Catalogue V Sculpture & Works of Art
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The Reigning Woman As a Heroic Monarch? Maria Theresa Traced As Sovereign, Wife, and Mother
The Reigning Woman as a Heroic Monarch? Maria Theresa Traced as Sovereign, Wife, and Mother Anne-Marie Metzger The Empress is one of the most beautiful princesses in Europe: despite all her vigils and puerperia, she has held up very well. When she was younger, she loved hunting, games, and theatre. Today, her only pleasures are governing her empire and the education of her children.1 This quotation from Carl Joseph, Baron of Fürst and Kupferberg, contains essen- tial aspects that can be found very often in representations of Maria Theresa: the dual nature of her representation, namely on one hand the monarch and on the other the mother. Maria Theresa consciously used – among others – these two elements to create her identity. It is interesting to see how contemporaries per- ceived these two contrary public personas and how these personas promoted the adoration of Maria Theresa as an “Austrian heroine”,2 as she was called in a eulo- gy for her husband, Francis Stephen.3 The impact was at any rate so strong that 1 All English translations, unless otherwise indicated, are my own. “Die Kaiserin ist eine der schönsten Prinzessinnen Europas: all ihren Nachtwachen und Wochenbetten zum Trotz hat sie sich sehr gut erhalten. Früher liebte sie Jagd, Spiel und Theater. Das einzige, woran sie jetzt Geschmack findet, ist die Regierung ihres Staates und die Erziehung ihrer Kinder.” Carl Joseph Maximilian Freiherr von Fürst und Kupferberg. Severin Perrig (Ed.), “Aus müt- terlicher Wohlmeinung”. Kaiserin Maria Theresia und ihre Kinder. Eine Korrespondenz, Weimar 1999, p. 17. 2 “Österreichische Heldinn”, Ignaz Mayrhoffer, Trauerrede auf Franzen den Ersten römi- schen Kaiser, Grätz 1765, p. -
Joseph II He Suceeded Francis I and He Preceded Leopold II
Joseph II ● He suceeded Francis I and he preceded Leopold II (was younger brother) as HRE ● Part of Hapsburg Lorraine dynasty ● His father was Francis I and his wife was Maria Theresa ● Was eldest son of Maria Theresa and Francis I ● His first wife was Isabelle of Parma ● His daughter Maria Theresa of Austria ● His second wife was Maria Josepha of Bavaria(was second cousin) ● Was the brother of Marie Antoinette ● One of the three enlightened monarchs along with Catherine the great and frederick he great ● This mans sister was Marie Chritina the Duke of Teschen ● Daughter died of Pleurisy ● Count plaunitz was one of his advisors ● After the death of Maximillan Joseph he tried to advance his claim of land in bavaria ● He visited his sister in France under the psydeoum Count Falkenstein ● The lower area of Bavaria was signed off to Austria with(Charles Theodore was the guy who signed the agreement( ● Fought against Frederick the great in the war of Bavarian succession to get land in Germany ● He was signed the treaty of Teschen that ended the war of Bavarian succession ● Signed the Patent of Toleration that granted religious freedom to all non catholic subjects, but imposed new limitations on jewish subjects ● He abolished serfdom in 1781 in Austria ● He abolished the death penalty in 1787 ● Karl von Zizendorf was one of his advisors ● He faced the revolt of Horea due to the emancipation of the serfs ● the construction of a single, large hospital, the famous Allgemeines Krankenhaus, which opened in 1784 Was built under his direction( it's located in Vienna) ● the construction of a single, large hospital, the famous Allgemeines Krankenhaus, which opened in 1784 ● His many reforms of the church in Austria led Pope Pius VI in visiting him who attempted to influence some of his policies, but he wasn't influenced. -
Convert Finding Aid To
The Popular Imagery Collection An Inventory of the Collection at the Harry Ransom Center Descriptive Summary Title: Popular Imagery Collection Dates: circa 14th–19th centuries (bulk 16th–18th centuries) Extent: 22 boxes, 3 flat file drawers, 2 rolled prints, 1 large folder (822 items) Abstract: The Popular Imagery collection comprises 822 European prints, paintings, and drawings, most of which date from the 16th through 18th centuries. Language: Almost half of the works have German titles and/or text; other predominant languages are French, Latin, Dutch, and Italian. There are a few works with English or Spanish text. Access: Open for research. A minimum of twenty-four hours is required to pull art materials to the Reading Room. Digital images from this collection are available on the ArtStor website. Administrative Information Acquisition: Purchase (R1775, R1776, R1777) 1963 Processed by: Helen Young, 2004 Repository: The University of Texas at Austin, Harry Ransom Center Sources: For additional information, see “Popular Imagery” by Norman Farmer, Jr., in The Library Chronicle, N.S. no.4 (1972): 49-57. Scope and Contents The Popular Imagery collection comprises 822 European prints, paintings, and drawings, most of which date from the 16th through 18th centuries. Prints make up the bulk of the collection, with 686 intaglios (including seventeen mezzotints), 115 woodcuts, one wood engraving, and six lithographs. There are fourteen unique drawings and paintings. Six of the works are on vellum, and there is an engraving on silk. In addition there are four sheets of accompanying letterpress. Almost half of the works have German titles and/or text; other predominant languages are French, Latin, Dutch, and Italian. -
The Tournament and Its Role in the Court Culture of Emperor Maximilian I
