Philipp Otto Runge | mattino

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Philipp Otto Runge, Piccolo mattino (prima versione), 1808, Kunsthalle, Amburgo

Wolgast, piccolo centro portuale e commerciale della Pomerania, fu la città natale di Philipp Otto Runge primo di undici figli e bambino dalla salute instabile. Nel 1795 di trasferì ad Amburgo, dove iniziò l’apprendistato come agente di commercio nel negozio del fratello Daniel, letterato dilettante. Due anni dopo cominciò a prendere lezioni di disegno da Heinrich Joachim Herterich, appassionato copista dei pittori fiammighi del XVII secolo, e da Gerdt Hardorff il Vecchio. Dopo questi inizi nel mondo dell’arte, Runge frequentò i corsi dell’Accademia di Copenhagen sotto la guida di Jens Juel.

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Wolgast, a small port and commercial center in Pomerania, was the birthplace of Philipp Otto Runge, the first of eleven children and a child with unstable health. In 1795 he moved to Hamburg, where he began his apprenticeship as a commercial agent in the shop of his brother Daniel,

An amateur scholar. Two years later he began taking drawing lessons from Heinrich Joachim Herterich, a passionate copyist of 17th century Flemish painters, and from Gerdt Hardorff the Elder. After these beginnings in the art world, Runge attended courses at the Copenhagen Academy under the guidance of Jens Juel.

Having returned to live in Hamburg, he had the opportunity to go to Greifswald and meet Caspar David Friedrich. From 1801 to 1803 he was active in Dresden where he came into contact with the Academy, even without becoming its student, and where he continued his comparison with the artistic conceptions of early

Romanticism. From 1804 onwards he lived mainly in Hamburg. After Caspar David Friedrich, Runge is the most significant exponent of German romanticism; in an unmistakable original style, he was able to combine a still fully classicist line construction with subjects permeated by a poetic and religious feeling of nature. The painting Mattino was initially conceived

As part of a cycle dedicated to the phases of the day, as demonstrated by a series of preparatory drawings and engravings. The four paintings planned were to mention the course of the seasons, the ages of life and the variety of human characters; they were conceived as a monumental decoration

Of a centrally planned building, designed drawing inspiration from natural and vegetal forms. At the center of the Little Morning stands a naked female figure, interpretable as Aurora, Venus or Mary, or perhaps as an allegory of the natural forces that aspire to light.

The figure rises above the expanse of the sea, which opens beyond a flowery plain, bordered by a series of bushes. On his right hand a large lily opens, on which two children sit embracing; above them a star and three cherub heads are visible.

The child lying on the ground in the very foreground can be considered the perfect embodiment of light. The frame of the painting is populated by figures of girls and phytomorphic motifs, which together with the figures in the center of the painting express the “infinite illumination of the universe”.