Portraits of Mozart

Portraits claimed to be of Wolfgang Amadeus Mozart

Detail of Carmontelle's Mozart family watercolour

Numerous historical paintings and other works of art purport to depict the composer Wolfgang Amadeus Mozart. Of these, only a fraction can be shown by historical evidence to be authentic portrayals. They exist amid a great number of inauthentic ones, which are either fraudulent or else sentimental works of the imagination. Of the authentic portraits, the posthumous 1819 painting by Barbara Krafft is the best known. The task of distinguishing authentic from inauthentic portraits has occupied Mozart scholars for many years.

## Background

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Mozart's physical appearance was verbally described by family and friends, among them his wife Constanze, his sister Nannerl and his work colleague Michael Kelly These descriptions share some traits: Mozart' small stature, thin frame, and pale complexion. The composer's face was marked by his childhood case of smallpox. He had a prominent nose, large blue eyes and a small mouth.[1]

Only a few portraits of Mozart were made during his lifetime; most portraits were realised after his death, as his fame spread. According to Robert Bory, 62 portraits of Mozart and pictorial representations of all kinds exist;[2] but they vary widely in size, media used, style, and above all, authenticity.

Mozart experts who have examined the portraits, such as Arthur Hutchings, Arthur Schurig [de], Martin Braun and Alfred Einstein, emphasize the contrast between the sheer number of artworks that purport to represent Mozart and their sparse iconographic value.[3] Schurig wrote in 1913: "Mozart has been the subject of more portraits quite unrelated to his actual appearance than any other famous man. An adoring posterity has not conceived a more incorrect physical image of any other notability."[4] Such views arise from the analysis of the existing paintings, miniatures, sketches, drawings, cameos, and engravings of the composer. Julius Leisching [de][5] and Max Zenger [de][6] made a first selection and Otto Erich Deutsch established a list of the authentic portraits and the forgeries, mostly from the 19th century.[7] The conclusion of this work is that only eight works of art,[4] of unequal interest, were produced by authors who knew Mozart directly, or by sketches taken from drawings made from life. Since then, Mozart's "biographical paintings" have been published with more care, generally following the criteria that emerged from this analysis.[4]

The inauthentic portraits consist of three types. First are portraits of other people (most often young male musicians), claimed later to be of Mozart. Second are forgeries of various kinds, created for money or fame, in which the image is claimed to represent Mozart but is fabricated. The third category is formed by fantastical paintings, the product of the artist's imagination, with no basis in Mozart's actual appearance or in existing iconography. Most of these are inspired by the abundant supply of myths and legends that arose surrounding Mozart.[8][9] The inauthentic portraits are not always worthless, since some of them provide informative iconographic data on musical instruments of Mozart's time, or on the other people who appear in them.[4]

## Authentic portraits of Mozart

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Even the few portraits that have passed muster as authentic have not escaped criticism. Alfred Einstein wrote: "No earthly remains of Mozart survived save a few wretched portraits, no two of which are alike".[10]

### Anonymous 1763 portrait

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Original portrait and subsequent lithograph copy. The caption, in German, reads "Wolfgang Amadeus Mozart as a six-year-old boy"

This shows Mozart in front of a keyboard looking at the viewer, dressed in court costume given to him in 1762 as a gift from Empress Maria Theresa, which came from the wardrobe of Archduke Maximilian Francis of Austria,[11] as documented in a letter by Wolfgang's father Leopold Mozart on 19 October 1762.[12] It was commissioned by Leopold himself and is considered to be the earliest authentic portrait of Mozart. It is attributed to Austrian painter Pietro Antonio Lorenzoni,[13] who also painted Wolfgang's sister Maria Anna Mozart, often known today by her family name "Nannerl". It was created shortly before the family embarked on their three-year tour through Western Europe.[14] The artist executed first the interiors, instruments and clothes before the children posed.[15] It is oil on canvas, and currently owned by the Mozarteum in Salzburg (inherited directly from the Mozart family)[11] and displayed at Mozart's birthplace. It was widely distributed in biographies and other publications through lithographs, some of which modify Mozart's face as in this example. Another can be found in Belgian musicologist Victor van Wilder's [Wikidata] 1880 book on Mozart.[16]

### Carmontelle's 1763–64 family portrait

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Original painting and 1764 engraving. The French caption reads, "Leopold Mozart, father of Marianne Mozart, virtuosa aged eleven years and of J. G. Wolfgang Mozart, composer and master of music, aged 7 years. "J. G." stands for "Johann Gottlieb", names Mozart bore that are little used today; see Mozart's name.

This shows Wolfgang at the harpsichord, with Leopold behind playing the violin and Maria Anna "as if she were singing". It was painted by French artist Louis Carrogis Carmontelle during the stay of the Mozart family in Paris of 1763-64,[17] part of their grand tour through Western Europe. It was commissioned by Friedrich Melchior, Baron von Grimm, patron of the Mozarts at the time.[18] That the portrait is authentic cannot be doubted, since we have Leopold Mozart's word for it in a letter he wrote home to his landlord and friend Lorenz Hagenauer (1 April 1764).[19]

> An engraving is being made post haste after our portraits, which M. de Carmontelle, an amateur, has painted extremely well.[20]

A large number of copies of the engraving were made, which Leopold used for advertising and gift purposes, and some of which he also sold.[21][22] Carmontelle kept the original, whose later history is laid out in Speyer (1916). Mozart's sister was referring to the engraving when she wrote to Breitkopf & Härtel on 24 November 1799:[23]

> I am also sending you a copperplate engraving that was engraved when we were in Paris. From this you can see that my brother was a very pretty child. It was only after the smallpox [1767] that he became so disfigured: and even more so when he returned from Italy [1771], he acquired the Italian yellow colour that made him completely unrecognizable. He was a small but well-proportioned child.[24][25]

It is in watercolours on paper, with subsequent copies made using griffel, sanguine, gouache, and engraving. The original is currently owned by and exhibited at the Musée Condé in the Château de Chantilly.[26]

### Anonymous 1770 Verona portrait

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Original 1770 portrait and Bode's 1859 derivate

This shows Mozart looking at the viewer while playing the dubious "Molto allegro" in G major (K. 72a),[27] on a harpsichord made in Venice on 1583 by Giovanni Celestius.[28] It was painted in Verona between January 6 and 7 of 1770,[29] commissioned by Venetian tax collector Pietro Lugiati, who also housed Mozart and his father during their stay in the city.[28] Leopold Mozart reports on the origins of this picture in his letter to his wife on 7 January 1770.[30][31] In addition, Lugiati himself also sent a letter to Anna Maria mentioning the portrait.[32] The authorship is disputed between Saverio Dalla Rosa and Giambettino Cignaroli.[33] Arthur Schurig considered it to be the best and most faithful portrait of Mozart as a young man.[30]

It is oil on canvas, and was previously owned by the descendants of pianist Alfred Cortot,[34] but it was sold to an anonymous art collector in 2019 at a Christie's auction house in Paris. Initially valued at around one million euros, the painting was finally acquired for over four million,[35] making it not only the highest-priced portrait of Mozart, but the highest-priced artefact related to him. German painter Leopold Bode realised a reimagined copy of the portrait in 1859, by then 68 years after Mozart's death. This copy is also oil on canvas, owned and exhibited by the Mozarteum in Salzburg.[36]

### Anonymous 1773 miniature

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This shows the upper half of Mozart looking at the viewer. It was apparently painted in Milan in 1773, during the third journey of Mozart in Italy. It is attributed to the Austrian-Italian artist Martin Knoller, a teacher in the academy of arts of Milan at the time.[37] Knoller was known to the Mozart family even before the first trip to Italy, according to a letter by Leopold to his wife on 17 February 1770.[38][39] The portrait was in the possession of Wolfgang's sister Maria Anna Mozart, possibly given by Mozart himself. The dating of this picture derives from a letter of 2 July 1819, in which she referred to the painting.[40][41][38] Barbara Krafft probably took it, alongside the Salzburg family portrait and Lange's miniature as a basis for her own posthumous portrait. Simon Keefe is the only notable scholar that doubts its authenticity.[42] It is a watercolour on ivory, surrounded by a leather frame, and currently exhibited at Mozart's birthplace in Salzburg.[43]

