ratskeller and a maritime-themed frieze for the local bourse. His ecclesiastical work includes The lost son and The Merciful Samaritan for the Rembertikirche. In 1883 and 1884, he executed murals for the Kunsthalle Hamburg, and later contributed imagery of nymphs and centaurs to the Imperial Post Office Building in Bremen.
Literary and Critical Output
Beyond his visual practice, Fitger was a prolific writer of plays such as Adalbert von Bremen and Die Hexe, as well as poetry collections including Winternächte. As a critic, he wielded significant influence over Hanseatic artistic taste. Serving as chairman of the Kunstverein, he maintained a staunchly conservative stance, famously issuing a harsh public rebuke of Marie Bock and Paula Becker in the Weser-Zeitung in 1899.
Fast facts
- Born: 1840, Delmenhorst
- Died: 1909, Bremen
- Citizenship: Grand Duchy of Oldenburg
- Occupations: Writer, poet, painter
- Notable Recognition: Gold medal, 1892-1893 Chicago World's Fair
- Primary Work Location: Bremen
Questions readers ask
What stylistic influences defined Fitger’s painting?
He initially adopted the styles of Cornelius and Genelli before transitioning to a more modern use of color reminiscent of Hans Makart.
Did Fitger succeed in stopping modern art trends in Bremen?
While his critical stance against contemporary artists and the Worpswede colony was prominent, it failed to prevent their ultimate breakthrough.
