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Letzte Renaissance in Wien. Projekte Von Leopold Bauer Für Die Österreichisch-Ungarische Bank (217) Poslední Renesance Ve Vídni

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Letzte Renaissance in Wien. Projekte Von Leopold Bauer Für Die Österreichisch-Ungarische Bank (217) Poslední Renesance Ve Vídni ars 2009 Ročník / Volume 42 Číslo / Number 2 Obsah / Contents Úvod / Editorial (189) ŠTÚDIE / ARTICLES I. Tadeusz J. ŻUCHOWSKI Polnische Geschichtsmalerei des 19. Jahrhunderts im mitteleuropäischen Kontext. Genese – Entwicklung – Besonderheiten (191) Poľské historické maliarstvo 19. storočia v stredoeurópskom kontexte. Vznik – rozvoj – osobitosti József SISA Mansions under the Spell of the “Olden Times”. Country House Building in the English Style (206) Kaštiele v znamení „starých čias“. Stavby vidieckych sídiel v anglickom štýle Jindřich VYBÍRAL Letzte Renaissance in Wien. Projekte von Leopold Bauer für die Österreichisch-Ungarische Bank (217) Poslední renesance ve Vídni. Projekty Leopolda Bauera pro Rakousko-uherskou banku Dana BOŘUTOVÁ Jurkovičova Viedeň (239) Architect Jurkovič and Vienna II. Júlia PAPP Angaben zum Lebenslauf und zur Tätigkeit des Kupferstechers Johann Blaschke (1770 – 1833) (257) Príspevok k životu a dielu medirytca Johanna Blaschkeho (1770 – 1833) Zuzana LABUDOVÁ The Former County House in Levoča. The Problem of Its Style Interpretation in the Context of the European Classicistic Architecture (277) Bývalý župný dom v Levoči. Otázka jeho štýlovej interpretácie v kontexte európskej klasicistickej architektúry Katarína BEŇOVÁ Habsburgovci v prvej polovici 19. storočia. Panovnícky portrét v slovenských zbierkach (291) The Habsburgs in the First Half of the 19th Century. Emperors’ Portraits in Slovak Galleries and Museums Collections Viera BARTKOVÁ Maliari zo Slovenska a umelecké prostredie Apeninského polostrova v 19. storočí (310) Painters from Slovakia and the Artistic Environment of Italy in the 19th Century MATERIÁLY / MATERIALS Gábor György PAPP Vom Wettbewerbsprojekt für das Parlament in Budapest bis zum Theater- und Redoutengebäude in Zipser Neudorf (Spišská Nová Ves, Igló). Führende Grundsätze in der Architektur von Koloman Gerster (331) Od súťaže na budovu parlamentu v Budapešti po divadlo a redutu v Spišskej Novej Vsi (Zipser Neudorf, Igló). Dominantné princípy v architektúre Kolomana Gerstera RECENZIE / REVIEWS Orsolya HESSKY 200 Jahre Akademie der bildenden Künste München. München und die Kunst in Ostmitteleuropa 1850 – 1914 (346) Katarína BEŇOVÁ Biedermeier. Umění a kultura v českých zemích 1814 – 1848. Otázka štýlu (351) Štefan ORIŠKO Das Riesentor. Archäologie – Bau- und Kunstgeschichte – Naturwissenschaften – Restaurierung (355) SPRÁVY / NEWS Anna Petrová-Pleskotová (1930 – 2008) (358) ÚVOD / EDITORIAL ARS 42, 2009, 2 Úvod / Editorial V súlade so základnou koncepciou časopisu In accordance with the essential philosophy of Ars, ktorou je zameranie na problematiku umenia the journal Ars, covering the problems of Central- strednej Európy, prináša aj toto vydanie súbor -European art, also its present edition is bringing štúdií a materiálov zameraných na danú oblasť. a number of studies and materials devoted to this Ohnivkom spájajúcim vybrané príspevky je aspekt topic. The selected contributions are linked by as- interpretácie umeleckých prejavov strednej Európy pects of interpretation of artistic manifestations in v rámci širších celoeurópskych vývinových pohy- Central Europe in broader frames of the all-Euro- bov so zaostrením na obdobie 19. storočia a s ním pean movements while focusing on period of the späté fenomény. 19th century and related phenomena. Užšie vymedzenie obsahu čísla – témy i voľba Closer delineation of the content of this issue oslovených autorov – boli motivované zámerom – subject matters and choice of the authors ad- v širšom kontexte aktuálneho stredoeurópskeho dressed – were motivated by an intention to present umelecko-historického bádania predstaviť čiast- in broader contexts of the current Central-European kové výsledky výskumného programu Európa a my art-historical research the partial results of the run- – my a Európa: Inklúzie európskeho v umení 19. storočia ning research program Europe and us – us and Europe: na Slovensku, ktorý v priebehu rokov 2008 – 2010 Inclusions of the European in the 19th century art in Slova- financuje Vedecká grantová agentúra Ministerstva kia, funded by the Scientific Grant Agency of the školstva SR a Slovenskej akadémie vied (projekt Ministry of Education of the Slovak Republic and VEGA č. 1/0316/08). the Slovak Academy of Sciences in course of 2008 Na stránkach časopisu Ars tak našli zastúpenie – 2010 (project VEGA No. 1/0316/08). architektúra a ostatné druhy výtvarného umenia od Thus, introducing texts dealing with architecture raných fáz 19. storočia až po jeho vyznievanie do and fine arts since the early 19th century to its outliv- storočia nasledujúceho. Zároveň sa vytvorila platfor- ing at the beginning of the following one, the current ma pre reflexiu tohto obdobia v spektre aktuálnych number of the journal Ars is providing a platform metód a prístupov. Záver tohto čísla tvorí spomienka for reflection of the given period in a perspective of na PhDr. Annu Petrovú-Pleskotovú, CSc., ktorá pat- the current methods and approaches. An epilogue rila k priekopníkom nových prístupov k spracovaniu to this issue brings a remembrance of PhDr. Anna umenia 19. storočia na Slovensku. Petrová-Pleskotová, CSc., who belonged to the Autorom, ktorí prijali výzvu k účasti na tomto pathfinders of novel approaches on the field of the vydaní časopisu Ars, patrí moja hlboká vďaka. 