Franz Werner von Tamm was an internationally-renowned German still life painter who worked predominantly in Rome and Vienna.
Born in Hamburg, von Tamm first trained locally under the guidance of Dietriech von Sosten and Johann Joachim Pfeiffer, initially focusing on history painting. But, drawn by the allure of Italy, at 27, he moved to Rome to further his education.
Travelling to Italy during the late 17th century was a complex endeavour involving a perilous journey of over 800 miles by carriage. Often funded by the artists’ parents, it was extraordinarily expensive and fraught with danger. Not only were the plucky adventurers the target of various nomadic miscreants, they also had to tackle the ferocity of the Alps. Some never made it, others never returned.
Today, one might compare these lengthy trips to enrolling at University - whereby the learning was paramount but the activities not entirely salubrious. For those leaving their hometown for the first time, it was the Baroque equivalent of a booze cruise. Such was the level of debauchery that the Dutch, German and Flemish artistic contingent in Rome became notorious for their antics. Dubbed collectively as the Bentvueghels (‘Birds of a Feather’), their meetings often descended into frantic drinking bouts and bizarre initiation rituals - often concluding with a march to the church of Santa Costanza (the ‘Temple of Bacchus’).
However, despite this, there was still much to be gained from studying the rich tapestry of Renaissance masters and indeed the environment itself. Collectors across Europe favoured those with Italian experience and still lifes were highly sought after. In the words of the influential writer, Arnold Houbraken, the 17th-century “had no esteem for artists unless they had seen Rome”.
Von Tamm settled in Rome between 1685 and 1695 where he became enchanted with the works of Carlo Maratta (1625-1713). Maratta was equally enamoured and collaborated with him on numerous pieces. Via this collaboration, Von Tamm gained access to wealthy Roman families, while also attracting the attention of aristocrats in Germany, England, France, and Spain. Aside from still lifes, his specialisms included statues, vases, and fruit bowls (of which there's an example in the Prado Museum).
His raison d'être was setting still lifes, such as flora, fruit and various animals (alive or otherwise), into an Italianate landscape - each element rendered with exquisite detail. By doing so, he blended the precise style of 17th-century Dutch still lifes with the romantic ideologies of his Italian peers.
Franz Werner Von Tamm, Flower Piece With Guinea Pigs
In around 1695, his growing reputation led to his appointment as a court painter to the Imperial Court in Vienna, where he remained until his death. He also worked for Prince Joann Adam Andreas von Liechtenstein.
Lione Pascoli, his biographer, described how he “painted with spirit, resolution and speed” and celebrated his ability to “represent the truth in its naked and simple form”.
He’s represented at the Statens Museum for Kunst, The Walters Art Museum, Kunsthistorisches Museum, and Cannon Hall Museum.
Public Collections
Statens Museum for Kunst, The Walters Art Museum, Kunsthistorisches Museum, and Cannon Hall Museum.
Timeline
1658
Born in Hamburg, Germany.
1685-1695
Worked in Rome. Became one of the ‘Bentvueghels’.
Trained in the studio of Carlo Maratta in Rome.
C. 1695
Moved to Vienna where he worked as a painter to the Imperial Court.
1702
Worked in Passau, Germany.
1724
Died in Vienna, Austria.