Josef Benedikt KurigerHis first name is also spelt Joseph, and his surname Curiger, Couriger, Courrigé, Curriger, Curriguer. In a French context, he may be named Joseph-Benoist Couriger. (May 25, 1754 in Einsiedeln, Schwyz – July 6, 1819 in Wettingen)Archives Suisses des Traditions Populaires, Schweizerische Gesellschaft für Volkskunde, 1987, S. 200 was a Swiss goldsmith, sculptor, modeller and model maker who pioneered embryological modeling.
Josef Benedikt Kuriger was the son of goldsmith Augustin Mathias Kuriger (1723–1780),The Swiss National Museum has two items made around 1770 probably by Augustin Mathias: a silver lidded goblet (DEP-3557) bearing the coat of arms of , Prince Abbot of Einsiedeln Abbey from 1773 (and a friend of Johann Kaspar Lavater). The other item is a set (LM-64352) consisting of a silver knife and fork. Swiss National Museum: & and the younger brother of the goldsmith and wax sculptor Josef Anton Kuriger (1750–1830). In c. 1768, Joseph Benedikt followed his brother Joseph Anton to Paris. There he was taught by the sculptor Étienne-Pierre-Adrien Gois. Some sources say that he was first taught by Jean-Baptiste Lemoyne.
Kuriger's work at the anatomical theatre in Paris gave him the experience to move from portraits and devotional objects to anatomy and obstetrics.Nick Hopwood: "Plastic Publishing in Embryology" in: Models. Third Dimension of Science, Stanford University Press, 2004, S.171 Kuriger created wax models of embryos, based on Samuel Thomas von Soemmerring's .Nick Hopwood: Embryos in wax. Models from the Ziegler Studio, Whipple Museum of the History of Science, 2002, S.11 In c. 1778, he returned to Einsiedeln and settled there, only occasionally returning to Paris.
The William Tell monument behind the St. Peter and Paul Church in Bürglen (since 1891) was created by Josef Benedikt Curiger in 1786.
Among Joseph-Benoist Couriger's works that have survived are also his anatomical models of the human bodyAdrian Christoph Suter: Die anatomischen Reliefdarstellungen des Einsiedler Kleinkünstlers J. B. Kuriger. Unveröffentlichte Dissertation am Medizinhistorischen Institut der Universitat Bern, 1986 (The anatomical reliefs of the Einsiedeln artist J. B. Kuriger. Unpublished dissertation at the Institute of Medical History at the University of Bern, 1986), & Illustration in: Ulrike Enke, Embryologie und Fehlbildungslehre in 18. und frühen 19. Jahrhundert. Präparate aus der Sammlung des Museum Anatomicum, in: Das Marburger Medizinhistorische Museum Museum Anatomicum (Embryology and malformation theory in the 18th and early 19th centuries. Specimens from the collection of the Museum Anatomicum, in: The Marburg Museum of Medical History, Museum Anatomicum) ed. by G. Aumüller and K. Grundmann, Marburg 2012 (Marburger Stadtschriften zur Geschichte und Kultur 98), p. 104. (now in the in Basel). They were shown at the art exhibition in Bern in 1804 and were recently studied by Adrian Christoph SuterDie anatomischen Reliefdarstellungen des Einsiedler Kleinkünstlers J.B. Kuriger (1754–1819) : Inaugural-Dissertation zur Erlangung der Doktorwürde der Medizinischen Fakultät der Universität Bern, Bern : Medizinhistorisches Institut der Universität Bern, 1986, 117 p. : ill. German with English summary. There are more anatomical models by him in the Narrenturm museum (Vienna).
In addition, there is the bust of Beaumarchais at the Comédie-Française, signed "Couriger fecit anno 1774", and all the more precious for being the only authentic contemporary bust of the author of Beaumarchais.Théâtre français: & Archives alsaciennes d'histoire de l'art, Istra (Strasbourg), 1924: Some of his works are difficult to trace. The Schweizerisches künstler-lexikon mentions two marble bust portraits made from nature (of Captain von Hertenstein and Lieutenant von Reding); "portraits in relief from white and coloured wax, alabaster and fine clay, as well as bas-reliefs, floral pieces and other works of unsurpassable truth and delicacy" and, "In the Einsiedeln cabinet", the portraits of Napoleon I, Marie Louise and the King of Rome, which he painted [modelled, in fact] in Paris in 1811 [or 1810].Schweizerisches künstler-lexikon: and Archives alsaciennes d'histoire de l'art, Istra (Strasbourg), 1924: "Archives alsaciennes" mentions the terracotta bust of a young officer signed and dated 1773 in the Musée des Arts Décoratifs de Paris (Given by Charles-Jules Maciet, 1846–1911. It could be the "Terracotta bust of a man in court costume with long hair tied back" (Couriguer, 1773) displayed at the "Marie-Antoinette and her time" exhibition at the galerie Sedelmeyer in 1894.Catalogue de l'exposition de Marie-Antoinette et son temps. Archive.org : , Chamerot et Renouard, 1894, p.57 : "232. Buste d'homme, terre cuite en costume de cour avec coiffure à queue. Signé et daté: Couriger, 1773. Appartient à M. Maciet." The Musée des Arts Décoratifs has a terracotta bust matching this description (10773), and also has a terracotta-coloured wax medallion, which is not attributed but could be by Joseph-Anton (or Antoine) Couriguer.MAD: (Inventory number: 11283) "Archives alsaciennes" also mentions a male bust in the Martin Le Roy Collection. According to the Catalogue raisonné de la collection Martin Le RoyVol. 2, p. 131-132: A picture is provided before the description. this is a bust of the actor , but the attribution to Couriguer is only a hypothesis.
