“ That until the most recent time
(Ridinger) has enjoyed such an undeserved fame ,
is absolutely beyond me …
of all horse depictors … (he is) the worst ”
Schoenbeck, Richard. (The Horse and its Depiction in the Pictorial Art from the Hippologic Point of View.) With frontispiece + 44 (5 folded) plates + 328 illustrations. Leipsic, Engelmann. 1908. 4to. X, 203 pp. Illustrated red orig. cloth with gilt back + front cover and red fly leaf. Gilt head-edge.
Standard work in regard of the rich illustration material and perhaps the introducing chapters “(Sketch and History of the Horse)” (pp. 31-66) + “(The Horse)” (67-143). The then following just 60 meagre pages of the review of depictions as the book’s actual title determined by the primitive tone of a swaggering art Philistine though to whom besides few exceptions, to which Dürer (“… shows that D. has not understood the horse though he wrote a manuscript on the proportions of all conditions of the horse’s corps”), Tempesta, Rugendas, horse painter Bürde and passionists like Carle Vernet, Pluvinel, de la Guérinière or the Duke of Newcastle by no means, Velasquez and Anthonis van Dyck only count with great reservation, in the end then just the also horse painting and sculptoring – so Fröba, Pferd und Reiter in fünf Jahrhunderten, p. 59 – major Schoenbeck may last. Examples of him not reproduced here though. Accordingly the tributing tenor towards Emperor William II (p. 182, “… and not least it is the art loving German Emperor who with all his powers also on this field …”) as he stayed alive with exchanged addressees up to the recent past.
And as “it is often, let’s say mostly, denied to the artist to fathom the subject or involving all kinds of difficulties”, so to the author the gift to acknowledge, let alone to judge or even lecture scientifically de-emotionalized, art up to the poetry of the flat country of Dutch painting, not to speak of modern one. Otherwise, however, he “belonged to the most important and versatile personalities of hippology about the turn of the century” who by the way in the battle for the side-saddle went “even that far that he not liked a lady going for a ride without an accompanying gentleman or ‘groom’” (Fröba, op. cit. pp. 58 + 62).
That finally with nearly three pages, three large illustrations + 4 plates the broadest room of all is dedicated to the most miserable (“his game is equally inferior”) is just logical. Because (shame) on who deserves (shame). The fourth of the plates (plate 38) by the way running just as anonymous Ridinger succession so that here the position of the legs at least may be “strangely enough correct”. The picture shows Frederick the Great from the set of the Princely Persons mounted on Horseback, Thienemann 829. And since the author had his problems with the Latin of the quoted signatures he also missed Augsburg as sphere of action and let the master in Ulm for all his life. – Small backed tear.
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