Early life and education
Born in Lübeck, his ancestors for three generations had been Protestant pastors; his father Christian Adolph Overbeck (1755-1821) was doctor of law, poet, mystic pietist and burgomaster of Lübeck.
Within a stone's throw of the family
mansion in the Konigstrasse stood the Gymnasium, where the uncle, doctor
of theology and a voluminous writer, was the master; there the nephew
became a classic scholar and received instruction in art.
![Friedrich-Overbeck-Vittoria-Caldoni Friedrich-Overbeck-Vittoria-Caldoni](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiX4LH5b0XKjFv9NZLzCEy-J9h314dTYSXV1q-5fMzlP2mF_mW9jJCTX41GaAfWCKNnnssxoOrYOTaf7Oq8LkYlfXon9rpdGGDklwRJDk3PpSOStIhlpawsAYdS6UCVn8EgdYKHiDA7nBziWWOlXDLN_xnGXtgkfWyTdMpFHlNLTnjLluNH9rpSyeki/s16000-rw/Friedrich-Overbeck-Vittoria-Caldoni.jpg)
Artistry
The young artist left Lübeck in March
1806, and entered as student the academy of Vienna, then under the
direction of Heinrich Friedrich Füger. While Overbeck clearly accrued
some of the polished technical aspects of the neoclassic painters, he
was alienated by lack of religious spirituality in the themes chosen by
his masters.
Overbeck wrote to a friend that he had
fallen among a vulgar set, that every noble thought was suppressed
within the academy and that losing all faith in humanity, he had turned
inward to his faith for inspiration.
In Overbeck's view, the nature of
earlier European art had been corrupted throughout contemporary Europe,
starting centuries before the French Revolution, and the process of
discarding its Christian orientation was proceeding further now.
He sought to express Christian art
before the corrupting influence of the late Renaissance, casting aside
his contemporary influences, and taking as a guide early Italian
Renaissance painters, up to and including Raphael. Nevertheless, the
training methods at the academy of Vienna were at an international
level.
But what was lacking, as Overbeck wrote to his father around 1808, was "heart, soul, sensation!"
Instead of technical skills and slavish studies ("sklavisches Studium") exercizing and working "with a pure heart" ("in einem reinen Herzen") would aim to a renewal of art.
Together with other disaffected young
artists at the academy he started a group named the Guild of St Luke,
dedicated to exploring his alternative vision for art.
![Friedrich-Overbeck-Male-Sitting-on-a-Pedestal Friedrich-Overbeck-Male-Sitting-on-a-Pedestal](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTidCLlsznsdQ26y_sufNhOFiEhwZqKBYywyA_hHmSoVfcDhWNKGg69K3XqyGgotBcM5cwx18uyo9jO3C1pQSfjOk8sMPTPAzJmLnFEWnu7wC8K9E0RdBrO4OL-dTj78eB2obeWjLgoqshddSD_fvv2inHw9Tyu1Vb3OwAoxsLT6HMbAFyAyMc79nM/s16000-rw/Friedrich-Overbeck-Male-Sitting-on-a-Pedestal.jpg)
After four years, the differences
between his group and others in the academy had grown so irreconcilable,
that Overbeck and his followers were expelled.
He left for Rome, where he arrived in 1810, carrying his half-finished canvas of Christ's Entry into Jerusalem.
Rome became for 59 years the centre of
his labor. He was joined by a company of like-minded artists, including
Peter von Cornelius, Friedrich Wilhelm Schadow and Philipp Veit, who
jointly housed in the old Franciscan convent of Sant'Isidoro, and became
known among friends and enemies by the descriptive epithet of Nazarenes.
Their precept was hard and honest work
and holy living; they eschewed the antique as pagan, the Renaissance as
false, and built up a severe revival on simple nature and on the
serious art of Perugino, Pinturicchio, Francesco Francia and the young
Raphael.
The characteristics of the style thus
educed were nobility of idea, precision and even hardness of outline,
scholastic composition, with the addition of light, shade and colour,
not for allurement, but chiefly for perspicuity and completion of
motive.
