The Southwestern Historical Quarterly, Volume 88, July 1984 - April, 1985 Page: 344
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Southwestern Historical Quarterly
in conjunction with his fellow countrymen Carl G. von Iwonski and
William DeRyee, and, along with another friend, Wilhelm Thielepape
of San Antonio, successfully circulated a magic lantern show to cities
along the Mississippi and Ohio rivers.
Following the outbreak of the Civil War, Lungkwitz moved his
family to the safer environs of San Antonio, himself avoiding military
conscription by carrying his German passport with him. In 1870, with
the election of Republican E. J. Davis as governor and Lungkwitz's
friend Jacob Kuechler as commissioner of the General Land Office,
Lungkwitz moved to Austin and took a job in the Land Office as a pho-
tographer. The family remained in the city after the Democrats re-
turned to power, and Lungkwitz resumed his painting and teaching.
He shared studio space with the artist William H. Huddle just as
Huddle was embarking upon the huge task of painting the portraits of
all of the Texas presidents and governors and might even have assisted
Huddle with landscape details in such historical works as Surrender
of Santa Anna and David Crockett (both purchased by the state and
now in the state capitol). During his later years, he shared time be-
tween his daughters' families in Austin, Galveston, and the Hill Coun-
try. He died in Austin in 1891.
While Lungkwitz had sold a few pictures in far-flung places, such as
New York, Chicago, and Dresden, most of his works remained within
his immediate circle, with the largest part being divided among his
children and grandchildren at his death. Lungkwitz's reputation is
based on the handsome landscapes and city scenes in public and pri-
vate collections throughout the state that are now as valuable for the
historical record as for their artistic beauty. McGuire, who has also writ-
ten on other Texas artists, such as Julius Stockfleth and Carl G. von
Iwonski, documents in an extensive catalogue raisonne 341 works by
Lungkwitz, from his early European pictures beginning in 1835 to the
last images done shortly before his death, and concludes that many of
his romantic landscapes and city scenes are "more than a pretty pic-
ture" (p. 59).
The book is a joint production of the University of Texas Press
and the Institute of Texan Cultures, a fact that would not need fur-
ther comment except that it is through such collaborations that the
visual history of Texas has been documented. Pauline A. Pinckney's
flawed but ground-breaking book, Painting in Texas: The Nineteenth
Century (1967), was copublished by the Amon Carter Museum and
the University of Texas Press. The San Antonio Museum Association,
the Rosenberg Library, the McNay Art Museum, the Texas Me-
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Texas State Historical Association. The Southwestern Historical Quarterly, Volume 88, July 1984 - April, 1985, periodical, 1984/1985; Austin, Texas. (texashistory.unt.edu/ark:/67531/metapth101210/m1/392/: accessed March 28, 2017), University of North Texas Libraries, The Portal to Texas History, texashistory.unt.edu; crediting Texas State Historical Association.