LIECHTENSTEIN the Princely Collections

EN LIECHTENSTEIN The Princely Collections 12.11.2016 – 19.03.2017 EXHIBITIONGUIDE Floorplan 16 Rooms 1 and 2 Princely Self-Expression 17 Rooms 3 and 4 Portrait Painting 15 18 Rooms 5 and 6 Christian Themes 14 Room 7 Cabinet of Curiosities 13 12 Room 8 Interior 11 First Floor Room 9 Mythology new building Room 10 The Decius Mus Cycle and Sculptures Rooms 11 and 12 Genre Room 13 Military 6 Room 14 Veduta and Capriccio 7 8 Room 15 Landscape Painting 5 9 10 Rooms 16 and 17 Still Life Painting 4 Room 18 Hunting and Animals 3 2 1 Groundfloor new building The Princely Collections The Liechtenstein Dynasty The art holdings of the Prince von und zu Liechtenstein are the fruits of The rise of the Liechtenstein family to one of the principal dynasties 400 years of collecting, bearing the stamp of the individual preferences of Europe began in the 12th century. The family was elevated to the of the respective princes. The scope and diversity of the collections are rank of princes in 1608. As subjects of the emperor, they were wealthy correspondingly great, spanning the time from the Gothic ages through landowners and landlords, whose sphere of influence and estates lay the Baroque period to the Biedermeier-era. The princes began collecting in the heartland of the Habsburgs, in Austria, Bohemia, and Moravia. In in the mid-16th century. These activities grew in intensity with Prince the 20th century and during the two world wars, the Liechtensteins suf- Karl I von Liechtenstein (1569-1627), and were fostered by the princes fered great losses as well as the confiscation of much of their lands that came after him, continuing until this very day. The works of art they in Bohemia and Moravia by Czechoslovakia. The representative histor- accrued were originally part of the furnishings and decorations of the ical palaces in Vienna remained, as well as extensive estates in Lower Liechtenstein family’s numerous seats, palaces and castles. In 1705, Austria, where the family still manages its old vineyard in Wilfersdorf, Prince Johann Adam Andreas I (1657–1712) had the core of the collec- together with property in Styria and in what today is known as the Prin- tions presented on a storey reserved for it alone in the family City Palace cipality of Liechtenstein. The Liechtenstein dynasty had to purchase in Vienna’s city center. Some hundred years later from 1807 onwards, the Lordship of Schellenberg in 1699 and the county of Vaduz in 1712 Prince Johann I (1760–1836) granted public access to the collections in order to hold land without any intermediate feudal tenure, land that at the Garden Palace in Vienna’s Rossau quarter. In 2004 they returned was classed as “unintermediated” – or direct from the Holy Roman Em- to Vienna after an intermission owing to the war. Despite the painful ex- peror. This territory was elevated in 1719 to the “Fürstentum” or Princi- perience of having to sell various pieces, the collections are still among pality of Liechtenstein. The family nevertheless remained in Vienna and the leading private collections across the globe. Feldsberg (Valtice, today in the Czech Republic). It was only in 1938 that Prince Franz Josef II von Liechtenstein (1906–1989), transferred the For the exhibition LIECHTENSTEIN. The Princely Collections, more than permanent residence to Vaduz after Nazi Germany annexed Austria. The 200 works of art were selected from the holdings, which boast some Principality of Liechtenstein has a constitutional monarch as head of 1700 paintings as well as sculptures, prints and drawings and arti- state and a democratically elected parliament enacts the law. Its sov- sanal objects. The pieces in the exhibition comprise a representative ereignty is divided between the prince and the people. The ruling head cross section of the collections, giving visitors an idea of the quality of state with his seat in Vaduz is, since 1989, Prince Hans-Adam II von and wealth of the accrued items and an overall impression of the rep- und zu Liechtenstein (b. 1945), while Alois, Hereditary Prince von und zu resentation fostered by this royal lineage. Liechtenstein (b. 1968), is the Prince Regent since 2004. Rooms 1 and 2 Princely Self-Expression A prestigious image is part and parcel of dynastic self-portrayal. Both In 1776, Prince Franz Josef I von Liechtenstein (1726–1781) commis- the architecture of the residential palaces and fitting these out in keep- sioned Friedrich Oelenhainz (1745–1804) to paint eight portraits of ing with the family’s social rank – which very much includes the accrual royal children to decorate the walls of Eisgrub Palace (Lednice, now of art collections – reflect its class consciousness and dynastic con- part of the Czech Republic). Whereas the 8-year-old girl is placed in ceptions of identity. The latter likewise impacted