Overbeck in 1813 joined the Roman Catholic Church, and thereby he believed that his art received Christian baptism.
Timely commissions followed. The
Prussian consul, Jakob Salomon Bartholdy, had a house on the brow of the
Pincian Hill, called Palazzo Zuccari or Casa Bartholdy, and he engaged
the quartet of Overbeck, Cornelius, Veit and Schadow to fresco a room 7 m
square (now in the Alte Nationalgalerie, Berlin) with episodes from the story of Joseph and his Brethren.
The subjects which fell to the lot of
Overbeck were the Seven Years of Famine and Joseph sold by his Brethren,
finished in 1818. In the same year Prince Massimo commissioned
Overbeck, Cornelius, Veit and Schnorr to cover the walls and ceilings of
his garden pavilion, near St. John Lateran, with frescoes illustrative
of Tasso, Dante and Ariosto.
![Friedrich-Overbeck-Marriage-of-the-Virgin Friedrich-Overbeck-Marriage-of-the-Virgin](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqfG-Q_zimf2u98EbIbzOv_0nivsX-REyNBBZdD3w-kpkXvbh3_VtdGoXbY5zRp8IxQDTBoa9cYaFShbeiXl2EyeT1g89XYSLgq8MNGgJgdejT2WZEUhYo-Bzlwppkk1NDVwMXz4w4t5L6-0BnOyBs4uweZ78ivE5HSFuLDnzIEw48O46sG_xc3FIq/s16000-rw/Friedrich-Overbeck-Marriage-of-the-Virgin.jpg)
To Overbeck was assigned, in a room 5 m
square, the illustration of Tasso's Jerusalem Delivered; and of eleven
compositions occupying one entire wall, is the Meeting of Godfrey de
Bouillon and Peter the Hermit.
After ten years delay, the overtaxed
and enfeebled painter delegated the completion of the frescoes to his
friend Joseph von Führich.
The leisure thus gained was devoted to
a thoroughly congenial theme, the Vision of St Francis, a wall-painting
6.5 m long, finished in 1830, for the Porziuncola in the Basilica of
Santa Maria degli Angeli near Assisi.
Honours
Overbeck was elected a Foreign Honorary Member of the American Academy of Arts and Sciences in 1864. | Source: © Wikipedia
![Friedrich-Overbeck-Left-Arm-and-Shoulders-of-a-Man-Seen-from-the-Back-Metropolitan-Museum-of-Art Friedrich-Overbeck-Left-Arm-and-Shoulders-of-a-Man-Seen-from-the-Back-Metropolitan-Museum-of-Art](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1v_tIqKgk5UpO-IhHj1YZ1spByg0dUEfWoBrW7t4lLVR4ginFJGoiBQ0Jl6GZaux_kuqMKHJSa8uuxGDcLtBvP9kcBLMGIaiLK8YxIEBKwFqH8S-QJWTt1hKpvvkBan3n4PeFhirlDoddiwGiJm28C_OJfTT6jf6IY2SJJ391DjxpW-bpQxUWugGz/s16000-rw/Friedrich-Overbeck-Left-Arm-and-Shoulders-of-a-Man-Seen-from-the-Back-Metropolitan-Museum-of-Art.jpg)
![Friedrich-Overbeck-Lunette-Alte-Nationalgalerie-Casa-Bartholdy Friedrich-Overbeck-Lunette-Alte-Nationalgalerie-Casa-Bartholdy](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_-LrqhWQ2F53xhR4GzRLFKpnqAbM8AY3G9_y9vyYPSg0xCARYysWzN1D4SkScn4y-7rbHIwKu771P1lEUUDwA_hgTt74sqMJhbckkXlhQYmc_DjPt0nQDMoeuzD9itrZZL8uN9Dmvv5Jw0Zw2MaT2W1AoI6tJFvOlktaKo5Emlvt3V70GptkHu5TO/s16000-rw/Friedrich-Overbeck-Lunette-Alte-Nationalgalerie-Casa-Bartholdy.jpg)
![Friedrich-Overbeck-Magdalena-salbt-Christus-die-Fube-1846 Friedrich-Overbeck-Magdalena-salbt-Christus-die-Fube-1846](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4-pAWovjN3UuLpEGZGDnQU6Dnw_aqyi5qndfY7yiG3qCWHpzUJziQ7iMHI7FRko4uecnx0noiqCdzTxROubRa36OQ1QsWjLvl0gtsRzqWgyI89M6b5VndHcbFxL10bjmjpIMO4O35MDDm8KqCOsuYgWZwFsrVGNqYvT30xjv9Weq40ryK-Y22tYB4/s16000-rw/Friedrich-Overbeck-Magdalena-salbt-Christus-die-Fube-1846.jpg)
Johann Friedrich Overbeck (Lubecca, 3 luglio 1789 - Roma, 12 novembre 1869) è stato un pittore Tedesco, esponente del movimento pittorico dei Nazareni.