### Anonymous 1777 Bologna portrait

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1777 portrait and Nardi's 1925 copy

This represents Mozart wearing the chivalric Order of the Golden Spur, conferred on him by Pope Clement XIV on 4 July 1770.[44] It is an anonymous copy realised in Salzburg in 1777, from a lost original dated 1770,[45] commissioned by Giovanni Battista Martini. Wolfgang met Martini in Bologna in 1770, during his first travel to Italy. The friar instructed the young Mozart and helped him in being accepted as a member of the famous Accademia Filarmonica di Bologna,[46][47] one of the most respected musical institutions in Europe at the time. The painting is mentioned by Leopold in a letter to Martini, who remarked "It has little value as a piece of art, but as to the issue of resemblance, I can assure you that it is perfect".[48][49] It is attributed to Johann Nepomuk della Croce.[50] It is oil on canvas, and is currently exhibited at the Museo internazionale e biblioteca della musica in Bologna.[51] A copy was made in 1925 by Italian painter Antonio Maria Nardi, which is owned and exhibited by the Mozarteum in Salzburg.[52] Another copy in watercolour was realised by John Singer Sargent in 1873, exhibited at the Fitzwilliam Museum.[53]

### Anonymous 1780–81 family portrait

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Family portrait and detail of Wolfgang

This family portrait shows Wolfgang and his sister Maria Anna playing four hands at the keyboard, with Leopold by the side holding his violin. On the wall hangs a medallion with the picture of Anna Maria Mozart, who had died suddenly in 1778 while accompanying Wolfgang in a journey to Paris.[54] The small statue of Apollo in the background symbolizes the musical nature of the Mozart family, and the book, writing ink and a quill beside Leopold reference his influential 1755 violin playing treatise Versuch einer gründlichen Violinschule.[55] It was painted between 1780 and 1781. It is traditionally attributed to Johann Nepomuk della Croce, a prolific Austrian painter who was active in Salzburg during the late 19th century.[56][57]

The origin of this attribution comes from a 1858 engraving copy realised by Blasius Höfel, who credited della Croce as the original artist. However, no definitive evidence confirms this attribution.[58] It is disputed by scholars such as Simon Keefe, who claims it was created in an anonymous Salzburg workshop,[59] and George Dieter, who points to a name confusion as the origin of the supposed attribution.[60] The painting was commissioned by Leopold,[55] and its progress is referenced in a series of letters between Wolfgang, Maria Anna and Leopold.[61][62][63][64][65][66] After Mozart's death, Barbara Krafft used this portrayal as a part of the basis for her own posthumous portrait.[45]: Notes on Table 1 In 1829, when Mary and Vincent Novello met with and interviewed Constanze Mozart, her son Franz Xaver Wolfgang Mozart stated that the image of Wolfgang in this painting was one of the best likenesses of him.[67] It is in oil on canvas, and is currently owned by the Mozarteum in Salzburg,[68] being exhibited at Mozart's birthplace.[69] As with the 1763 portrait and the previous example, it was widely distributed through litographs and engravings, several of which heavily modify the faces of the sitters.[70]

### Lange's 1782–83 unfinished portrait

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Unfinished Lange portrait and detail

This portrait shows a side profile of Mozart, without wig, from the shoulders upwards. It was painted between 1782 and 1783[71] by Austrian actor and amateur painter Joseph Lange. It is oil on canvas and owned by the Mozarteum in Salzburg,[72] being exhibited at Mozart's birthplace.[73] Lange was Mozart's brother-in-law; in 1780 he had married Constanze's sister, the soprano Aloysia Weber, whom Mozart had courted several years earlier.[74]

The portrait was originally completed as a miniature before being affixed to a larger canvas, probably with the intention of portraying the composer playing the keyboard, but the enlarged painting was never completed,[75][76] fostering false theories that it was begun shortly before Mozart's death in 1791. The origin of the portrait as a miniature was rediscovered in 2009 by musicologist Michael Lorenz, after a very intensive restoration in the early 1960s had blurred the limits.[76] In the spring of 1783, Mozart had the miniature sent to his father in Salzburg, alongside a similar one of Constanze, both referenced in a letter.[77][78] Lange's relationship with Mozart went beyond common family ties: both were masons and went in the same social circles.[79]

Lange played roles in Mozart's works, most notably the Musik zu einer Pantomime (K. 446/416d)[71] and the comic singspiel Der Schauspieldirektor (K. 486).[80] Lange also painted a small portrait of Constanze in 1782 which was later also enlarged.[76] During Leopold Mozart's visit to Vienna in 1785, Lange drew a portrait of him as well, but this depiction was lost.[81] In 1829, long after Mozart's death, Constanze was interviewed by Vincent and Mary Novello, and told them that Lange's portrait was "by far the best likeness of him".[82][83][84][85][86] Schurig described it as "of little artistic value, but despite the intention to beautify it, it is not without charm".[77]

The curators of a 2003 online exhibit at Cornell University, "Mozart and the keyboard culture of his time," offered an appreciation of the Lange portrait:

> This is the most famous portrait of Mozart, in part because it is the most "romantic" and introspective depiction. Earlier portraits showed Mozart in poses—as a family member, as a Knight of the Golden Spur, in court costume. This one, had it been finished, would have shown us a contemplative Mozart at the pianoforte, natural and more "real". The fact that it remains unfinished renders it more perfect—a poignant parallel to Mozart's own life.[72]

### Anonymous 1783–85 portrait

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The portrait shows the upper half of Mozart in profile. It is dated circa 1783–85 and attributed to Austrian artist Joseph Hickel, who worked at the Austrian Imperial Court.[87] The painting is said to have been in the possession of the Hagenauer family, which had strong ties with the Mozarts.[88] It was Mozart scholar Daniel N. Leeson the first to indicate that the sitter may be Mozart, after which several other experts joined in the investigation.[89] The portrait is considered authentic by the Mozarteum in Salzburg, supported by the opinions of Cliff Eisen,[90] Simon Keefe[91] and Martin Braun[92]

Eisen suggested the red coat of the painting matched the description of a coat Mozart desired and obtained, as documented in two letters of the period.[93][94] Braun carried out an biometric study of the painting, comparing it with the images considered authentic and analysing the facial features; concluding that the Hagenauer portrait is authentic.[95] A skeptic has been Michael Lorenz, who gives reason to doubt that the portrait originates with the Hagenauer family.[96] In terms of proximity to Mozart in space and time, Hickel qualifies well as a possible portraitist. The Portrait Society describes his career as follows:

> From 1756, he studied at the Academy of Fine Arts in Vienna. Commissioned by Empress Maria Theresa, he travelled to Italy in 1768 to paint portraits of members of the Habsburg family in Milan, Parma and Florence. ... In 1772, Hickel became deputy director of the Imperial Art Gallery, where his duties, among others, included the restoration of artworks. In 1776, he was appointed court painter and became a member of the Academy in Vienna. Hickel was one of the most sought-after portraitists of his time in Vienna. In addition to members of the court, he also painted noblemen and actors of the Burgtheater. It is estimated that Hickel painted about 3000 portraits.[97]

Face details of Hagenauer portrait and Stock portrait compared

What is significant is that a subset of his work was of performing artists, including at the Burgtheater, where several of Mozart's most famous operas were performed. One portrait is of an opera singer,[98] and another is of none other than Joseph Lange (who as a hobby created the portrait shown above), in this case performing Hamlet on stage.[99] In addition, Mozart had composed his Woodwind Serenade in E-flat major (K. 375) for the sister-in-law of Hickel, as documented in a letter Wolfgang sent to Leopold.[100]

