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(3) Franz Jakob Schwanthaler
(b Ried im Innkreis, 2 Aug 1760; d Munich, 4 Dec 1820). Son of (2) Johann Peter Schwanthaler I. He trained with his father in the family workshop in Ried, and then in turn with his cousin Johann Georg Schwanthaler (1740–1810) in Gmunden, with Franz Hitzl (1738–1819) in Salzburg, and with Ignaz Ingerl (1752–1800) in Augsburg. In 1785, having worked for a time in the studio of Roman Anton Boos, Schwanthaler settled in Munich. There he came under the influence of antique sculpture, as defined by the prevailing Neo-classical movement, and made use of this in his work in Munich. This Classical grounding made him particularly well qualified to contribute to the decoration of such buildings in Munich as the Hauptmünzamt (1809) by Andreas Gärtner and the Hofgartentor (1816) by Leo von Klenze. Schwanthaler’s work stands at the watershed between Bavarian wood-carving of the Rococo period and sober Munich Neo-classicism. This is particularly apparent in his free-standing sculptures: while his Agony in the Garden (1785; Munich, St Peter) is clearly still influenced by Thomas Schwanthaler’s Agony in the Garden (wood; Ried, parish church), the sculpture Innocence (1802, marble) in the Englischer Garten in Munich bears a striking resemblance to the Classical Antinous type. Franz Jakob Schwanthaler can thus be considered, in this sense, to have laid the foundations for the art of his better-known son (4) Ludwig von Schwanthaler.
Part of the Schwanthaler family
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