Emilie Preyer is the grande dame of nineteenth-century still life painting. In Dusseldorf she continued the traditional still life painting of her father Johann Wilhelm Preyer on a very high technical level.
In 1861, her father taught the 12-year-old Emilie to draw and paint alongside her siblings. She turned out to be his most talented student. As a woman, she was denied a visit to the art academy. However, she received further lessons from the history painter Heinrich Mücke and the landscape painter Hans Gude.
In her elaborate compositions, Emilie Preyer has taken over elements from the paintings of her father Johann Wilhelm Preyer with small floral arrangements and champagne and wine glasses. Although Emilie Preyer's fruit and flower still lifes were different in motif choice and composition from the paintings of her father, there are small, but not to be overlooked differences in the work of the two: In the still life of the daughter, the fruit represented by the side incident light something picturesque softer, while in the paintings of the father the volume is more emphasized.
An important part of her life in 1889 was the death of her father Johann Wilhelm Preyer, whose studio was next to hers. Then she withdrew more and more. Since her oeuvre is estimated at 250 paintings, her works are rare and the price is rising steadily.
In international fame, Emilie Preyer tied almost seamlessly to her father's reputation. The New York Metropolitan Museum and the Picture Gallery in Philadelphia acquired Still Lifes from Emilie Preyer. Since neither Germany nor the painting schools of neighboring European countries had technically comparable still life painters, Emilie Preyer's paintings also found their place in English and American private collections.
We offer the Catalogue Raisonné "Preyer. Mit den Werkverzeichnissen der Gemälde von Johann Wilhelm und Emilie Preyer" for sale.