In the adjacent image, the facial details of the Hagenauer portrait may be compared with those of the portrait by Dora Stock, discussed below. The figure in the Stock portrait would be several years older and is wearing his own hair, not a wig. The portrait is in oil on canvas, and is currently owned by an American collector who bought it in 2005.[101]

### Stock's 1789 miniature

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This portrait, another profile, was realised during Mozart's stay in Dresden in April 1789, while he was on a journey to Berlin. Mozart visited the family of consistorial councillor Christian Gottfried Körner, a friend of Schiller. A member of the family was Körner's sister-in-law Dora Stock, who was a talented artist and took the occasion to sketch a portrait of Mozart.[102][103][104] It is considered the last authentic portrait of Mozart before his death in 1791. (Some doubts are cast by Cliff Eisen[105] and other experts,[106] most notably because of the lack of mentions in the Mozart correspondence, but it is still widely considered to be authentic.) It is in silverpoint on ivory board and is currently owned by the Mozarteum in Salzburg. The miniature was in private hands until it was adquired in 2005 by the Mozarteum for 250,000 British pounds. Due to its fragility and the potential harm of the sun, the original is protected in the museum vault, only a replica being exhibited to the public.[107]

The weakness of chin and bulging eyes seen in this portrait may be considered in light of what one critic said about Stock: she "recoiled from vanity or exaggeration, values that are evident in her extremely competent and brutally honest portraits";[108]

### Krafft's posthumous 1819 portrait

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Full portrait and face detail

This is by far the most commonly reproduced and most famous portrait of Mozart, enjoying enormous popularity since the bicentenary of 1956.[42] It was created in 1819 (28 years after Mozart's death) by Austrian painter Barbara Krafft,[109] commissioned by Joseph Sonnleithner for a portrait collection of well-known composers in the Gesellschaft der Musikfreunde (Society of Friends of Music) in Vienna.[110] For the task, Krafft was supplied with three portraits of Mozart given by Maria Anna Mozart;[111][112][113] the 1780 family portrait, the 1773 miniature that was painted in Italy and a very small minature that was painted in 1783 and is currently lost.[114] The family portrait model proved to be the most influential, specially in the pose and clothing. Hutchings praised the painting with the following words: "It is a tribute to Krafft's artistry that her work still remains one of the most highly valued portraits of her enigmatic subject".[115] Thus, despite being painted posthumously, the portrait is considered to be very accurate to Mozart's real appearance, as corroborated by his sister Maria Anna.[116][117][7] It is oil on canvas, currently still part of the collection of the Gesellschaft der Musikfreunde.[118]

## Dubious portraits of Mozart

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### Greuze's 1763–66 portrait

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Original portrait and face detail

This supposedly shows the upper half of Mozart as painted by French artist Jean-Baptiste Greuze. Like Carmontelle's watercolour, it was apparently created during the stay of the Mozart family in Paris in 1763–64.[119] Hutchings claimed it was instead created in Amsterdam in 1766.[120] Before the sitter was thought to be Mozart, the picture was known as "portrait of a boy", and it was speculated that Greuze was the painter. The rediscovered portrait was first exhibited at the Mozart Museum in Salzburg, during the Mozart Festival of 1910 from July 25 to October 28.[121] The authorship of Greuze was confirmed after his signature was found in the portrait. However, the identification of the sitter as Mozart is still debated between scholars and experts.[3] Hutchings commented the following on the painting.

> It is a masterly and beautiful painting of a child in thought, not in fine surroundings or fine clothes, but as we imagine the child Mozart might have looked when not preened for public performance. It is not really doubted that Greuze painted it but that his subject was Mozart.[122]

We find no mention of the painting in the correspondence of the Mozart family, nor do the biographers of Mozart or Greuze mention it. Leisching and Schurig described the portrait as either inauthentic or a forgery,[123][124] but this was before the signature and other details were discovered. Deutsch also considered it to be inauthentic.[125] Composer and neurobiologist Martin Braun realised an extensive study of the portrait, analysing the facial features and comparing them with the known authentic portraits of Mozart. He came to the conclusion that not only was the painting authentic, but the model was effectively Mozart himself.[119] This claim is supported by Mozart lecturer Daniel N. Leeson. It is oil on canvas, and is currently owned by Yale University and exhibited at Yale University Art Gallery.[126]

### Anonymous 1763–67 dual miniature portrait

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This supposedly represents Wolfgang and his sister Maria Anna, who holds a music score. It was created circa 1763–67, and attributed to Austrian court miniaturist Johann Eusebius Alphen (1741–1772). Alphen met the Mozart family on several occasions in those years in Brussels, Paris and Vienna.[127][128][129] Arthur Schurig included the miniature in his list of inauthentic Mozart portraits, but without bringing any concrete evidence as of why.[130] On the other hand, Canadian musicologist and Mozart expert Cliff Eisen concluded that the miniature was authentic.[131] However, it is still considered doubtful by most experts. It is watercolour and opaque or poster paint on ivory, and currently owned by the Mozarteum in Salzburg.[132]

### Anonymous 1767–68 portrait

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This supposedly shows Mozart holding a score while looking at the viewer. It was apparently painted circa 1767–68 in Vienna,[133] authorship being disputed between Johann Eusebius Alphen and Pietro Antonio Lorenzoni. According to Mozart expert Manfred Schmid, the painting was in possession of the Hagenauer family (whose members were close to the Mozart family and frequently appear in their correspondence),[134] Their Mozart collection was sold circa 1920 in Cologne. However, lack of provenance for the painting has kept experts and researchers divided as to its authentication. Mozart musicologist Rudolph Angermüller expressed positive views on it. The technique used is unknown. It is currently owned and displayed at the Mozarteum in Salzburg.[133]

### Anonymous 1770 Florence portrait

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This apparently shows Mozart at the keyboard, surrounded by the Gavard des Pivets family and Thomas Linley playing the violin. It was supposedly painted in 1770 in Florence, where Leopold and Wolfgang encountered violinist Pietro Nardini, whom they had met at the start of their grand tour of Europe.[135] However, no firm authorship of any artist has yet been established. Giuseppe Maria Gavard des Pivets was the finance administrator of the court of Grand Duke of Tuscany Leopoldo I (later Holy Roman Emperor Leopold II).[136] Wolfgang also met Thomas Linley, an English violin prodigy and a pupil of Nardini. The two formed a close friendship, making music and playing together "not as boys but as men", as Leopold remarked.[137][138] This is oil on canvas was previously owned by the pianist Alfred Cortot, who also owned several other Mozart portraits, including the 1770 painting attributed to Cignaroli. It was acquired by an American collector in 2019.[139]

### Delahaye's 1772 portrait

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This apparently shows the upper half of Mozart. It is dated 1772 and executed by French painter Jean-Baptiste Delahaye[140] on the reverse of the canvas.[141] However, it is heavily disputed whether the portrayed is actually Mozart. Martin Braun analyzed and compared the painting with authentic portraits (Bologna and Salzburg family paintings), and concluded that the facial elements of the sitter matched Mozart's.[141] Despite this, it is still considered inauthentic by several Mozart experts.[45] No references to the portrait appear in the Mozart correspondence, nor do external facts confirm the attribution. The painting was previously known as "Portrait of a Young Man", bringing the possibility that the sitter was claimed to be Mozart long after the artwork was made. It is oil on canvas; its earliest known owner was the writer Duchess Mechtilde Christiane Maria Lichnowsky, née Countess von und zu Arco-Zinneberg.[142] She was a descendant of the Arco and Lichnowsky families, which had close ties to the Mozarts, and possibly acquired the portrait.[143] It is currently privately owned after a January 2006 auction in Salzburg.[141]