The Swiss National Museum has a photo of "Terrakotten von Kuriger" taken at the 1883 National Exhibition LM-75910.91. The museum also houses a painted terracotta figure of Mary with the child (1790–1800) from the church in Lauerz. The Fram Museum in Einsielden owns four slate moulds made by Joseph-Benoist. They were used to make tin religious articles such as monstrances, candlesticks, crosses, flower stands, and holy figures for home altars and used by children to play "Pfärrerlis," a game in which they reenacted church services.
Josef Benedikt Kuriger's sons were also artists, the first (and best known) one being Ildefons Kuriger (Einsiedeln 1782–1841 Vienna), sculptor and painter, modeller, draughtsman. Augustin Mathias Kuriger (Einsiedeln 15.12.1787-Paris 01.10.1811) and Franz Xaver Kuriger (Einsiedeln 13.02.1790-Paris 02.10.1811), also wax sculptors in Paris, died there in 1811 under unexplained circumstances. The Schweizerisches Künstler-Lexikon says that "one of them was said to have murdered the other; according to another report, they were eliminated due to artistic jealousy.""Einer soll den andern ermordet haben; nach anderm Bericht sollen sie durch Künstlerneid aus der Welt geschafft worden sein. " (Schweizerisches Künstler-Lexikon p. 833) Both were trained by Étienne-Pierre-Adrien Gois. They also seem to have trained as goldsmiths under "Rontiers" (who may be Alexandre Roëttiers de Montaleau, goldsmith and et medalist, who died relatively young in 1808). Their younger brothers Nikolaus Adelrich Kuriger (Einsiedeln 1797–1820 Paris) and Josef Benedikt Kuriger (Einsiedeln 1798–1816?) were also wax sculptors.
Ildefons Curiger (Kuriger), wax modeller, etcher, draughtsman, painter and sculptor, was born in Einsiedeln 1732 and died around 1834 in Vienna. The Schweizerisches Künstler-Lexikon says he was the eldest and most talented of Joseph Benedikt Curiger's sons, from whom he received his first lessons in drawing and wax modelling. The works of his uncle Joseph Anton Couriguier. stimulated his innate artistic instinct even more. He made wax portraits (The Swiss National Museum owns a wax portrait (LM-70643) attributed to Ildefons, "Portrait of a lady", probably made in Einsiedeln c. 1830), bas-reliefs, etc. in coloured wax with extraordinary skill and kindness in a witty and lively manner. The authors mysteriously add that "He also made hundreds of artistic pranks.""Daneben machte er Künstlerstreiche zu hunderten." , Pdf file p. 333 He first worked in Zurich until he acquired the travel money to go to Vienna, where he attended the academy; then in Einsiedeln until about 1833, later returning to Vienna, where he is said to have died in the invalids' hospital. The Einsiedeln monastery owns the following paintings by him: St. Emilian;5o x 77 cm, signed "Ildephons Curiger inv. et pinx. 1828" (in the sub-priory). Kunstdenkmäler des Kantons Schwyz, Bd. 1, Basel 1927, neue Ausg. 1978 Peter Nolasco; The Martyrdom of St. Ignatius,51 x 70 cm, signed and dated 1826, restored by Nikolaus Birchler in 1840 (in the vestibule of the library): Kunstdenkmäler des Kantons Schwyz, Bd. 1, Basel 1927, neue Ausg. 1978 St. Johann Baptist preaching; the sketches for the altarpieces in Galgenen; in terracotta : Christmas; The Last Supper; The Washing of the Feet; The Coronation after Titian; The Carrying of the Cross; The Holy Family; Three Kings and many smaller works; in wax: Constantine before the Apparition of the Cross. He is praised for his fruitful and genuinely artistic invention. His portrait, painted by Heinrich CorrodiHeinrich Corrodi (confirmed here : p. 319), painter and engraver born in Zurich (1762) who died also in Zurich (23 February 1833). He studied with Johann Heinrich Wüest, worked in Vienna and Zurich where he settled in 1789. There are two paintings by him in the Bern museum: Baigneuses dans la forêt, and Nymphes au bain, idylle. (Dictionnaire critique et documentaire des peintres, sculpteurs, dessinateurs et graveurs de tous les temps et de tous les pays. Par un groupe d'écrivains spécialistes français et étrangers; sous la direction d'Emmanuel Bénézit (1854–1920). R. Roger et F. Chernoviz, éditeurs (Paris), 1911–1923. p.1084. The Kunsthaus Zürich has two paintings by Heinrich Corrodi: Self-portrait, c. 1790, oil on canvas, bequest of Miss Marcella Corrodi, 1958 inv. no. 1958.25 (Provenance, Zürcher Kunstgesellschaft | Kunsthaus Zürich (Museum), Zurich, from 1958, bequest. No trace of it on the museum's site) and The Old Man at the Window , 1804, oil on canvas, Kunsthaus Zürich, gift from City Councillor Heinrich Hirzel, 1875 Inv. no. 359 (Provenance, Zürcher Kunstgesellschaft | Kunsthaus Zürich (Museum), Zurich, from 1875, gift) Corrodi also painted Portrait of a sculptor (Bertel Thorwaldson?) with a marble bust and the tools of his trade on a table, 1807 or 1817 ( Artnet) in 1803, in the abbey's picture cabinet, shows a brilliant artist's head.