Franz de Paula Ferg was a distinguished Austrian painter, draughtsman and printmaker of multi-figure genre scenes and landscapes.
Born in Vienna, at a time of significant change, Franz de Paula Ferg, also known by his anglicised name of Francis Paul Ferg, was a master of genre painting. He was trained initially by his father, the history painter, Adam Pankraz Ferg (1651-1729), before working first under ‘Baschueber’ and then Johann (Hans) Graf (1653-1710). During the early part of his career, he was particularly inspired by the latter, and developed a similar style, both in terms of brushwork and colouring. Often we see a blueish-green landscape with figures rendered consistently in ochre, tinted vermillion, and light blue. Most of his works were on small sheets of copper.
Next, Ferg lived with the landscape painter, Josef Orient (1677-1747), presumably working in his studio. Apprentices, in general, were known to assist the master with specific elements, such as adding figures (also known as ‘staffage’) into a view. Indeed, when looking across Orient’s oeuvre, it would appear that Ferg was more accomplished at rendering believable forms. There was probably a similar arrangement in place when he travelled to Dresden and worked alongside Johann Alexander Thiele (1685-1752).
It was in Dresden that Ferg established himself as an artist of considerable merit, producing numerous works for patrons. His attention to minutiae, coupled with his advanced skill as a colourist, formed the basis of a growing reputation. He soon taught himself to etch, thus enabling him to offer prints alongside his works in oil.
In his ‘Figures of the Commedia dell'Arte Performing a Quack Doctor Scene in a Village Square’, which sold at Christie’s in 2013, there’s a sense of realism, which is comparable with some of the early Dutch masters. While his ‘A Village Dance’ demonstrates his proficiency of rendering complex figure arrangements, reminiscent of the great Pieter Brueghel the Elder (1526/1530-1569).
Franz de Paula Ferg, A Village Dance
In 1724, Ferg settled in London, where he again established a profitable relationship with local patrons. In addition to his village scenes, he also produced idealised Italianate landscapes - popular among young aristocratic males, having completed their Grand Tour.
Franz de Paula Ferg, Market Scene
However, despite his evident success, he fell into exceedingly dire financial and personal circumstances, which, according to the writer George Virtue, were the result of a dreadful marriage. Virtue described him as “so unhappily married to a boisterous extravagant hussy, (being a long time prisoner for debt) that she kept the man always poor and indigent”. Which “brought him so low, that being quite exhausted, he went out to some company the last evening of his life, and dropt down dead before he got home in the street”. This version of events, however, was disputed by the art dealer Noël Desenfans (1741-1807), who attributed Ferg’s pecuniary woe to a head injury caused by a falling roof tile. We may never know the truth, but either way, it led to a pauper’s burial at the infamous Saint Giles in the Fields, Camden.
He’s represented in numerous public collections, including at The British Museum, V&A Museum, and The Met Museum in New York. Virtue described him as “a painter of an uncommon genius”.
Public Collections
The British Museum, V&A Museum, The Met Museum in New York, Government Art Collection, National Trust at Anglesey Abbey, National Trust at Osterley Park, National Trust at Packwood House, National Trust at Stourhead, National Trust at Uppark, Nottingham City Museums & Galleries, Southampton City Art Gallery, The Fitzwilliam Museum, The Holburne Museum, York Art Gallery, National Gallery Prague, The Princely Collections of Liechtenstein.
Timeline
1689
Born in Vienna.
Trained by his father, the history painter, Adam Pankraz Ferg (1651-1729).
Studied under ‘Baschueber’.
Studied staffage painting in Vienna with Johann (Hans) Graf (1653-1710).
Studied under the landscape painter Josef Orient (1677-1747).
1718-1724
Travelled to Bamberg, then Dresden where he worked with Johann Alexander Thiele (1685-1752).
1724
Settled in London.
1737
Died in London. Buried (as ‘Francis Ferg’) at Saint Giles in the Fields, Holborn, on the 20th of October.
Obituaries
George Virtue’s Notebook (Unedited)
“Ferg. of Vienna a painter of an uncommon genius for painting landskip & Figures in small, a mixt manner of his own, his compositions of numerous figures neatly toucht his Landskip great variety a fine curious pencil in his Trees distances & decorations many of his pieces are in competition of Bot Bodvins- Bambock Elhamer but more particularly Polemburgh and other preceding famous Masters in that way of painting, his pictures being always of a small size, he long labourd to gain a reputation- against the Torrent- (being not of the great Roman Manner) but rather low Countries, however he had a great deal of Merit and was well esteemd and his works sold to a good price a man of an affable and easy temper.
He came from Vienna to hamburg from thence to England. but so unhappily married to a boistrous extravagant hussy, (being a long time prisoner for debt) that she kept the Man always poor and Indigent, slaving his spirits in misery, and bondage, debasd his genius and brought him so low, that being quite exhausted, he went out to some company the last evening of his life, and dropt down dead before he got home in the street, not aged, but under forty- and had been in England near Twenty years, leaveing this Wife and four young Children in distress, which engaged some good Friend to raise up ten pound by contribution, to defray the charges of his Funeral &c. & relieve his Family.”