### Anonymous 1773–75 portrait

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This apparently shows Mozart looking at the viewer while wearing a valuable diamond ring, which he received as a gift from Empress Maria Theresa on 3 October 1762.[37] It is dated circa 1773–75, and no firm authorship of any artist has yet been established. Schurig initially considered it to be inauthentic,[144] but later changed his mind, remarking on the similarity of the facial features when compared with the authentic paintings.[37] Despite this, it is still considered doubtful due to a lack of research and consensus among experts. It is oil on canvas, currently owned and exhibited at the Mozarteum in Salzburg.[145]

### Anonymous 1780 miniature

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This supposedly shows Mozart, looking at the viewer while holding a book with a monogram of the letters "W.A.M".[146][147] It is dated circa 1780 and attributed to Johann Nepomuk della Croce. It's considered dubious and is not mentioned in the correspondence of the family. Schurig included it in his list of inauthentic portraits, pointing at physical differences in the ears when compared with the authentic paintings.[146] Hutchings brought the possibility that the painting may have been realised as a sketch for a bust portrait, and that if the attribution is correct, only the head may have been painted by Della Croce.[147] It is a mixture of gouache and tempera on parchment, and currently owned by the Vienna Museum.[148]

### Grassi's 1783–85 portrait

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This apparently represents Mozart circa 1783–85. It is attributed to Austrian painter Josef Grassi, supposedly having been lost and rediscovered in Moscow in 1988. As with most of the dubious portraits, we find no reference or mention in the family correspondence, or other direct source from the period. The painting also has not yet been analyzed by Mozart experts or studied to determine its authenticity. It is known that Mozart and Grassi met in Vienna after the former's arrival there.[149] It is oil on canvas or cardboard, and currently part of the collection of the Glinka Music Museum in Moscow.[150][151]

### Edlinger 1790 portrait

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This is by far the most controversial and divisive of the doubtful Mozart portraits. It was supposedly painted in Munich between October and November of 1790 by Austrian artist Johann Georg Edlinger, during Mozart's stay in that city just a year before his death. In a letter to Constanze, the composer wrote that he originally wanted to stay for a single day, but the Elector asked him to remain to perform a concert for kings of the Two Sicilies Ferdinand I and Maria Carolina of Austria. Mozart also took advantage and visited several friends he had met in Mannheim.[152][153]

Original portrait and face detail

The portrait was bought from a Munich art dealer in 1934, and remained in a gallery warehouse for 70 years.[154] It remained there, both the sitter and the author being unknown until 1981, when Rolf Schenk identified the painting as a work of Edlinger.[155] In 1995, Wolfgang Seiller, a descendant of Edlinger, noticed a similarity of the person depicted to Mozart in the Bologna portrait. Four years later, Rainer Michaelis and Wolfgang Seiller confirmed this attribution based on biographical data of Mozart and Edlinger, as well as on a detailed comparison of the portraits.[156][157] This claim was also later supported by Schenk.[158]

After a restoration in 2004, the portrait was exhibited to the public on January 27 of 2005, on Mozart's 249th anniversary,[159] and news of the discovery quickly spread.[160][161][159] Most of these focused on the unflattering physical portrayal of Mozart. Several Mozart scholars, historians and musicologist examined the portrait and a division formed between supporters and deniers of the authenticity of the painting. Rudolph Angermüller and Gabriele Ramsauer questioned that the sitter was Mozart, asserting that it was instead a local businessman named Joseph Anton Steiner.[162][163] This issue was addressed by Braun and Michaelis, both of whom pointed out that two different portraits had been mixed up.[164] Braun also realised a detailed comparison with the Bologna portrait, further solidifying his claim that the sitter was Mozart.[156] On the other hand, scholar Volkmar Braunbehrens argued that, while Mozart did visit the city in that year, there is no reference of a painting being realised during the stay. Not only that, but the painter's name is also absent in Mozart's letters of these days.[165]

John Jenkins is also cautious on the Mozart attribution, pointing to multiple differences with Lange's portrait as an example.[165] Volker Hagedorn was also critical of the attribution and its inconsistencies.[158] In 2006, the Mozart attribution was also confirmed by four art historians at the Austrian State Gallery in Vienna: Gerbert Frodl, Sabine Grabner, Michael Krapf, and Udo Felbinger. Sculptor Wolfgang Eckert realised a bust based on the painting, and during the project he concluded that the 1789 miniature made by Dora Stock shows the greatest similarity to Edlinger's portrait, which also would substantiate the attribution of a Mozart image created by Edlinger.[166] It is oil on canvas, and is owned and exhibited by the Gemäldegalerie Museum.[167]

## Inauthentic portraits of Mozart

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### Anonymous 1764 portrait

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It supposedly shows Mozart in front of a round table with an open book, looking at the viewer while holding a bird's nest. It is dated 1764 and attributed to German painter Johan Zoffany, but no conclusive evidence supports this attribution. It is probable that Zoffany met the Mozarts during their London stay between 1764 and 1765,[168] a time in which the artist enjoyed the patronage of King George III and Queen Charlotte, and his name is mentioned in Leopold's travel notes.[169] However, no mention of a portrait being realised appears in the correspondence, and most importantly, Zoffany's own signature is absent. The painting was considered authentic for a long time, supported by Schurig's positive comments.[25]

The painting was rejected as a portrait of Mozart by Deutsch[7] and Hutchings[4] On their part, Penelope Treadwell was more nuanced on the possibility of the artwork being authentic,[170] while British art historian Martin Postle rejected the authorship of Zoffany.[171] A detailed examination by Mozart scholar Dexter Edge came to the conclusion that the portrait was not by Zoffany and neither represented Mozart.[172] In the end, the Mozarteum considered the portrait to the spurious.[173]

The painting was owned by British art dealer Percy Moore Turner,[25] who sold it to the Mozarteum in Salzburg on 1924, claiming that the sitter was Mozart according to the signature "W. A. Mozart 1764" on a page of the book. A subsequent restoration realised in 1928 removed all overpaint, including the aforementioned signature.[174] Thus the attribution was probably created at some point to sell the portrait at a much higher price. It is oil on canvas, being owned and exhibited by the Mozarteum.[175]

### Helbling's 1765–67 portrait

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This supposedly shows Mozart looking at the viewer while playing the keyboard. It is dated circa 1765–67, painted by Austrian artist Franz Thaddäus Helbling, whose signature appears in the bottom right corner of the score.[176] For a long time it was considered to be authentic, being included in Schurig's list of authentic portraits of Mozart.[177] Leisching and Einstein pointed at inconsistent details when compared with the authentic portraits, specially the brown eyes when Mozart's were known to be blue.[178] Deutsch rejected its aunthenticity based on the facial features and the clothes.[7][179]

Erna Felmayer discovered that the sitter is actually Count Karl Maximilian Firmian, who was born the same year as Mozart and was one of his childhood friends.[45][180][181] The Firmians were a noble family with close ties of patronage to the Mozarts.[182] Karl was grandson of Count Franz Lactanz Firmian, chief steward at the Salzburg residence who was also in charge of the court music.[181] It is oil on canvas, owned by the Mozarteum in Salzburg.[183]

### Smissen's 1766 portrait

[edit]

Lithograph version of the portrait

From late September 1765 to early April 1766, the Mozart family was staying in the Netherlands during their great tour of Europe.[184] This portrait is said to have been painted in the Netherlands in the spring of 1766 by the German artist Dominicus van der Smissen. On the back is a handwritten note: "Mozart as a youth, painted by van Smissen." This is impossible because Smissen died on 6 January 1760.[130] It also has been attributed to a non-existent J. Vander Smissen, or even Domenicus' son Jakob van Smissen (1735–1813). One other proposed explanation, which Schurig describes as "laughable", is that the signature should be read "Devotus van Smissen", Smissen having supposedly been a devout Mennonite.[130] The portrait itself lacks any fidelity to the model, specially in the facial features and (in the painted original) the fawn-coloured eyes (Mozart's were blue). The painting is probably a forgery created to capitalize on the name of the composer. It is in oil on canvas, and resides in Mozart's birthplace in Salzburg.[185]

### Anonymous 1767 portrait

[edit]

