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German Painters in Naples and Their Contribution to the Revival of Antiquity, Iy6o-Iy99

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German Painters in Naples and Their Contribution to the Revival of Antiquity, Iy6o-Iy99 Originalveröffentlichung in: Mattusch, Carol C. (Hrsg.): Rediscovering the ancient world on the Bay of Naples, 1710 - 1890 [Kongressband], Washington 2013, S. 123-140 (Studies in the history of art ; 79) STEFFI ROETTGEN German Painters in Naples and Their Contribution to the Revival of Antiquity, iy6o-iy99 n the second half of the eighteenth cen­ lain cabinets in the royal residences, followed tury, a number of painters of note from by commissions to Anton Raphael Mengs, IGerman­speaking countries found the Saxon court painter then living in Rome, employment in Naples for a variety of rea­ for portraits of the royal family and an altar­ sons. The political prerequisites included the piece for the chapel in the royal palace at conquest of the city by Charles of Bourbon, Caserta.' During the negotiations to bring a son of Isabella Farnese and King Philip v Mengs to Naples, which dragged on from of Spain. In 1734 the Spanish prince had 1755 to 1758, the painter became concerned been crowned king of the Two Sicilies as that the Dresden court might intend to "lend" Charles VII. His marriage four years later to him to Naples without additional compensa­ Maria Amalia of Saxony­Wettin, a daughter tion. In these years, a friendship of far­reach­ of Augustus in, elector of Saxony and king ing intellectual consequences developed of Poland, ultimately resulted in a readjust­ between Mengs and Winckelmann, who had ment of Europe's dynastic framework, but arrived in Rome in 1755 supported by a initially it produced a new correlation Saxon pension. One of the tasks that the 1 between two quite different cultural spheres. Dresden court had assigned to Winckelmann The exchanges between Saxony and Naples concerned Naples, perhaps in the expecta­ proved to be remarkably fertile, in spite of, tion that the dynastic link between the two or perhaps exactly because of, these courts would result in preferential treatment discrepancies. for the antiquarian: Winckelmann was The reign of Charles vn saw the beginning instructed to travel there immediately in of the officially controlled excavations of the order to examine the new discoveries and to 4 Vesuvian towns. Their documentation in the compile a report for Dresden. form of illustrated publications, in spite of The implementation of this plan turned the many difficulties involved, triggered out to be fraught with difficulties, so that an artistic reorientation that was greatly Winckelmann's first of four trips to Naples 5 advanced—especially in German­speaking took place only in March 1758. He first vis­ Europe — by Johann Joachim Winckelmann's ited Portici, staying with Padre Antonio observations on this "new antiquity" and on Piaggi, a former scriptor from the Vatican 2 the problematic aspects of the excavations. Library who was busy unrolling carbonized 6 These factors are more closely intertwined papyrus scrolls and making them legible. than is apparent at first sight. I shall attempt The first letter Winckelmann wrote after his to retrace the chapters and stages of this cul­ arrival was addressed to his friend Mengs in tural transfer and consider its art­historical Rome and described the paintings of the so­ consequences. called Basilica at Herculaneum, including Chiron and Achilles and Marsyas and Olym­ At the outset, the marriage between Charles pus, which were illustrated in the newly pub­ and Maria Amalia entailed the importation lished first volume of Le antichita di Jakob Philipp Hackert, The Great 7 of Saxon court culture, leading to the estab­ Ercolano esposte. The letter bears eloquent Theater of Pompeii, 1793, gouache (tempera) lishment of the first Capodimonte porcelain testimony to the power of Winckelmann's Watsik Stiftung Wtmutr factory in 1742 and to the creation of porce­ first encounter with the ancient paintings, 125 ROETTGEN German Painters in Naples i. C. F. Boece (Christian Friedrich vations in German­speaking Europe." The Boetius) after a drawing by Anton interest of German intellectuals and ama­ Raphael Mengs, Bust of Demos­ thenes, engraving, from Johann teurs was also stimulated by Memoire histo- Joachim Winckelmann, Send­ rique et critique sur la ville souterraine schreiben von den Herculanischen Entdeckungen an den hoch­ decouverte au pied du Mont-Vesuve, pub­ gebohrnen Herrn ... Heinrich lished anonymously in 1748 in Paris and Reichsgrafen von Bruhl (Dresden, 12 1762), 96 translated into German in 1749. Research Library, Getty Research Winckelmann's letter to Mengs provides Institute, Los Angeles (87­811232) an accurate impression of their discussions w on the subject of painting in antiquity, which prepared the artist for a stay of several months in Naples. He arrived from Rome in autumn 1759 to paint the portrait of the young King Ferdinand iv." Winckelmann and Mengs had previously planned