Il nome Nazareni venne dato ad
un gruppo di pittori romantici tedeschi attivi a Roma all'inizio del XIX
secolo, che stimolati inizialmente dalle teorie artistiche di Wilhelm
August von Schlegel e di Wilhelm Heinrich Wackenroder, si ribellarono al
classicismo accademico, aspirando ad un'arte rinnovata su basi
religiose e patriottiche che stilisticamente assunse un carattere
arcaicizzante, dato da un forte accento lineare e dall'uso del colore
crudo, steso con pennellate uniformi.
Lo stile, inoltre, si caratterizzò
come una ricomposizione formale, quasi filologica, dello stile degli
artisti quattrocenteschi italiani da Beato Angelico, Filippo Lippi, Luca Signorelli, Perugino e soprattutto il primo Raffaello.
Alcuni artisti del gruppo si rifecero anche a Dürer ed all'antica pittura tedesca.
![Friedrich-Overbeck-Head-of-a-Man Friedrich-Overbeck-Head-of-a-Man](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTzk69N7_xAx4lMTSNB54trd1G3Ot9Z-QblPSe7P60MNsz7CQCIFaoB7nDF79e7FxhqFQP5r7eroQzb0wEnXcyMcmz6IgC1Ss_KbbJcdIyEKQJgKRb6q-r984UwuCyDLcLbxQxvGOgoHACU4wav35BCwRPG3ndPka_0uPiz5PtKKWzho9dniBGM4rB/s16000-rw/Friedrich-Overbeck-Head-of-a-Man.jpg)
Biografia
Nato a Lubecca da una famiglia di pastori protestanti per generazioni, era figlio di Christian Adolph Overbeck (1755-1821), avvocato, poeta, uomo di chiesa nonché borgomastro della cittadina.
Suoi nonni paterni erano Georg Christian Overbeck (1713-1786), avvocato, ed Eleonora Maria Jauch (1732-1797).
Suo zio era invece teologo e prolifico
scrittore, oltre che rettore del ginnasio in Konigstrasse, poco lontano
dall'abitazione degli Overbeck, dove il giovane Friedrich studiò e si
avvicinò all'arte e alla letteratura classica.
![Friedrich-Overbeck-Sale-of-Joseph Friedrich-Overbeck-Sale-of-Joseph](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbO3GUV4J9k8sjUz3VB3GBlLPIfD7BbTUZDgdpNJZkGVZdvs2gdgdXI0vHwr6UAx4OYqKQDEOOqVz89NteVau-9A93JzedjPXAk7kLqU4bbwzN4gt2bJVXlG40Vo2rzR1Fk-WPcvneaZnO3Nc490aa_cqhguuHdA7QwIfvCu7mRzuF9mUmdb9vp1UE/s16000-rw/Friedrich-Overbeck-Sale-of-Joseph.jpg)
Gioventù e soggiorno a Vienna
Nel marzo 1806, il giovane artista
lasciò Lubecca per l'accademia di belle arti di Vienna, dove studiò con
il maestro Heinrich Füger (1751–1818), noto seguace della scuola francese di Jacques-Louis David.