This painting is in oil on canvas; it is owned by the Louvre in Paris and is on display in the same city at the Musée de la Musique. On the lower right it bears the inscription "PINXIT [Latin: "painted"] 1767 PARIS". The work has been attributed to either Jean-Baptiste Perronneau or Joseph Duplessis; however, the verdict given by the Louvre curators is: "anonymous, French school". At some point the Louvre also changed the title assigned to the work: formerly "Portrait of Mozart", now "Portrait of a young musician".[186]

The work shows a young man seated at a harpsichord,[187] wearing a Chinese coat and looking at the viewer while pages of a score lie in his lap. Although the Mozart family did not stay in Paris during 1767, they were there from 10 May to 9 July the previous year.[188] Further, it is not unimaginable that the lad in the painting is a boy of ten (Mozart's birthday was 27 Jan. 1756). However, other than these mere circumstances, there is no substantial evidence that connects the boy in the picture with Mozart:[189] there are no references to the painting in the numerous letters Leopold wrote back home, nor any other clues. This suggests that the work was falsely described as being Mozart later on. Despite its dubious nature, it still frequently used as a portrait on articles and bibliography of the composer.[190][191]

### Dubeck's 1808 portrait

[edit]

This, supposedly representing Mozart, was painted by Burchard Dubeck in 1808, 17 years after the death of Mozart. Little is known about the painting and the circumstances surrounding it, as no detailed examination has yet been realised. German painter Karl Jäger realised a copy circa 1870, who also created other portraits of composers such as Beethoven, Haydn and Mendelssohn. This copy was widely distributed in the 19th an 20th centuries through engravings and litographs. It is widely considered to be inauthentic for the lack of fidelity to the model, specially when compared with the authentic portraits. Max Zenger included Jäger's copy in his list of false portraits, attacking it with relish: the work is a "paradigm example of kitsch portrayals"; and noting that even at the time of writing (1941) it is "by no means to be found solely on candy boxes."[192] It is oil on canvas, being privately owned.[193]

### Kaulbach's 1873 painting

[edit]

Better known as "Mozart's Last Days", this painting shows the dying composer attended by his wife Constanze and his sister-in-law Sophie Weber, with the unfinished Requiem at his feet, while his friends in the background rehearse the work. To the right are Mozart's children, Karl Thomas and the infant Franz Xaver. The work was painted in 1873 by German artist Hermann von Kaulbach, and acquired by the Vienna Gallery (currently the Vienna Museum) in 1874. The painting was very popular, especially after an engraving was realized. It is a fantasy portrayal with a romanticized rendition of Mozart's appearance, disregarding the authentic iconography. The work is in oil on canvas, and the original still remains in the Vienna Museum.[194] The painting is based on a narrative published in 1827 describing how the Requiem was rehearsed in Mozart's home on 4 December 1791, the day before his death. According to this story, there were only four singers present, of which one was Mozart himself.[195][196]

## See also

[edit]

* Appearance and character of Wolfgang Amadeus Mozart

## References

[edit]