19th century art exploration in Slovakia. I would like to express my deep gratitude to those who accepted my invitation to participate. Dana Bořutová 189 ŠTÚDIE / ARTICLES I. ARS 42, 2009, 2 Polnische Geschichtsmalerei des 19. Jahrhunderts im mitteleuropäischen Kontext. Genese — Entwicklung — Besonderheiten Tadeusz J. ŻUCHOWSKI Eine Debatte über Historienmalerei scheint heute gen, die sich in Europa besonders in der zweiten Hälf- als nationale, wenigstens aber politische Diskussion te des 18. Jahrhunderts abzeichnen. Hand in Hand zu gelten. In der Kunstgeschichte haben wir mit mit diesen Aktivitäten ging ein neues Interesse für verschiedenen Definitionen der Geschichtsmalerei die Landschaftsmalerei, die als neue Wahrnehmung zu tun. Obwohl das Wesen dieser Gattung intuitiv des eigenen Landes und seiner Geschichte zu ver- verständlich ist, stößt dennoch jeder Versuch, sie stehen ist. Mit einer solchen Entwicklung haben wir genauer zu erklären, auf verschiedene Hindernisse. beispielsweise in Kopenhagen zu tun, wo sich in der Im 15. Jahrhundert entstand die Konzeption der 1769 entstandenen Akademie (die Anfänge reichen bis Storia-Malerei, was am besten als Geschehens- 1738 zurück) die so genannte nördliche Renaissance Malerei oder Erzählungsmalerei wiederzugeben und Heimatlandschaftsmalerei entwickelte, ferner in wäre. Als erster schrieb der bekannte Theoretiker Dresden, wo in der 1764 entstandenen Akademie die und Architekt Leon Battista Alberti darüber. Unter Landschaftsmalereiklassen ausgebaut und Professoren dem Begriff Storia verstand er solche Bilder, die es für so genannte Historienmalerei berufen wurden.2 bei der Beschreibung ermöglichen, eine Geschichte In Dresden wirkte u.a. Giovanni Battista Casanova zu erzählen. Als Storia-Bilder bezeichnete man so- (1730 – 1795), in Kopenhagen Nicolai Abildgaard wohl religiöse und mythologische Themen als auch (1743 – 1809). In Paris und Wien wirkte der seinerzeit Darstellungen, die Ereignisse aus der Geschichte berühmte Schlachtenmaler Francesco Giuseppe Ca- visualisieren. Bevorzugt wurden Themen aus der sanova (1727 – 1802), Bruder von Giovanni Battista. Antike, sehr beliebt war Alexander der Große. Zeit- In Paris begann die Malerfamilie Vernet ihre Karriere: genössische Schlachten wurden eigentlich kaum als Antoine Charles Horace Vernet (1758 – 1835) und sein historische Themen angesehen.1 Sohn Horace (1789 – 1863). Diese Tendenzen wurden Das neue Interesse für die eigene Geschichte, das um 1800 noch deutlicher sichtbar. Die Erforschung sich während des 18. Jahrhunderts in Europa entwi- der eigenen Geschichte resultierte in den Gründun- ckelte, brachte auch einen Wandel in der akademischen gen von Sammlungen nationaler Kunst (neben dem Themenhierarchie mit sich. Bisher nur in der graphi- bisherigen proklassischen, proitalienischen Muster). In schen Kunst existierende Darstellungen konkreter Köln war vor allem die Tätigkeit der Brüder Boisserée Ereignisse aus der Geschichte, der Vergangenheit des entscheidend, in Polen dagegen die Unternehmungen Landes oder der Dynastie wurden zum wesentlichen der Isabella Czartoryska, die in Puławy das Museum Werkzeug neuer offizieller staatlicher Unternehmun- der Nationalen Ideen stiftete. 1 Historienmalerei (=Geschichte der klassischen Bildgattungen in 2 FRÖHLICH, A.: Landschaftsmalerei in Sachsen in der zweiten Quellentexten und Kommentaren, 1). Hrsg. T. W. GAEHT- Hälfte des 18. Jahrhundert. Weimar 2002, S. 18-22, 39-43. GENS – U. FLECKNER. Berlin 1996. 191 Die politische Situation Polens am Ende des 18. Königreich Polen für alle Zeiten aufgehoben werde, Jahrhunderts war jedoch außergewöhnlich kompli- und dass keiner der drei Okkupationsstaaten es je ziert im Vergleich zu den deutschen Gebieten oder wieder zu errichten versuche. zu Frankreich. Der relativ große Staat, Republik Im 19. Jahrhundert erfuhren die Okkupations- beider Nationen genannt, wurde infolge politischer gebiete bestimmte Veränderungen, die Hauptidee Intrigen stufenweise völlig unter drei Monarchien jedoch, die die Teilungen verursacht hatte, blieb aufgeteilt und in die drei anderen Staatsstrukturen unverändert. Vor allem existierte zwischen 1807 inkorporiert. Die drei Teilungen Polens, die zwi- und 1815 unter französischem Protektorat
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