Fu probabilmente l'eccessivo
accademismo del maestro che spinse il giovane a ricercare nuove forme di
espressione, come attesta una sua lettera ad un amico in cui si
lamentava di come ogni virtù venisse lì annegata nel rigore accademico e
di come avesse smarrito ogni fiducia nel genere umano, rivolgendo
quindi l'attenzione verso la propria interiorità.
Nonostante la sua giovane età
all'epoca, questo pensiero e queste convinzioni lo avrebbero
accompagnato per il resto della sua carriera pittorica.
Convinto che Vienna e l'Europa
avessero corrotto l'originaria purezza dell'arte cristiana, Overbeck
decise quindi di prendere a modello i pittori italiani precedenti a
Raffaello, dando così inconsapevole accredito alle stesse teorie dei
preraffaelliti inglesi.
Dopo quattro anni di accademia, le sue
idee erano diventate così radicate che venne espulso dalla scuola
insieme ad un gruppo di seguaci: ebbe modo di scrivere di aver ricercato
a Vienna invano la vera arte e partì per Roma, portando con sé un
dipinto non ancora terminato dal titolo L'ingresso di Cristo a
Gerusalemme.
![Friedrich-overbeck-Il-pittore-Franz-Pforr-1810-Alte-Nationalgalerie Friedrich-overbeck-Il-pittore-Franz-Pforr-1810-Alte-Nationalgalerie](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi67FU4OuaIcbMeoCrX46cS0Ez4ggiu_PruphNTGaHOKimhaTmNwjsfIK76AFNtkBcZMpLRzT2ykHxlJgg2mBMYnCV_AE4iEy3sd226_6KamsOt7SeWjKoJowTa3-vHkBnDjhqYRHAfv8Ik-gNYhMPgkuZcNS8T7Q4xCs0PXFiV79qLvR0HU4Pw-Hyz/s16000-rw/Friedrich-overbeck-Il-pittore-Franz-Pforr-1810-Alte-Nationalgalerie.jpg)
La permanenza a Roma
L'artista raggiunse Roma nel 1810 e vi
rimase per 59 anni, lavorandovi alacremente in compagnia di altri
artisti come Peter von Cornelius, Friedrich Wilhelm Schadow e Philipp
Veit, che lo raggiunsero nel convento francescano dove lavorava e
fondarono con lui il movimento dei Nazareni.
Loro precetti erano una vita ascetica e
duro lavoro: rifiutavano tutto ciò che riguardasse l'antichità perché
pagano, il rinascimento perché falso e promuovevano la riscoperta di
artisti come il Perugino, il Pinturicchio ed il primo Raffaello.
Da questi loro principi derivava uno
stile che puntasse alla raffigurazione dell'idea trascendente e pura,
attraverso linee rigide e precise, composizioni statiche ed un uso parco
del chiaroscuro e del colore al solo scopo di sottolineare il tema del
dipinto.
Tardivamente si aggiunsero al movimento anche Barthold Georg Niebuhr, Robert Bunsen e Friederich Schlegel.
![Friedrich-Overbeck-Christ-in-the-Garden-of-Gethsemane-Metropolitan-Museum-of-Art Friedrich-Overbeck-Christ-in-the-Garden-of-Gethsemane-Metropolitan-Museum-of-Art](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguai7yKTOku96sJMk3qJIioX9AQ1qIs3qMF-dhg5uublsAp8h-xIg4u4dz89C9TFSQPp4wR5g6U0u0jQziBUQTDts85VoZYJINa9ssFxrXddymExiUDb9dS2w4YxJrKxJeKxNAKZtoVPSM2Olz_cSdpOEpYFJRduV414RMTPDtFP5gwN7EM8MjVc1K/s16000-rw/Friedrich-Overbeck-Christ-in-the-Garden-of-Gethsemane-Metropolitan-Museum-of-Art.jpg)
Il successo
Nel 1813 Overbeck si convertì al
cattolicesimo e, quasi contemporaneamente, lui ed il suo movimento
iniziarono a conquistare notorietà.
Il console prussiano Jakob Salomon Bartholdy (1779-1825),
zio di Felix Mendelssohn, convocò in quegli anni Overbeck, Peter von
Cornelius, Philipp Veit e Friedrich Wilhelm Schadow a decorare una
grande sala del suo Palazzo Zuccari, sul Pincio, con affreschi ora
conservati alla Alte Nationalgalerie di Berlino.