1. ^ Keefe 2018, p. 59.
2. ^ Bory, Robert [at Wikidata] (1948). La vie et l'oeuvre de Wolfgang-Amadeus Mozart par l'image (in French). Paris: Editio.
3. ^ a b Hutchings 1976, pp. 4–5.
4. ^ a b c d e Hutchings 1976, p. 5
5. ^ Leisching, Julius [de] (1926). Wolfgang A. Mozarts Bildnisse.
6. ^ Zenger 1941.
7. ^ a b c d Deutsch 1961.
8. ^ Arnone et al. 2003, "Mozart's Images Imagined".
9. ^ Stafford 1991, pp. 3, 8–9.
10. ^ Einstein, Alfred (1962). Mozart, His Character, His Work. New York: Oxford University Press. p. 471\. ISBN 978-0-19-500732-9. Retrieved 16 February 2025.
11. ^ a b Schurig 1920, "Die Bildnisse W.A. Mozarts 1762–1791", p. 82
12. ^ "Briefe und Aufzeichnungen – Letter from Leopold Mozart to Johann Lorenz Hagenauer, 19 October 1762". dme.mozarteum.at. Retrieved 5 December 2024.
13. ^ Woodford, Peggy (1990). Mozart. Omnibus Press. p. 27\. ISBN 978-0-7119-0248-0.
14. ^ Keefe 2018, p. 61.
15. ^ Arnone et al. 2003, "Young Mozart and his Sister".
16. ^ Wilder, Victor (1908). Mozart: The Story of His Life As Man and Artist According to Authentic Documents & Other Sources. Vol. 1\. Translated by Louise Liebich. New York: Charles Scribner's Sons. p. 49. Retrieved 28 February 2025 - via Internet Archive.
17. ^ Solomon 1995, p. 44.
18. ^ Arnone et al. 2003, "Leopold Mozart with Wolfgang and Maria Anna".
19. ^ Mozart Letters and Documents (Online Edition) – Letter from Leopold Mozart to Johann Lorenz Hagenauer dated 1 April 1764
20. ^ Translation from Speyer (1916)
21. ^ Eisen & Short 2019, "A Portrait of Mozart, his sister Nannerl and Leopold Mozart Performing".
22. ^ Anderson, Emily, ed. (1938). The Letters of Mozart & His Family. Vol. 1\. Macmillan. p. 81.
23. ^ Mozart Letters and Documents (Online Edition) – Letter from Maria Anna Mozart to Breitkopf & Härtel dated 24 November 1799
24. ^ Nottebohm, Gustav (1880). Mozartiana; von Mozart herrührende und ihn betreffende, zum grossen Theil noch nicht veröffentlichte Schriftstücke (in German). Leipzig: Breitkopf und Härtel. p. 137 - via Internet Archive.
25. ^ a b c Schurig 1920, "Die Bildnisse W.A. Mozarts 1762–1791", p. 83.
26. ^ "Carmontelle: Mozart enfant, son père et sa soeur" (work details) (in French). Ministère de la Culture: Musée Condé.
27. ^ Allegro in G major, K. 72a (W. A. Mozart): Scores at the International Music Score Library Project
28. ^ a b Arnone et al. 2003, "Mozart in Verona"
29. ^ Sadie 2006, pp. 183–184.
30. ^ a b Schurig 1920, "Die Bildnisse W.A. Mozarts 1762–1791", p. 84.
31. ^ Mozart Letters and Documents (Online Edition) – Letter from Leopold Mozart to Anna Maria Mozart dated 7 January 1770
32. ^ Mozart Letters and Documents (Online Edition) – Letter from Pietro Lugiati to Anna Maria Mozart dated 22 April 1770
33. ^ Eisen & Short 2019, "Portrait of Mozart: 1770, Giambettino Cignaroli and Saverio dalla Rosa".
34. ^ Simonin, Laurianne (13 November 2019). "A Rare Portrait of Mozart at Auction". Barnebys' Magazine
35. ^ "Mozart childhood portrait sold for €4m at Paris auction", BBC News (2019)
36. ^ Google Arts & Culture: Profile of the work
37. ^ a b c Schurig 1920, "Die Bildnisse W.A. Mozarts 1762–1791", p. 85.
38. ^ a b Eisen & Short 2019, "Portrait of Mozart: c.1773 Knoller"
39. ^ Mozart Letters and Documents (Online Edition) – Letter of Wolfgang and Leopold to Anna Maria Mozart, dated 17 February 1770
40. ^ Schurig 1913a, p. 237, note 3.
41. ^ Deutsch 1961, p. 298.
42. ^ a b Keefe 2018, p. 64.
43. ^ Schurig 1920, p. 85.
44. ^ Amadeus Mozart, Wolfgang. Mozart's Letters, Mozart's Life: Selected Letters, translated and edited by Robert Spaethling, (W. W. Norton & Company, 2000), p. 17.
45. ^ a b c d DeLuise, Vincent (Spring 2018). "Visualizing Mozart". Hektoen International.
46. ^ Sadie 2006, pp. 210–211.
47. ^ Eisen & Short 2019, "Bologna".
48. ^ Schurig 1913a, pp. 368f.
49. ^ Mozart Letters and Documents (Online Edition) – Letter of Leopold Mozart to Padre Martini, 22 December 1777
50. ^ Keefe 2018, p. 65.
51. ^ Museo internazionale e biblioteca della musica. 2) Un Martini per Mozart – Profile of the painting in the Museum
52. ^ Google Arts & Culture: Profile of the Copy
53. ^ "Mozart, after the portrait in the Liceo Musicale, Bologna, by Sargent", Fitzwilliam Museum
54. ^ Solomon 1995, p. 181.
55. ^ a b Arnone et al. 2003, "Family Portrait"
56. ^ Grohmann, Judith (24 January 2023). The Real Mozart: The Original King of Pop. Pen and Sword History. p. 109\. ISBN 978-1-3990-1697-1.
57. ^ Beck, Eleonora (2017). Tammen, Björn R.; Baldassarre, Antonio; Bordas, Cristina; Currie, Gabriela; Guidobaldi, Nicoletta; Vendrix, Philippe (eds.). "A New Reading of the 'Mozart Family Portrait'". Imago Musicae. Vol. XXIX. pp. 159–183\. ISBN 9788870968972. Retrieved 5 February 2025.159-183&rft.date=2017&rft.isbn=9788870968972&rft.aulast=Beck&rft.aufirst=Eleonora&rft_id=https://college.lclark.edu/live/files/25656-nora-beck-article-in-imago-musicae&rfr_id=info:sid/en.wikipedia.org:Portraits+of+Mozart" class="Z3988">
58. ^ Brumana, Biancamaria (2014). "The Castrato Singer Francesco Ceccarelli: His Friendship with the Mozart Family and a Portrait from the Salzburg Period". Music in Art. 39 (1–2). Translated by Kathryn Bosi Monteath: 119–124\. ISSN 1522-7464. JSTOR 90012952.1–2&rft.pages=119-124&rft.date=2014&rft_id=https://www.jstor.org/stable/90012952#id-name=JSTOR&rft.issn=1522-7464&rft.aulast=Brumana&rft.aufirst=Biancamaria&rft_id=https://www.jstor.org/stable/90012952&rfr_id=info:sid/en.wikipedia.org:Portraits+of+Mozart" class="Z3988">
59. ^ Keefe 2018, p. 62.
60. ^ Dieter, George (1994). "Ist Johann Nopomuk della Croce der Maler des grossen Mozartschen Familienbildes?", Mozart-Jahrbuch, pp. 75–76
61. ^ Eisen & Short 2019, "Portrait of the Mozart Family, 1779-1780, Della Croce (attr.)".
62. ^ Mozart Letters and Documents (Online Edition) – Letter from Wolfgang to Leopold dated 13 November 1780
63. ^ Mozart Letters and Documents (Online Edition) – Letter from Leopold to Wolfgang dated 20 November 1780
64. ^ Mozart Letters and Documents (Online Edition) – Letter from Leopold to Wolfgang dated 15 December 1780
65. ^ Mozart Letters and Documents (Online Edition) – Letter from Leopold and Maria Anna to Wolfgang dated 30 December 1780
66. ^ Mozart Letters and Documents (Online Edition) – Letter from Leopold to Wolfgang dated 8 January 1781
67. ^ Novello, Vincent and Mary (1955). A Mozart Pilgrimage: Being the Travel Diaries of Vincent & Mary Novello in the Year 1829.. Novello Editions, p. 89
68. ^ Schurig 1920, "Die Bildnisse W.A. Mozarts 1762–1791", pp. 86-87.
69. ^ Solomon 1995, p. 210.
70. ^ Apart of the provided Höfel example, this image and this litograph serve to illustrate this point
71. ^ a b Deutsch 1965, p. 213.
72. ^ a b Arnone et al. 2003, "Mozart at the Pianoforte".
73. ^ Solomon 1995, p. 456.
74. ^ Solomon 1995, p. 142.
75. ^ Keefe 2018, pp. 68, 75.
76. ^ a b c Lorenz, Michael (19 September 2012). "Joseph Lange's Mozart Portrait". Academia.edu
77. ^ a b Schurig 1920, "Die Bildnisse W.A. Mozarts 1762–1791", p. 87.
78. ^ Mozart Letters and Documents (Online Edition) – Letter from Wolfgang to Leopold dated 3 April 1783
79. ^ Solomon 1995, pp. 275, 329.
80. ^ Deutsch 1965, p. 262.
81. ^ Deutsch & 1965, p. 241.
82. ^ Deutsch 1965, p. 538.
83. ^ Andrés 2006, p. 56.
84. ^ Hutchings 1976, p. 6.
85. ^ Novello, Vincent; Hehl Novello, Mary Sabilla (1955). A Mozart Pilgrimage: Being the Travel Diaries of Vincent & Mary Novello in the Year 1829. Novello.
86. ^ Landon, H. C. Robbins (25 October 2005). 1791: El último año de Mozart (in Spanish). Siruela. p. 72\. ISBN 978-84-7844-908-8.
87. ^ MNAHA Collections – Brief description of Joseph Hickel
88. ^ Eisen 2009, p. 10.
89. ^ "A Vision of Mozart". The New York Times. 15 March 2008. Retrieved 13 February 2025.
90. ^ "Un Mozart menos romántico by Patricia Tubella" Patricia Tubella, El País, 15 March 2008 (in Spanish)
91. ^ "New Wolfgang Amadeus Mozart portrait found", Stephen Adams, The Telegraph, 14 March 2008
92. ^ Braun, Martin (2006a). "Technical and archival evidence binding W. A. Mozart to the portrait Man in Red Coat" (PDF). neuroscience-of-music.se.
93. ^ Mozart Letters and Documents (Online Edition) – Letter from Wolfgang to Martha Elisabeth, Baroness von Waldstätten, dated 28 September 1782
94. ^ Mozart Letters and Documents (Online Edition) – Letter from Wolfgang to Martha Elisabeth, Baroness von Waldstätten, dated 2 October 1782
95. ^ Braun, Martin (2005a). "Hagenauer Mozart: A new portrait of W. A. Mozart from the mid-1780s". neuroscience-of-music.se.
96. ^ Lorenz, Michael (24 August 2013). "Michael Lorenz: Not Mozart, Not Zoffany. So . . . What?". Michael Lorenz. Retrieved 11 February 2025.
97. ^ Portrait Society: "Joseph Hickel", Musée national d'archéologie, d'histoire et d'art, Luxembourg
98. ^ See "Joseph Hickel: Porträt einer eleganten Dame (Sängerin der Hofoper), 1792", Artnet
99. ^ British Museum: "Joseph Lange, als Hamlet", museum number 1868,0822.7714
100. ^ Mozart Letters and Documents (Online Edition) – Letter from Wolfgang to Leopold Mozart dated 3 November 1781
101. ^ "Portrait may be of Mozart". Los Angeles Times. Associated Press. 18 March 2008.
102. ^ Keefe 2018, p. 69.
103. ^ Deutsch 1965, pp. 339–340, 346, 562.
