Universalmuseum Joanneum Press Line, Light and Shadow Master

Universalmuseum Joanneum Press Universalmuseum Joanneum [email protected] Mariahilferstraße 4, 8020 Graz, Austria Telephone +43-316/8017-9211 www.museum-joanneum.at Line, Light and Shadow Master Drawings of the Baroque Alte Galerie, Eggenberger Allee 90, 8020 Graz Opening: 30.04.2013, 7 p.m. Duration: 01.05.-28.07.2013 Curators: Karin Leitner-Ruhe and Christine Rabensteiner, Alte Galerie, Universalmuseum Joanneum; Regina Kaltenbrunner, Rossacher Collection in the Salzburg Museum Information: +43-316/8017-9773, [email protected] In cooperation with Rossacher Collection in the Salzburg Museum In collaboration with the Rossacher Collection in the Salzburg Museum – which in autumn 2011 as the former Salzburger Barockmuseum had exhibited the Rembrandt etchings of the Alte Galerie – the Alte Galerie is showing a selection of works of Austrian and South German Baroque artists in its special exhibition, Line, Light and Shadow. Master Drawings of the Baroque, from May 1st, 2013 onwards. Besides its main focus on painted oil sketches, the Rossacher Collection includes a bundle of works drawn on paper. The Kupferstichkabinett of the Alte Galerie houses more than 400 freehand drawings. This exhibition comprises carefully selected works from both collections. With a few exceptions, the Baroque hand drawing should not be seen an artwork in its own right. It was primarily a form of preparation and design for another artistic medium. Accordingly, the exhibition is divided by areas of design – for altars, for ceiling and wall paintings, as well as for altar pieces and copper engravings. The works are often striking as individual works in their vivid, spontaneous and modern-seeming strokes. Geographically, the exhibition is concentrated on the South German and Austrian regions, presenting works by Johann Bernhard Fischer von Erlach, Daniel Seiter, Hans Adam Weissenkircher, Martino Altomonte, Johann Lukas Hildebrandt, Johann Georg Bergmüller, Paul Troger, Caspar Franz Sambach, Franz Anton Maulbertsch, Kremser Schmidt as well as by Styrian painters. Some sheets can be complemented by oil sketches from Alte Galerie collections. By ‘merging’ the two collections, interesting contrasts and representations result. Thus both institutions own a Flaying of St. Bartholomew’s by Martin Johann Schmidt (1718–1801), which are contrasted with side by side for the first time. Several prominent Baroque artists of Austria originate from the circle of artists around Johann Carl Loth, (1632–1698), who ran a large workshop in Venice. Of these, Weissenkircher and Seiter are represented in the exhibition. Weissenkircher is among the most important Styrian artists. His main work is the decoration of the Planetary Hall in Schloss Eggenberg. One hand drawing is a preparation for the picture of Saturn (1679/1680). The main characteristic of the school of Carl Page 2 Loth is that of mythological history paintings, in which the emphasis is particularly on elaborate figure painting. Weissenkircher’s sheet demonstrates a characteristic style, in which the contours are delineated with panache. At the same time the stroke already indicates light and shadow areas. In this his style resembles that of Daniel Seiter as well as Johann Carl Loth. While the final realisation of Weissenkircher’s drawing is still preserved today, there are of course many exhibits on display which either have to be put down as never been completed, or of which the final works have long since been destroyed. One such example is the ceiling fresco in the Bishop’s Palace in Gornji Grad, Slovenia (called Oberburg in German). This building was destroyed in World War Two. The Alte Galerie, however, owns the fantastic sketch by Caspar Franz Sambach (1715–1795) that illustrates this apotheosis of Bishop Ernst Gottlieb Count of Attems in the former fresco. Of special interest is the handwritten comment by the commissioning patron on the lower edge of the sheet: ‘Endorsed and agreed [on] the figures for 400 guldens along with said travelling costs, cash and food. The 16th March 1755. Ernst Gottlieb Bishop of Laybach.’ This text shows that the artist must have agreed upon the contents of the fresco with the bishop. He is named as a painter of figures, i.e. the feigned architecture painted on the edges of the ceiling was carried out by someone else. An exhibition catalogue is published within the Joannea-series (vol. no. 05/2013) and will be available at the museums shop for 14,90 €. Text: Karin Leitner-Ruhe, Christine Rabensteiner .

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