Lukas Ferdinand Schlöth (25 January 1818, Basel - 2 August 1891, Lutzenberg) was a Swiss sculptor in the late Classical style.
Life and work
He was born in Basel to Heinrich Ludwig Schlöth and Maria Salome Treu as the sixth of ten children.Stefan Hess, Tomas Lochman (Eds.), p.22 His father was locksmith from Berlin and became a citizen of Binningen in 1809 and of Basel in 1820. In Basel, he established a workshop as a blacksmith beside the Birsig. Following an apprenticeship with his father, Schlöth was employed in his shop for several years.Stefan Hess, Tomas Lochman (Eds.), p.12 When his father died in 1839, he took over the workshop and operated it together with his older brother, Friedrich Ludwig. During this time, he also took drawing lessons from Hieronymus HessStefan Hess, Tomas Lochman (Eds.), p.80 and studied modeling with the sculptor .
At twenty-five years of age in 1843, Schlöth decided to study sculpture in Rome. By 1847, he had opened his own studio there.Stefan Hess, Tomas Lochman (Eds.), p.86 One of his teachers was probably his fellow Swiss emigrant, Heinrich Max Imhof, with whom he would later develop a hateful rivalry.Stefan Hess, Tomas Lochman (Eds.): Klassische Schönheit und vaterländisches Heldentum. Der Basler Bildhauer Ferdinand Schlöth (1818–1891). Basel 2004, . In Rome, he became influenced by Bertel ThorvaldsenStefan Hess, Tomas Lochman (Eds.), p.82 which was seen in his works on sculptures of the Greek mythological figures.Stefan Hess, Tomas Lochman (Eds.), pp.88 – 90 In 1855, he won a competition for a monument honoring the Swiss hero Arnold von Winkelried, to be erected in Stans. It was inaugurated in 1865, and immediately made him one of the most prominent Swiss sculptors. This was followed by a monument commemorating the Battle of St. Jakob an der Birs, which was completed in 1872. In Rome Schlöth experienced financial hardship and often was unable to work due to a lack of Carrara marble.Stefan Hess, Tomas Lochman (Eds.), p.19 He lived modestly and mainly worked for his clientele from Basel. He remained in Rome until 1874, when he married the wealthy widow, Emma Müller-Gengenbach, and returned to Switzerland. There he divided his time between Basel and Lutzenberg. In Lutzenberg, the family owned an estate, which was brought into the marriage by his wife.Stefan Hess, Tomas Lochman (Eds.), p.21
In 1873, he won another competition, for a monument honoring Wilhelm von Tegetthoff in Vienna, but the project never came to fruition. He also created a series of busts for the Kunstmuseum Basel. Most of his works are made of white Carrara marble. About one hundred sculptures by Schlöth are known, of which more than thirty are now known only through historic photographs or literary descriptions.Stefan Hess, Tomas Lochman (Eds.), p.13
In addition to his sculpting, Schlöth took on some students, most notably Richard Kissling. In Rome, he influenced the young Reinhold Begas. Among his later pupils was his nephew, . In Ferdinand Schlöths last will, Achilles was mentioned as the sole heir of his sculpture workshop.
References
Further reading Stephan E. Hauser: Schlöth, Lukas Ferdinand. In: Biografisches Lexikon der Schweizer Kunst. Vol.2 Zürich 1998, pgs. 940 f. Stefan Hess: Zwischen Winckelmann und Winkelried. Der Basler Bildhauer Ferdinand Schlöth (1818–1891). Berlin 2010, . Tomas Lochman: Antiche sculture nell'opera dell'artista svizzero Ferdinand Schlöth (1818–1891). In: Gli ateliers degli scultori. Atti del secondo convegno internazionale sulle gipsoteche. Fondazione Canova, Possagno. A cura di Mario Guderzo, Terra Ferma 2010, , pgs. 145–156. Brigitte Meles: Das St. Jakobs-Denkmal von Ferdinand Schlöth. In: Werner Geiser (Ed.): Ereignis – Mythos – Deutung, 1444–1994 St. Jakob an der Birs. Basel 1994, pgs.140–164. Otto Waser: Schlöth, Lukas Ferdinand. In: Schweizerisches Künstler-Lexikon. Redigiert von Carl Brun, Vol. 3. Frauenfeld 1913, pgs. 57–62.
External links
, with self-portrait bust.
Works in the Kunstmuseum Basel