104. ^ Schurig 1913b, pp. 189, 363.
105. ^ Eisen 2009, p. 19.
106. ^ Eisen & Short 2019, "Portrait of Mozart: 1789, Stock".
107. ^ "Wirklich echter Amadeus" (in German). Die Welt. 4 November 2005. Retrieved 12 February 2025.
108. ^ Anonymous (1999) "Review of Dora Stock, portrait painter of the Körner circle in Vienna, by Linda Siegel". Woman's Art Journal, vol. 20, no. 1. (Spring–Summer), p. 67.
109. ^ Neumayr, Eva (2019). Maria Anna Mozart: Facetten einer Künstlerin. Hollitzer. pp. 143–202\. ISBN 9783990125618.143-202&rft.pub=Hollitzer&rft.date=2019&rft.isbn=9783990125618&rft.aulast=Neumayr&rft.aufirst=Eva&rft_id=https://books.google.com/books?id=nP2vywEACAAJ&rfr_id=info:sid/en.wikipedia.org:Portraits+of+Mozart" class="Z3988">
110. ^ "Looking for Mozart: The Mozart Portrait by Barbara Krafft" by Elizabeth Jane Timms, The Prague Post, 14 February 2019
111. ^ Eisen 2009, p. 18.
112. ^ Wilhelm A. Bauer; Otto Erich Deutsch (1962b). Mozart. Briefe und Aufzeichnungen. Vol. 4\. Bärenreiter. pp. 455–456.455-456&rft.pub=Bärenreiter&rft.date=1962&rft.au=Wilhelm+A.+Bauer&rft.au=Otto+Erich+Deutsch&rft_id=https://books.google.com/books?id=YV45wAEACAAJ&rfr_id=info:sid/en.wikipedia.org:Portraits+of+Mozart" class="Z3988">
113. ^ Andrés 2006, pp. 60–61.
114. ^ Deutsch 1965.
115. ^ Hutchings 1976, p. 27.
116. ^ Deutsch 1965, pp. 527–533.
117. ^ Grosspietsch, Christoph (2013). Mozart-Bilder, Bilder Mozarts: ein Porträt zwischen Wunsch und Wirklichkeit (in German). Verlag Anton Pustet. p. [page needed]. ISBN 978-3-7025-0699-5.[Wikipedia:Citing+sources|page-needed]&rft.pub=Verlag+Anton+Pustet&rft.date=2013&rft.isbn=978-3-7025-0699-5&rft.aulast=Grosspietsch&rft.aufirst=Christoph&rft_id=https://books.google.com/books?id=FTuekQEACAAJ&rfr_id=info:sid/en.wikipedia.org:Portraits+of+Mozart" class="Z3988">
118. ^ Bridgeman Images. Profile of the painting
119. ^ a b Braun, Martin (2006b). "The Greuze Mozart – rediscovery of a portrait painting". neuroscience-of-music.se.
120. ^ Hutchings 1976, p. 22.
121. ^ Skinner, William (1933). "No. 24: Portrait of Mozart", pp. 71–74, Belle Skinner Collection of Old Musical Instruments at Holyoke, Massachusetts.
122. ^ Hutchings 1976, p. 5.
123. ^ Zenger 1941, p. 219.
124. ^ Schurig 1920, "Die gefälschten und untergeschobenen Mozart-Bildnisse", p. 92.
125. ^ Deutsch 1961, p. 288 and 370.
126. ^ Yale University Art Gallery ID: 63804
127. ^ Nationalmuseum (2021) – Two portraits of women by miniaturist Alphen to the collections of Nationalmuseum
128. ^ Eisen 2009, pp. 12–13.
129. ^ Wilhelm A. Bauer; Otto Erich Deutsch (1962a). Mozart. Briefe und Aufzeichnungen. Vol. 1\. Bärenreiter. pp. 110, 227, 451.
130. ^ a b c Schurig 1920, "Die gefälschten und untergeschobenen Mozart-Bildnisse", p. 93.
131. ^ Eisen 2009, p. 13.
132. ^ Google Arts & Culture: Profile of the work
133. ^ a b Eisen 2009, p. 12
134. ^ Eisen & Short 2019, "Hagenauer, Johann Lorenz (1712–1792)".
135. ^ Sadie 2006, p. 39.
136. ^ Eisen & Short 2019, "Florence".
137. ^ Gutman, Robert W. (1999). Mozart: A Cultural Biography. Harcourt Brace, pp. 268–69
138. ^ Mozart Letters and Documents (Online Edition) – Letter from Leopold and Wolfgang to Anna Maria Mozart, dated 21 April 1770
139. ^ Christie's Profile and Essay (in French) on the portrait for the auction
140. ^ Neil Jeffares. "Delahaye, Jean-Baptiste", Dictionary of Pastellists before 1800 (online edition)]
141. ^ a b c Braun, Martin (November 2007) [April 2006]. "The Delahaye Mozart: rediscovery of a portrait of the 16-year-old composer". neuroscience-of-music.se.
142. ^ Salzburger Nachrichten, 20 January 1971[full citation needed]
143. ^ Eisen, Cliff; Keefe, Simon P., eds. (2006). The Cambridge Mozart Encyclopedia. Cambridge University Press. doi:10.1017/CBO9780511481383. ISBN 9780511481383.
144. ^ Schurig 1913b, p. 358.
145. ^ The World of the Habsburgs: Wolfgang Amadé Mozart with the diamond ring
146. ^ a b Schurig 1920, "Die gefälschten und untergeschobenen Mozart-Bildnisse", p. 96.
147. ^ a b Hutchings 1976, p. 25.
148. ^ Profile of the work in the museum catalogue
149. ^ Keefe 2018, p. 66.
150. ^ Photo12 Photography Agency – Profile of the painting
151. ^ Bridgeman Images. Profile of the painting
152. ^ Anderson, Emily, ed. (1985). The Letters of Mozart and His Family. Macmillan. p. 947\. ISBN 9780333398326.
153. ^ Mozart Letters and Documents (Online Edition) – Letter from Wolfgang to Constanze dated 2 November 1790
154. ^ "Last known portrait of Mozart found in gallery warehouse", Derek Scally, The Irish Times (8 January 2005)
155. ^ Schenk, Rolf (1981). Der Porträtmaler Johann Georg Edlinger. Monographie und Werkskatalog, Uni-Druck, Munich.
156. ^ a b Braun, Martin (2005b). "The last portrait of W. A. Mozart: A biometrical statistical comparison". neuroscience-of-music.se.
157. ^ Michaelis, Rainer (1999). "Ein unbekanntes Bildnis Wolfgang Amadeus Mozarts in der Berliner Gemäldegalerie" (PDF). Bibliotheca Mozartiana digital (in German).
158. ^ a b Hagedorn, Volker (29 June 2013) [9 June 2005]. "Ist es Mozart oder nicht?". Die Zeit (in German) - via volker-hagedorn.de.
159. ^ a b "Gallery discovers Mozart portrait", BBC News, 7 January 2005
160. ^ " 'Lost' portrait of Mozart reveals bloated result of years of drinking and womanising" by Bojan Pancevski, The Telegraph (9 January 2005)
161. ^ Aris, Ben (8 January 2005). "Last known portrait of Mozart identified". The Guardian.
162. ^ Bauer, Richard (2005). "Der 'Berliner Mozart' – Notwendiger Widerspruch gegen eine Weltsensation". Acta Mozartiana.
163. ^ Ramsauer, Gabriele (2005). "Anmerkungen zum angeblichen 'Mozart-Portrait' von Johann Georg Edlinger in der Berliner Gemäldegalerie"
164. ^ Martin Braun; Rainer Michaelis (2006). "'Edlinger Mozart' and 'Edlinger Steiner' are two different portrait paintings: Conclusive empirical evidence" (PDF). neuroscience-of-music.se.
165. ^ a b Jenkins, John (June 2006). "Mozart – portrait and myth". Journal of the Royal Society of Medicine. 99 (6): 288–291\. doi:10.1177/014107680609900614. PMC 1472719. PMID 16738370.288-291&rft.date=2006-06&rft_id=https://www.ncbi.nlm.nih.gov/pmc/articles/PMC1472719#id-name=PMC&rft_id=info:pmid/16738370&rft_id=info:doi/10.1177/014107680609900614&rft.aulast=Jenkins&rft.aufirst=John&rft_id=https://www.ncbi.nlm.nih.gov/pmc/articles/PMC1472719&rfr_id=info:sid/en.wikipedia.org:Portraits+of+Mozart" class="Z3988">
166. ^ Wolfgang Eckert (2006), Über die Gestalt/Ein Werkbericht, St. Märgen: Design Concepts Verlag, ISBN 3-9807059-5-1
167. ^ Museum Digital Database – Profile of the portrait
168. ^ Sadie 2006, p. 73.
169. ^ Edge, Dexter (2013). "Not Mozart, Not Zoffany (A Cautionary Tale)". p. 18.
170. ^ Treadwell, Penelope (2009). Johan Zoffany: Artist and Adventurer. Paul Holberton. p. 154\. ISBN 978-1-907372-04-9.
171. ^ Postle, Martin (2011). Johan Zofany RA: Society Observed. Yale: Yale University Press. p. 48, note 19. ISBN 978-1-907533-26-6. Retrieved 6 February 2025.
172. ^ Edge 2013, pp. 30–31.
173. ^ Grosspietsch 2013, p. 118.
174. ^ Daniel J. Wakin (6 February 2013). "Wolfgang, Is That You?". The New York Times. Retrieved 6 February 2025.
175. ^ Google Arts & Culture: Profile of the work
176. ^ Neil Jeffares. "Helbling, Franz Thaddäus", Dictionary of Pastellists before 1800 (online edition)]
177. ^ Schurig 1920, "Die Bildnisse W.A. Mozarts 1762–1791", pp. 84–85.
178. ^ Pisarowitz, Karl Maria (1964). "Zur Revision eines berühmten Bildes" [On the Revision of a Famous Image] (PDF). Mitteilungen der Internationalen Stiftung Mozarteum (in German). Salzburg: 7. Retrieved 13 February 2025.
179. ^ Pisarowitz 1964, p. 6.
180. ^ Arnone et al. 2003, "Count Karl Firmian".
181. ^ a b Pisarowitz 1964, p. 7.
182. ^ Eisen & Short 2019, "Mozart, Wolfgang Amadeus (1756-1791): Early Tours".
183. ^ "Porträt des Karl Joseph von Firmian am Klavier, work details", German Digital Library
184. ^ Details and dates are given in the cited article, as well as in Deutsch (1965), pp. 49–55.
185. ^ "Engraving copy of the original". The British Museum. Retrieved 13 February 2025.
186. ^ "Portrait d'un jeune musicien". Louvre Collection Database (in French). Paris. Retrieved 3 March 2025.
187. ^ The instrument is identifiable as such by having both an inner and outer case; see e.g. Kottick and Lucktenberg (1997:262).
188. ^ Deutsch 1965, pp. 55–56.
189. ^ Arnone et al. 2003, "Anonymous Boy at the Keyboard".
190. ^ Ashley, Tim (2020). "Mozart: where to start with his music". The Guardian. Retrieved 6 February 2025.
191. ^ "Mozart en Viena: Triunfo y muerte de un genio" [Mozart in Vienna: Triumph and death of a genius]. Historia National Geographic (in Spanish). No. 170\. Barcelona. February 2018.
192. ^ Zenger 1941, p. 223.
193. ^ "1950s: A posthumous portrait of Wolfgang Amadeus Mozart by Burchard Dubeck". Bridgeman Images. Retrieved 3 March 2025.
194. ^ "Meyers Großes Konversations-Lexikon: Kaulbach". Zeno.org (in German). Leipzig: Bibliographisches Institut. 1907. pp. 780–782. Retrieved 3 March 2025.780-782&rft.date=1907&rft_id=http://www.zeno.org/nid/20006880479&rfr_id=info:sid/en.wikipedia.org:Portraits+of+Mozart" class="Z3988">
195. ^ Deutsch 1965, pp. 536–537.
196. ^ For further details see Benedikt Schack and Death of Mozart

