Student Artwork Guide
Copyright This work is in the public domain. Adalbert Stifter died in 1868; copyright lasts 70 years after the artist’s death, so it ended in 1938.
In context
Cloud Study — Adalbert Stifter
The original measures 22 × 32 cm (height × width), drawn here beside an adult of average height.
Row above: the years. Row below: how old the artist was at the start and at the end of each span — 0 at birth, 63 at death.
Painted when the artist was 35. The artist lived to 63. 8 of the 13 dated works by this artist in our catalogue came earlier.
Shaded: the lifetime of Adalbert Stifter (1805–1868) ▲ this work, 1840 every dated painting, decade by decade
First works: up to 1825 Main working years: 1825–1840 Late works: from 1840
Those three bands split the works this catalogue has a date for into a first quarter, a middle half and a last quarter. They are not the artist’s complete output: a thin stretch may be a gap in the record rather than a quiet spell. The same years with the artist’s life laid along them
Pick one work above: name two things it shares with this one, and one thing that's different.
More works to set beside this one: artsdot.com/en/art/similar/adalbert-stifter-cloud-study-wd-aa-l908uuwz-en/
Measured from the image
Main colour
Putty #c8bf97
Catalogued palette
These colours inside the artist’s whole palette Find other paintings by colour
The ten leading countries
Find the three darkest countries on the map. Is the museum that keeps this painting in any of them? Write down one reason people far away might look at it.
Together these works take 100.0% of all the attention this artist's paintings received over the last twelve months. The catalogue holds 14 works by this artist, of which 8 were looked at at least once. This painting has not been looked at yet in that time — it closes the list without a rank. The same counts, month by month
Bars measure attention, not quality. Pick the work at the top and this one: name one thing that might make a painting famous beyond how well it is painted.
Artist and museum
Born in Horní Planá, Czech Republic
Adalbert Stifter, a name perhaps less familiar than many of his literary contemporaries, nevertheless holds a significant place within the landscape of 19th-century German literature. Born in Oberplan, a small village nestled in what is now the Czech Republic – Bohemia at the time – on October 23, 1805, Stifter’s early life was profoundly shaped by the quiet rhythms of rural existence and the loss of his father at a young age. His father, Johann Stifter, a linen weaver and flax dealer, tragically died in 1817 after being crushed by an overturned wagon, leaving a young Adalbert and his family in a state of profound grief.
Despite this early hardship, Stifter’s upbringing was far from bleak. His mother and grandmother instilled in him a love for storytelling, legends, and the beauty of the natural world – experiences that would later become central themes in his writing. He received his initial education at the Benedictine Gymnasium in Kremsmünster, where he demonstrated an aptitude for learning and a particular interest in music and drawing. This foundation laid the groundwork for his future pursuits as both a writer and a painter.
Following his time at the gymnasium, Stifter moved to Vienna in 1826 to study law, but quickly found himself drawn to mathematics and natural sciences. He sought knowledge beyond the confines of legal theory, reflecting a growing interest in understanding the world around him – an interest that would profoundly influence his artistic vision. He secured a position as a private tutor, a role he embraced with dedication, providing instruction to the children of prominent Viennese families, including Princess Maria Anna von Schwarzenberg and even the son of Klemens Wenzel von Metternich, the influential Austrian statesman.
This period was marked by a significant personal loss: in 1828, Stifter fell deeply in love with Fanny Greipl, but their relationship ended tragically when her parents forbade further correspondence. This heartbreak left an indelible mark on his life and work, contributing to the melancholic undertones often found within his writings. He later engaged in a brief marriage to Amalia Mohaupt in 1837, though the union proved unhappy due to the inability to conceive, leading them to attempt adopting three of Amalia’s nieces – an endeavor that ended with one niece tragically drowning.
Seeking a fresh start and a more stable environment, Stifter moved to Linz in 1848, where he quickly established himself as an editor for the Linzer Zeitung and the Wiener Bote. This period marked a turning point in his career, providing him with both financial security and creative freedom. In 1840, he achieved immediate literary success with “Der Condor,” a short story that captivated readers and launched his writing career. This early recognition paved the way for subsequent works like “Im Gosautal” (1834) and “Indian Summer” (1857), both of which are considered masterpieces of German literature.
Stifter’s commitment to education continued throughout his life. In 1850, he was appointed supervisor of elementary schools for Upper Austria, a role that allowed him to combine his passion for teaching with his artistic sensibilities. His dedication to fostering a love of nature and moral values within young minds is evident in his pedagogical approach.
Stifter’s work is characterized by a profound appreciation for the beauty of the natural world and a deep concern for ethical conduct. His stories often depict idyllic landscapes – mountains, forests, and streams – imbued with symbolic meaning. He sought to capture not just the outward appearance of nature but also its underlying spiritual essence. His writing style is notable for its meticulous detail and understated elegance, reflecting his Biedermeier sensibilities—a movement emphasizing simplicity, realism, and a focus on everyday life.
Stifter’s influence extends beyond his own literary achievements. He is considered a key figure in the development of the Bildungsroman, a genre that explores the moral and psychological growth of a protagonist from childhood to maturity. Authors like Hesse and Mann have acknowledged Stifter's profound impact on their work. His exploration of themes such as nature, morality, education, and the search for meaning continues to resonate with readers today, cementing his place as a significant voice in German literature.
Despite suffering from declining health in his later years – culminating in a tragic suicide in 1868 – Adalbert Stifter’s legacy endures. His evocative depictions of the natural world and his insightful explorations of human morality continue to inspire and captivate audiences, reminding us of the enduring power of art to illuminate the complexities of life.
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Look closely
Cloud Study — Adalbert Stifter
Answer in your own words. There are no wrong answers here — only answers you can explain.
Write a short paragraph about this artwork. Use the facts from the earlier parts of this guide, and your answers above.
"Cloud Study" by Adalbert Stifter uses a monochrome color palette. The palette summarizes the work's overall color character.
Works similar to "Cloud Study" are listed on the artwork's Similars page.
Hand-painted copies of "Cloud Study" by Adalbert Stifter are sold on this website: a hand-painted oil reproduction on linen canvas, ordered from its Hand-Painted Reproduction page.