Le opere raffiguravano scene dalla
vita di Giuseppe, e Overbeck realizzò personalmente Sette anni di
carestia e Giuseppe venduto dai suoi fratelli.
Queste opere, terminate nel 1818,
accolsero molti consensi e nello stesso anno il principe Francesco
Massimo richiese agli artisti di decorare un suo padiglione nel giardino
della villa presso San Giovanni in Laterano con affreschi ispirati alle
opere del Tasso, di Dante e Ariosto.
Overbeck raffigurò il ciclo ispirato
alla Gerusalemme liberata, in particolare alcune raffigurazioni
dell'incontro tra Goffredo di Buglione e Pietro l'eremita.
La realizzazione degli affreschi
richiese dieci anni: il pittore, infermo, delegò all'amico Joseph von
Führich il compito di portarli a termine e si dedicò ad un dipinto
ispirato alla vita di San Francesco d'Assisi nella basilica di Santa
Maria degli Angeli.
Overbeck fu anche poeta, saggista e teorico dell'arte.
Morte
Morì a Roma nel 1869 e fu sepolto nella chiesa di San Bernardo alle Terme. | Fonte: © Wikipedia
![Friedrich-Overbeck-Christ-and-the-Virgin-with-Music-Making-Angels Friedrich-Overbeck-Christ-and-the-Virgin-with-Music-Making-Angels](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoelEUcCZwbyb8tEmC0tt_rdN5vcoNSUKRH0kJ7xwDhnjsT_DC3-0ievjhRU2dvnN0Dd12lrF54IuIyD-zS0MMtaYX0zxBp6zSqWJfQ6izrDwhUP78oXDcwgfjz8IaVJ4ASa0Rv2x6-jYfxqndrAhvtFup8Mi3aEgnVkFTOi-a2S8S1iswdhEpyEOL/s16000-rw/Friedrich-Overbeck-Christ-and-the-Virgin-with-Music-Making-Angels.jpg)
![Friedrich-Overbeck-Portrait-of-the-boy-Xaverio-as-St-John-the-Baptist-1800-Germanisches-Nationalmuseum-Germany Friedrich-Overbeck-Portrait-of-the-boy-Xaverio-as-St-John-the-Baptist-1800-Germanisches-Nationalmuseum-Germany](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZCOioHH34WTfx5FG4J4PwJfjDZ_rSeoTlvItQzjO5Szinb50nrnRHZNf2K9UARb6CtcW_BqSl2vLOEd3Lpjxot0blYXhHc5j7ypur12yTYhDfgRdgWQMut6RX6vnb5CGtovnU1qSjrZwBYfIpx9h9O5yykaU2mfwzcY0LuMYah5TdyBLJW3JPpNa9/s16000-rw/Friedrich-Overbeck-Portrait-of-the-boy-Xaverio-as-St-John-the-Baptist-1800-Germanisches-Nationalmuseum-Germany.jpg)
![Friedrich-Overbeck-Easter-Morning Friedrich-Overbeck-Easter-Morning](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2edv4CcqEPTKiSdtEzEiWvx58rf_lm2qADw2IHlnrhmC1Xs94238NgRmDGmF873KB2i3SZs0GwDjrTsy_54yey5epEXXC66LrceXLeuNCiQmkiCmXVDyPJc_Zdxzesc36ca-grF9h1gWHSdUitV6syyqXG1heU63WZWSvHZ7gw02jKE7SbNDFthMG/s16000-rw/Friedrich-Overbeck-Easter-Morning.jpg)