to spend time together in Naples, and in December 1759 the antiquarian was still hoping to be 14 able to visit the painter there in the spring. COENB AH M O Winckelmann wanted to illustrate some TOME AKK MVSCt lltRC of the works of art at Portici in his Send- schreiben — as the first published report to the Dresden court came to be known — and he anticipated that Mengs' privileged posi­ which he dated to the time of Nero. The tion at the Neapolitan court would enable young Achilles was drawn with a "maestria him to circumvent the ban on drawing the insuperabile," Winckelmann reported, prais­ works in the museum. But the restrictions ing its "franchezza" and "fiducia propria a were rigorously enforced, even for Mengs, gran maestri" as well as its "pastosita" and and he was able to produce furtively only "morbidezza," which he likened to the work one drawing after the bust of Demosthenes. of Correggio. At the same time, he reflected Winckelmann published an engraving of upon the reasons why the artist had only Mengs' drawing in the Sendschreiben 15 partially followed nature when depicting the (fig. i). Beyond this, we know rather little shadows. Like most of his contemporaries, about Mengs' first stay in Naples. He was Winckelmann concluded from the white accompanied by his wife and by his assistant, areas emerging from underneath the paint Anton Maron, who was subsequently his losses that the paintings had not been exe­ brother­in­law. The party stayed with Ber­ 8 cuted in fresco. Discussion about the tech­ nardo Galiani, the publisher of an edition of 16 nique and artistic qualities of the paintings at Vitruvius that Winckelmann criticized, and Herculaneum, further advanced by Charles­ Mengs cultivated the aforementioned erudite 17 Nicolas Cochin le jeune and the comte de clergyman Antonio Piaggi. The artistic Caylus, marks a methodological and art­his­ fruits of the seven months in Naples are diffi­ 9 torical turning point. The ancient works cult to pinpoint. What we do know is that were now viewed in relation to Renaissance during the stay Mengs finished the large 10 18 and contemporary art. Since access to the painting Augustus and Cleopatra, and that royal museum at Portici and to the excava­ immediately after his return to Rome he tion sites was severely restricted, Winckel­ began the Parnassus in the Villa Albani mann's scholarly findings caused a sensation. (fig. 2)." The fact that Mengs completely The reports he sent to Dresden were pub­ revised his original concept for the ceiling lished in 1762 and 1764 and contributed to fresco reveals the indelible imprint of his visit a surge in publicity for the Neapolitan exca­ to Naples. The most important change was 12.6 REDISCOVERING THE ANCIENT WORLD ON THE BAY OF NAPLES *• Anton Raphael Menus, Parnassus, the addition of Mnemosyne, mother of the 1760/1761, fresco, detail showing Muses, a figure clearly inspired by a personi­ Mnemosyne Villa Torlonia-Albani, Rome; photo­ fication identifiable as Arcadia in the paint­ graph Alinari Archives, Florence ing Hercules with the Child Telephos from }. Hercules with the Child Telephus the Basilica at Herculaneum, seen here in the 20 and the Personification of Arcadia, engraving from the Antichita (fig. 3). ^graving, /.? antichita di P.rcolano The most obvious, but not unproblematic, tspotte, volume 1, L< pitture ontiche d'Ercolano e contomi mdsi indication of Mengs' engagement with ton qualche spiegazione (Naples, ancient paintings was the forgery of Jupiter !7S7), plate 6 21 National C.allery of Art Library, Wash­ Kissing Ganymede (fig. 4). It appeared in "•gton, Mark]. Millard Architectural Rome in September 1760, a few months after Collection 22 his return from Naples. This is not the place to discuss the history and reception of this perhaps too famous work praised enthu­ 23 siastically by Winckelmann, but it is evi­ dent that Jupiter's pose and drapery echo the same model as the Mnemosyne from the Villa Albani Parnassus. Winckelmann's obser­ vation about the ancient painters' technique of depicting shadows was simultaneously « <5> .iJSLHSSJJSLr WlW\ taken into account and "corrected" by Mengs: the short, sharp shadows of the feet are clearly visible, but Jupiter's right arm also casts a shadow, which can be discerned 12­ ROETTGEN German Painters in Naples 4. Anton Raphael Mengs, Jupiter 24 on his torso. Moreover, the classicizing Kissing Ganymede, 1760, fresco transferred to canvas accessories — footstool, sandals, bowl, and Galieria Nazionale d'Arte Antica, jug—may have convinced Winckelmann that Rome; photograph Alinari Archives, he was looking at an ancient work, leaving Florence, permission of Ministero per i Beni e le Attivita Culturali aside the composition's dependence on the 5. Angelica Kauffmann, Portrait of Marsyas and Olympus reproduced in the John Byng, 176$, oil on canvas Antichita, skilfully blended with a quotation Private collection from Raphael's fresco Jupiter Kissing Amor in the Loggia di Psiche in Agostino Chigi's 25 Roman villa, known today as La Farnesina.
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