the style of portraits the royal gardens in Portrait of Princess Maria Josepha Hermenegilde of dynastic members in portraits. Thus we find portraits of three of the von Liechtenstein (1768–1845), the two boys, the Future Princes Alois I princes who played leading roles in the formation of the collections pre- von Liechtenstein (1759–1805) and Johann I von Liechtenstein (1760– sented in the respective contemporary styles of imperial representation 1836), act out more distinguished roles seated at a table, one perusing and their insignia included. These works are Gold Medal with a Portrait architectural plans and the other drawing after a piece of sculpture. The of Prince Johann Adam Andreas I von Liechtenstein (1684–1712), Por- portrait of the 2-year-old daughter of Prince Alois II von Liechtenstein trait of Prince Karl I von Liechtenstein (1569–1627), and the portrait of (1796–1858), is quite remarkable. It illustrates the sleeping girl, Princess Prince Joseph Wenzel I von Liechtenstein, Wearing the Collar of the Or- Marie Franziska von Liechtenstein (1834–1909), holding a doll in her arm. der of the Golden Fleece (1696–1772) executed by Hyacinthe Rigaud The portrait fills the picture, enhancing the impression of proximity und (1659–1743). Prince Karl I von Liechtenstein had a special relevance as, underscoring the intimate character of the painting. It was painted by in 1608, he succeeded in being made prince of a hereditary monarchy. Friedrich von Amerling (1803–1887) in 1836. Amerling was a leading This full-length portrait by an anonymous master illustrates a self-con- artist of the Biedermeier-era and is represented by some 20 paintings fident prince standing in front of a column decorated with the dynasty’s in the Princely Collections. He was closely liaised with Prince Alois II. coat of arms. The magnificent Horse Blanket with the Royal Liechten- stein Coat of Arms (ca. 1769) was used in festive parades with carriages. 17th-century prints in the display case illustrate a carriage of that kind and how it would have been used. The highlight of Room 1 is the Portrait of Princess Karoline von Liechtenstein (1768–1831). It was painted by the French woman artist Elisabeth Vigée-Lebrun (1755–1842) in 1793 and illustrates Princess Karoline in the shape of Iris, the messenger of the gods in ancient times. Rooms 3 and 4 Portrait Painting Room 3: Alongside portraiture as records of dynastic history, we find Elector Friedrich III the Wise of Saxony (after 1532) by Lukas Cranach the in the Princely Collections first-rate portraits executed by the Italian, Elder (1472–1553). In 1504 in Vienna, Cranach was made court painter German, Dutch and Flemish schools. We have not only Prince Alois II von to the Elector of Saxony. The artist abstained from including the impe- Liechtenstein (1796–1858), to thank for the outstanding holdings of rial insignia in the portrait. Instead the imposing figure of the Elector of paintings from the Biedermeier period. Sovereign Prince Hans-Adam II Saxony and founder of the Wittenberg University is represented here as has further expanded this collection and still continues to do so. In this private scholar. A double portrait is the next in line after this painting. way paintings such as Lost in her Dreams or Girl with Straw Hat (both It obviously depicts a couple belonging to the upper middle-class, and 1835) – executed by Friedrich von Amerling and exhibited here to the was executed by the imperial court painter Bernhard Strigel (1460–1528) left and right of a magnificent Biedermeier roll-top desk – were first around 1515. By adopting the same background layout in both portraits, added to the collection in recent years. Whereas the woman on the left the artist has produced the effect of the couple standing in the same looks up pensively from her book, the one wearing the straw hat rests space and thereby underscores their affiliation to one another. her chin in her right hand, around which the green band of her head- dress is wound as if by accident. The two portraits painted on copper by The long wall in this room unites 17th-century masterpieces of Dutch Christian Seybold (1690–1768) are likewise examples of psychological portraiture. Among the great portrait painters of this period are the depth. The artist executed them in 1761 as portraits of himself and of his Flemish “prince of painters” Peter Paul Rubens (1577–1640) with his daughter– the former with a paintbrush behind his ear. Portrait of Jan Vermoelen [1589–1656] (1616) and his student Anthonis van Dyck (1599–1641) – and not to forget Frans Hals (1582–1666) with Room 4: In 1823 Prince Johann I von Liechtenstein (1760–1836), pur- his Portrait of a Man (ca. 1650/52). The latter presented in Portrait of a chased the Portrait of a Man (ca.

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