![Friedrich-Overbeck-Portrait-of-Johann-Carl-Eggers Friedrich-Overbeck-Portrait-of-Johann-Carl-Eggers](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWG7tBoeRhvKiN7wmSRJq28UuzHQZ2tjRyNEGGJqPAfbTAxpXCdCPz9DxkuEhy8uTAXTAgWBqdZCiGI5NLE1L-cz3l_XYnmzKHj0k7dFkmvaD7WRmgeXriIJxxipFrON4sdyfRPvXko4s6Rv2pswgUmmxaHN0AS-q5kb591Q2LUyDBN6Q11Lzim0gg/s16000-rw/Friedrich-Overbeck-Portrait-of-Johann-Carl-Eggers.jpg)
![Friedrich-Overbeck-Praying-Monk-National-Gallery-of-Art Friedrich-Overbeck-Praying-Monk-National-Gallery-of-Art](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirgSGXX03obZxbgTiPAYhtEM4TfpK2vNR1gaPWRgrXI1zmmjaOvxcVV26uxAYOl3ea1qMlA3a7_ltdX4JjdGuO9sPYGuuz0Gn2J3yZKu_-hI3XvsZz3iE5S6KBhV8eIFF74deXa7bY-MF1eV1MXSIxcJfuw1StvQQbr7Wvyeiw1k9UZZX42Y9CuntP/s16000-rw/Friedrich-Overbeck-Praying-Monk-National-Gallery-of-Art.jpg)
![Friedrich-Overbeck-Vittoria-Caldoni-detail Friedrich-Overbeck-Vittoria-Caldoni-detail](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgApU2gkidcBQ-DTD2Hgc2yxGacFzU33pTweI8dh4tshjBDPNaFxy-Wdq9QRxoL2-OBvEVE1q3l4jo9P9x1HToxFxBOSVAl4yc4laaciPKpRo7zTF5u8yemhaLat0SonaxVT9rOJGdykqDV9JzSuK8r1lZK7VU4V5MMldVp7Olk7DE3ldwKT0E558NZ/s16000-rw/Friedrich-Overbeck-Vittoria-Caldoni-detail.jpg)
![Friedrich-Overbeck-Christ-Resurrects-the-Daughter-of-Jairus Friedrich-Overbeck-Christ-Resurrects-the-Daughter-of-Jairus](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfdeMtelhr-CyFMOImrcnGRm4-kPGHk2R9v5_mlaRw7XA5mZYoBZvo6SEaUv64Oa0c6AI1gyT-lor1qGDmjPTxwi40Yq1G_ghEEykTv7otRUPgoNXkn_C33SPC9ieniELN6nXYwUu3caQxULsVHS7cKp_MqTucfTk14Qi7QUjDJ9K2IcTtcW_aayMY/s16000-rw/Friedrich-Overbeck-Christ-Resurrects-the-Daughter-of-Jairus.jpg)
![Friedrich-Overbeck-Vierge-Marie-Sainte-Elisabeth,-Jesus-Jean-le-Baptiste Friedrich-Overbeck-Vierge-Marie-Sainte-Elisabeth,-Jesus-Jean-le-Baptiste](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjH9WUcndXBYmhSBXUvDhCwP8BM6TEOykOB7c5I2Q2nRG0u8YlIuE4ZFxaRghPE8jgLv2YhLPclDSV3fciS0Y_AIMzTOZT72gIuZKa-2R20qS51oh87DRsDWsgKgHK7mjbArLwxxEuwbfqQziiM2EqWL6Q4giYDk1UXpyeUz3iHKDuv6KF9OeV1RM30/s16000-rw/Friedrich-Overbeck-Vierge-Marie-Sainte-Elisabeth,-Jesus-Jean-le-Baptiste.jpg)
![Friedrich-Overbeck-Die-Anbetung-der-Konige-1813 Friedrich-Overbeck-Die-Anbetung-der-Konige-1813](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbN6j5Vjcb9W_cYRXdqXlTPuRaI5yFrWixEmIP24AC2Kw0nlxA6La7dh2uk3Qbpt6iQb0Qehvpqp5KtUykJYcJn-Mw0juGIQa2SREqVvLOk1Me9AOotpWYUGzi_1Xr9fNWv3kiNcNmfaWR6I_gxE-Pikpee7HZGeUma6fkxQCwOdwCza0sR2wJ1SL7/s16000-rw/Friedrich-Overbeck-Die-Anbetung-der-Konige-1813.jpg)
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