(Memmingen 1640–1704 Augsburg)
Allegory of the four Elements,
oil on canvas, 101.5 x 146 cm, framed

Provenance:
Private collection, Amsterdam, 1956;
with J. O. Leegenhoek, Paris:
sale, Dorotheum, Vienna, 2 December 1969, lot 53;
where acquired by the grandmother of the present owner

Literature:
C. Garas, Les Oeuvres de J. H. Schönfeld et de J. Heiss en Hongrie, in: Bulletin du Musée Hongrois des Beaux-Arts, Budapest 1970, vol. 34–35, p. 123, under note 27;
E. Von Knorre, G. Krämer, Deutsche Barockgalerie. Katalog der Gemälde. Städtische Kunstsammlungen Augsburg. Bayerische Staatsgemäldesammlungen, Augsburg 1984, vol. II, p. 115 (as copy);
P. Königfeld, Der Maler Johann Heiss. Memmingen und Augsburg 1640–1704, Weißenhorn 2001, p. 302, no. B 49, fig. 72

The present painting might be compared to at least four works of the same subject by the artist, of which at least two differ in composition and in orientation. The first is conserved in the Städtische Kunstsammlung in Augsburg (inv. no. 7863) where it forms a pair with the Allegory of Summer (inv. no. 7862) (op. cit., Königfeld, 2001, no. B3, B4). The second work is preserved in the Musée des Beaux-Arts in Mulhouse (inv. no. 82.7.11.) where it forms a pair with the Allegory of Peace (inv. no. 82.7.10.) (op. cit., Königfeld, 2001, no. B34, B35). A third work remains lost but was formerly part of a private collection in France (op. cit., Königfeld, 2001, no. B43). The fourth work relating to the present painting is, according to Peter Königfeld, author of the monograph on the artist, a copy after the present composition and formerly belonged to the collection of the Ernst Museum in Budapest until 1930 (op. cit., Königfeld, 2001, no. B57). Whether the present painting and its copy were originally accompanied with a pendant by Heiss remains unknown, but possible.

Seated in the centre of the composition the goddess of agriculture and fertility, Ceres, forms the focal point of the present painting. The goddess can be identified by her crown of wheat, the abundance of fruits and vegetables at her feet and by the act of breastfeeding the child in her arm. Following Königfeld’s identification of the figures, the present painting blends the Roman and Greek mythos together and thus Neptune with his trident and Jupiter in a red tunic are flanking the Roman goddess. The two gods are depicted adoring Ceres, and forming a central trio representing fire, earth and water. Surrounding the three goddesses’, numerous narratives unfold throughout the composition, characteristic for the works of Heiss. In the lower left corner, emerging from an earth fissure Jupiter’s domain of fire is represented by the miners and a cyclops with a bellow. Neptune’s consort symbolising water is depicted in the lower right. Here Amphitrite is depicted seated on a seahorse holding coral and a shell, with the merfolk behind, thus symbolizing water. Earth is subtly represented by a satyr coming from behind the tree, which parts the composition. The upper part of the composition is dedicated to the remaining basic element of air. Juno, goddess of the heavens, rests on a group of clouds with a peacock behind, while a winged depiction of Aurora blows air down to the central trio. Iris, personifying the rainbow besides her, holds a blue lily while Apollo emerges from behind the clouds on his chariot, completing the representation of all four elements.

As a notable German Baroque painter, Johann Heiss was trained by both Hans Conrad Sichelbein (1581–1669) and Johann Sichelbein (1648–1719). Beginning his career as a court painter for Duke Eberhard III of Württemberg (1614–1674), Heiss was inspired by the works of Italian masters such as Veronese, Tintoretto, and the Italian followers of Poussin. Heiss developed his own distinctive painting style, characterised by multi-figured mythological scenes, historical paintings and especially allegories. His works captivate the observer with rich narratives and complex compositions, of which the present painting is a fine example.