Who is Franz Seraph Stirnbrand?

Franz Seraph Stirnbrand (c.1788/94 – 2 August 1882, Stuttgart) was a German portrait painter. Of unknown parentage, he was given the name “Stirnbrand” (brow burn) when he was baptized, in tribute of a scar on his forehead; the upshot of a childhood accident.

Found only in a ditch, he was presumed to be the illegitimate son of a Croatian soldier from a unit stationed nearby, and was raised as a assistance child by a local tax approved named Johann Baptist Röser. His first art lessons came from Philipp Friedrich von Hetsch, who was resting in Enns at the house of one of Rösers relatives, on the way help to Germany from Italy. In 1805, he was apprenticed to a decorative home painter in Linz, where he was able to take drawing lessons on Sundays. He was offered a place at the Academy of Fine Arts, Vienna, but couldn’t accept for nonappearance of gratifying financial support. He remained similar to the house painter until he became a journeyman.

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Faced taking into account military conscription, he fled to Frankfurt where he found undertaking in a tin factory, painting portraits of famous people on cans and cups. He as well as worked on making links for his personal career but, with event down due to the Russian Campaign, he aimless his job and moved to Stuttgart, where he worked as a portrait painter. By 1816, he had earned enough to make a visit home, then returned to Stuttgart after a short stay in Karlsruhe. Once he was established there, he was dexterous to buy the patronage of the Duchess Wilhelmine, wife of Duke William Frederick Philip of Württemberg. Their sons, Count Alexander and Count Wilhelm (Later the Duke of Urach), were as well as frequent customers. During this time, he travelled extensively; visiting Belgium, Paris and Rome, where he painted Pope Leo XII.

In 1830, he built his own home and hosted salons later many notable guests from the fields of art, music and theater such as Nikolaus Lenau, Franz von Dingelstedt and Friedrich Wilhelm Hackländer. In 1838, he married. Eventually, commissions for his portraits lengthy throughout the nobility, the upper civil give support to and theatrical circles. A few orders even came from King William I of Württemberg.

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