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  1. Samling/
  2. Kupferstich-Kabinett Dresden/
  3. Bierausschank unter Bäumen
Bierausschank unter Bäumen, Wilhelm Busch, 1847–1908
Wilhelm Busch, portrætWilhelm BuschTyskland, 1832–1908

Bierausschank unter Bäumen

1847–1908 · Drawing

Må man se det?

Ukendt: museet holder tæt

Kupferstich-Kabinett Dresden

Dresden, Tyskland

Ejeren er kendt. Om det er udstillet i dag, siger museet ikke, og at gætte har vi ikke lært.

Uændret siden
27. sep. 2026
Kilde
Museets egne samlingsdata
På kortetMuseets side

Oplysninger

1847–1908
18321908

I kataloget

Tegninger & akvarellerRomantikkenRealisme1800-tallet

Kilder

  • Kupferstich-Kabinett Dresden: museets åbne data · hentet for 8 dage siden
  • Billede: Kupferstich-Kabinett Dresden — In Copyright

Imens i livet hos Wilhelm Busch

Hele livet
  1. 1851

    The decision to become an artist: a dispute with his parents

    A few months before graduation Busch told his parents that he wanted to study at the Düsseldorf Art Academy. According to his nephew Hermann Nöldeke, his mother supported the idea and his father eventually acquiesced.

  2. 1865

    “Max and Moritz”: Richter declines, Braun buys

    Busch offered Richter the manuscript of “Max and Moritz” without a fee, but Richter rejected it as sales prospects seemed poor; his former publisher Braun bought the rights for 1,000 gulden, roughly twice a craftsman's annual wage. The book tells of seven pranks by two mischievous boys who are finally ground up and fed to ducks.

  3. 1867–1872

    Johanna Kessler — patron and friend

    Johanna Kessler, the banker's wife, a mother of seven and an influential patron of art and music whose villa was open to artists, musicians and philosophers, believed Busch to be a great painter — although his humorous drawings did not appeal to her — and gave him an apartment and studio in her villa, later an apartment nearby. Her support and the introduction to Frankfurt's cultural life made the “Frankfurt years” his most artistically productive.

  4. 1872

    “Helen Who Couldn't Help It” appears

    The satire on religious hypocrisy and dubious morality was published by Otto Friedrich Bassermann, a friend Busch had met in Munich, and was soon translated into other European languages. Many details are seen as criticism of the Kesslers' way of life: Mr Schmock resembles Johanna Kessler's husband.

  5. 1875–1877

    The Tobias Knopp trilogy

    “Adventures of a Bachelor” (1875), “Mr. and Mrs. Knopp” (1876) and “Julie” (1877): without pathos Busch makes his hero aware of his mortality, and in the first part the bachelor, after visiting married friends, proposes to his housekeeper. According to the biographer Wessling, Busch became sceptical of marriage after writing it: he told Marie Anderson that he would never marry, being in good hands with his sister.

  6. 9 January 1908

    Death in Mechtshausen

    In early January 1908 Busch developed a sore throat and his doctor detected a weak heart; on the night of 8–9 January he slept uneasily, taking camphor and a few drops of morphine, and died the next morning before the physician summoned by Otto Nöldeke arrived.

Mere af Wilhelm Busch

Alle værker
De boer en zijn varken, Wilhelm Busch, 1843 - c. 1920

De boer en zijn varken

1843 - c. 1920 · Rijksmuseum Amsterdam

De boer en zijn varken, Wilhelm Busch, 1843 - c. 1920

De boer en zijn varken

1843 - c. 1920 · Rijksmuseum Amsterdam

De boer en de molenaar, Wilhelm Busch, 1843 - c. 1920

De boer en de molenaar

1843 - c. 1920 · Rijksmuseum Amsterdam

De vechtende hanen, Wilhelm Busch, 1843 - c. 1920

De vechtende hanen

1843 - c. 1920 · Rijksmuseum Amsterdam

De boer en zijn varken, Wilhelm Busch, 1843 - c. 1920

De boer en zijn varken

1843 - c. 1920 · Rijksmuseum Amsterdam

De boer en het kalf, Wilhelm Busch, 1843 - c. 1920

De boer en het kalf

1843 - c. 1920 · Rijksmuseum Amsterdam

De boer en zijn varken, Wilhelm Busch, 1843 - c. 1920

De boer en zijn varken

1843 - c. 1920 · Rijksmuseum Amsterdam

De wraak van den olifant, Wilhelm Busch, 1843 - c. 1920

De wraak van den olifant

1843 - c. 1920 · Rijksmuseum Amsterdam