Sources

* Andrés, Ramón (2006). Mozart: su vida y su obra (in Spanish). Ediciones Robinbook. ISBN 978-84-935097-5-0.
* Arnone, Augustus; Coral, Lenore; Dolan, Emily; Thormählen, Wiebke; Zaslaw, Neal (March 2003). Mozart and the Keyboard Culture of His Time (exhibition notes). Cornell University.
* Deutsch, Otto Erich (1961). Mozart and His World in Contemporary Pictures. Bärenreiter.
* -- (1965). Mozart: A Documentary Biography. Stanford University Press. ISBN 978-0-8047-0233-1.
* Eisen, Cliff (2009). Mozart in Italy and the Enigma of a Collection: Newly-Discovered Portraits and Artifacts.
* — with Short, Harold (March 2019). "Mozart & Material Culture". King's College London. Department of Music.
* Hutchings, Arthur (1976). Mozart: The Man, the Musician, with 320 illustrations, 170 in colour. New York: Schirmer Books - via Internet Archive.
* Keefe, Simon (2018). Mozart in Context. Cambridge University Press. ISBN 978-1-316-85083-1.
* Kottick, Edward and George Lucktenberg (1997) Early Keyboard Instruments in European Museums. Bloomington: Indiana University Press.
* Sadie, Stanley (2006). Mozart: The Early Years 1756–1781. Oxford University Press. ISBN 978-0-19-816529-3.
* Schurig, Arthur [in German] (1913a). Wolfgang Amadeus Mozart. Sein Leben und sein Werk. Vol. 1\. Insel Verlag.
* -- (1913b). Wolfgang Amadeus Mozart. Sein Leben und sein Werk. Vol. 2\. Insel Verlag - via Internet Archive.
* Schurig, Arthur, ed. (1920). Leopold Mozart: Reiseaufzeichnungen 1763–1771 [Leopold Mozart: Travel Notes 1763–1771] (in German). Dresden: Oscar Laube Verlag - via zeno.org.
* Solomon, Maynard (1995). Mozart: A Life. HarperCollins. ISBN 978-0-06-019046-0.
* Speyer, Edward (1916) Mozart at the National Gallery. The Burlington Magazine for Connoisseurs, Vol. 28, No. 156, pp. 216–217+220-222.
* Stafford, William (1991). The Mozart Myths: A Critical Reassessment. Stanford, California: Stanford University Press. ISBN 978-0804722223.
* Zenger, Max [in German] (1941). "Falsche Mozartbildnisse" (PDF). Neues Mozart-Jahrbuch. pp. 218–224.218-224&rft.date=1941&rft.aulast=Zenger&rft.aufirst=Max&rft_id=https://digibib.mozarteum.at/download/pdf/1684336.pdf&rfr_id=info:sid/en.wikipedia.org:Portraits+of+Mozart" class="Z3988">

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Wolfgang Amadeus Mozart

Biography|

* Biographies
* Birthplace
* Grand tour
* Name
* Nationality
* Residence
* Scatology
* Smallpox
* Italy
* Berlin
* Prague
* Appearance and character
* Pet starling
* Death

Music|

* Concert arias, songs, canons
* Dances
* Horn concertos
* Masses
* Operas
* Piano concertos
* Works for solo piano
* Sonatas
* Symphonies
* Violin concertos
* Compositional method
* Relationship with G minor

| Editions|

* Köchel catalogue
* Alte Mozart-Ausgabe
* Neue Mozart-Ausgabe

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Family|

* Leopold Mozart (father)
* Anna Maria Mozart (mother)
* Maria Anna Mozart (Nannerl) (sister)
* Constanze Mozart (wife)
* Maria Anna Thekla Mozart (Bäsle) (first cousin)
* Franz Xaver Wolfgang Mozart (son)
* Karl Thomas Mozart (son)
* Johann Georg Mozart (paternal grandfather)
* Franz Mozart (paternal great-grandfather)
* Joseph Lange (brother-in-law)
* Cäcilia Weber (mother-in-law)
* Josepha Weber (sister-in-law)
* Aloysia Weber (sister-in-law)
* Sophie Weber (sister-in-law)

Influences|

* Beethoven
* Catholic Church
* Freemasonry
* Haydn
* Salieri

Related|

* Georg Nissen
* Portraits (family portrait)
* In popular culture
* Beethoven–Haydn–Mozart Memorial
* Mozart effect
* Mozart Monument, Vienna

* Category

Portal:

* Classical music

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