© Fotoweberei & Schloß Wernigerode GmbH

Okertal valley trail

1792

The motif

Our painter’s vantage point in the granite-rock landscape of the Oker Valley isn’t easy to find this time. But the rock still survives in its original form, and once you’ve found it, the comparison is all the more fun. The first clue is the direction of the Oker’s flow — we’re looking downstream. Also, the rock is no longer directly in the water, as the Oker’s course was slightly altered. There’s now ground in front of the rock, and instead of the river, there’s a ditch that once served one of the many industrial mills in the valley. This is the area around the Kahberg Cliff, not far from the Marienwand, where the largest rocks in the Oker Valley lie close to the water. A more comfortable hiking path now runs along the road in this section, which of course means missing out on the most beautiful part.

The granite rocks — sometimes jagged and layered, sometimes smoothly rounded — were the main attraction for the first painters in the valley. With the construction of the road, the two inns marking the north and south ends of the valley, and the waterfall built in 1863, more and more visitors began to come. But the road also brought industrialisation. Today, the valley path takes you past old mills and factories, dams, and impressive canal structures, some of which run high above the hiking trail.

Okertal, Ganz
© Sammlung Bode, Hamburg
Johann Philipp Ganz

Artist

1792

created

Coloured etching

Record size 26 x 33.3 cm

Bode Collection

Hamburg

Hiking tip

The long-distance trail Baltic Sea – Wachau – Adriatic leads us through the Okertal valley here. You can easily hike up the valley and back down again. (About 1.5 hours each way.) Don’t worry about getting bored, as the valley changes with your direction of view. There’s also a bus every two hours or so.

About the artist

Some enthusiast should really research Johann Philipp Ganz (1746–after 1800)! We don’t even know his exact date of death. We only know that he came from Eisenach, is said to have trained in Vienna, the centre of art, and worked as a painter, etcher, and publisher in Hanover and Göttingen. He was given the title of court copper engraver in Hanover, but what duties did this actually involve? He might have earned his living with portraits, which he also engraved. His sheets are usually small. It must have been a life in the shadow of the already ageing court painter Johann Georg Ziesenis the Younger, of Wilhelm Thielo the Younger, who had been in Hanover since 1761, or of Johann Heinrich Brandt. Soon the younger artists Johann Heinrich Schröder and Johann Heinrich Ramberg, appointed in 1792, set the tone in Hanover. But the enthusiasm for the Harz mountains of Johann Friedrich Weitsch in nearby Brunswick, Christian Andreas Besemann and Johann Christian Eberlein from Göttingen must have reached Ganz as well. Perhaps he also became aware of the geological and artistic explorations by von Trebra, Kraus and Goethe, and wanted to take part as a publisher?

Ganz began his first series in 1785 with a depiction of the Schnarcher Rocks, which even included a geological explanatory sheet. Our print of the granite rock near the Marienwand belongs to the second series, which appeared only seven years later. It comprised three sheets; the other two show gypsum and marble, so again, his focus was on geology.

For comparison

Georg Melchior Kraus, Marienwand with Devil's Pulpit in the Okertal valley, 2 September 1784, chalk on paper, 38.7 x 46.7 cm, Klassik Stiftung Weimar/Museums (Goethe's possession), KHz/AK 2410 

 Okertal, Kraus
© Klassik Stiftung Weimar, Foto: Olaf Mokansky

For two weeks in the first half of September 1784, Goethe and the painter Georg Melchior Kraus hiked to selected cliffs and rock formations in the Harz Mountains. On this 2nd of September, both made sketches of the Ziegenrücken, the Treppenstein, and the Sleeping Lion in the Okertal valley. While Kraus immediately arranged his subject into a composed picture, placing a tree on the right as a frame and a resting hiker in the foreground, Goethe became completely absorbed in the structure of the stone. He managed with just a few strokes, and yet the accuracy of the depiction is astonishing.

Johann Wolfgang von Goethe, Marienwand with Devil's Pulpit in the Okertal valley, 2 September 1784, chalk on paper, 19.7 x 32.9 cm, Klassik Stiftung Weimar/Museums (Goethe's possession), Inv. no. GGz/0134 

Okertal, Goethe
© Klassik Stiftung Weimar, Foto: Papenfuss, Atelier für Gestaltung

"Freed from the fetters of court life, in the freedom of the mountains" – this is how Goethe described his feeling during the two weeks he spent in the Harz Mountains in 1784. On this 2 September, he also created drawings in the Okertal valley of the Ziegenrücken, the Treppenstein and the Sleeping Lion. Goethe immersed himself in the granite structure of the rock; comparing with other depictions shows his precision. Immersing oneself in an object and drawing it is a process that helps understanding – instead of taking a photograph.