i The Tournament and its Role in the Court Culture of Emperor Maximilian I (1459-1519) Natalie Margaret Anderson Submitted in accordance with the requirements for the degree of Doctor of Philosophy The University of Leeds, Institute for Medieval Studies March 2017 ii The candidate confirms that the work submitted is her own and that appropriate credit has been given where reference has been made to the work of others. This copy has been supplied on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. © 2017 The University of Leeds and Natalie Margaret Anderson The right of Natalie Margaret Anderson to be identified as Author of this work has been asserted by Natalie Margaret Anderson in accordance with the Copyright, Designs and Patents Act 1988. iii Acknowledgements I must first acknowledge the help and support of my supervisors, Dr Alan V. Murray and Dr Karen Watts. They have been there since the beginning when I took part in their ‘Tournaments’ module during my MA studies, which first introduced me to the fantastical world of Maximilian’s tournaments. They also helped me to craft the idea for this research project while I was still exploring the exciting but daunting prospect of undertaking a PhD. Their words of advice, patience, and sometimes much-needed prodding over the past four years helped to bring about this thesis. Thank you as well to my examiners, Professor Stephen Alford and Professor Maria Hayward, whose insights helped to greatly improve this thesis. Thank you to the University of Leeds, whose funding in the form of a Leeds International Research Scholarship made this research possible. -
Maximilian's Artworlds
1 | Introduction: Maximilian’s Artworlds illibald Pirckheimer, learned Nuremberg patrician and close friend of Albrecht Dürer, relates the tale of his five-hour crossing of Lake Constance to Lindau with Maximil Wian (27–29 July 1499).1 Shortly after a crushing defeat at the hands of “rebellious” Swiss troops at Dorneck during the Swiss Revolt for independence, the emperor determined to dictate the events of his reign (res gestae) in Latin to a secretary. He asked for Pirckheimer’s criticisms of his “soldier’s Latin” (ista militaris latinistas dicteo), an obvious allusion to Julius Caesar’s Commen taries on the Gallic Wars, first published more than a quarter of a century earlier (1469, Rome; 1473 Esslingen). His ambitions were to narrate for historians of posterity. This Latin autobiography project was short-lived, but from this brief dictation came the germ of all of Maximilian’s literary projects as well as his ongoing relation to the graphic arts that would eventually illustrate them; moreover, from such beginnings stemmed Maximilian’s continual use of scholarly advisers, such as Pirckheimer, to supervise and edit his texts. Already as early as 1492, the humanist Heinrich Bebel pressed Maximilian to begin a Latin autobiography. In it he charts his life as an oscillation between poles: the misfortune of his natal horoscope, counterbalanced by divine providence (Ergo notandum in posterum est semper deus mi sericors et e converso spiritus malus constellacionis sue).2 This dialectic lies at the heart of the later plot structure of Teuerdank, Maximilian’s fictionalized, autobiographical, verse romance, and it finds echos in Weisskunig, especially chapter 22, “How the Young White King Learned the Art of Stargazing [Sternsehens]”:“After this the young White King mastered political knowledge. -
The BCA News.
FCO issues checklist for Brits planning a move abroad Now with London are very keen to promote their latest campaign: The “Living Abroad”. More in “Consular Corner” in The Supplement Supplement...... Volume 12 Issue 10 Business Name Serving the British October 2013 Community in Vienna The BCA News. Inside Wine, Schmid and Pillichsdorf The BBBCCCAAA News The Annual Kellergassenfest – BCA, ABICS and Friends out in Force! By Wolfgang Geissler Section 1 3-21 I must confess, I did hope for a great Calendar & Programme turnout on this glorious late summer afternoon Section 2 22-34 on Saturday, 7th Classified September, but I did not expect this: 46 Theatre News followed my invitation Stefan Schmid to enjoy Stefan Important Information Schmid’s hospitality in his “Sitting Room WEIN-Shop Contact Details Stefan Schmid during his introduction. of the Grüner Fridays from 9am to Audience listens interested and enjoys the Veltliner ”! 7pm 1030 Wien, Announcements privacy of “our” marquee. Barichgasse 4 More in The Supplement Wiesenfest in RAINER’S WALKING TOUR IN SEPTEMBER By Wolfgang Geissler Aspern th uesday, 10 September, By Wolfgang Geissler T Rainer organised exclusively “Donaustadt-my town” read the for BCA and ABICS members inscription on the T-shirts for sale and possibly one of the most certainly Donaustadt or rather Aspern informative tour so far. 22 was “my town” on a cold and blustery members were offered a th evening, Friday, 20 September, when history lesson about the first it hosted this year’s “Wiesenfest”. Bob defeat Napoleon’s by the hand and Mo Haigh had organised two of Archduke Karl of Austria in tables for a joint BCA/ABICS crew, 1809 in Aspern, then a tour of who valiantly appeared dressed in the compact but interesting Lederhosen and Dirndl. -
Maria Theresa
Maria Theresa Maria Theresa Walburga Amalia Christina (German: Maria Theresia; 13 May 1717 – 29 November 1780) was the only female ruler of the Habsburg dominions, ruling from Maria Theresa 1740 until her death in 1780. She was the sovereign of Austria, Hungary, Croatia, Bohemia, Transylvania, Mantua, Milan, Lodomeria and Galicia, the Austrian Netherlands, and Parma. By marriage, she was Duchess of Lorraine, Grand Duchess of Tuscany and Holy Roman Empress. Maria Theresa started her 40-year reign when her father, Emperor Charles VI, died in October 1740. Charles VI paved the way for her accession with the Pragmatic Sanction of 1713 and spent his entire reign securing it. He neglected the advice of Prince Eugene of Savoy, who believed that a strong military and a rich treasury were more important than mere signatures. Eventually, Charles VI left behind a weakened and impoverished state, particularly due to the War of the Polish Succession and the Russo-Turkish War (1735– 1739). Moreover, upon his death, Saxony, Prussia, Bavaria, and France all repudiated the sanction they had recognised during his lifetime. Frederick II of Prussia (who became Maria Theresa's greatest rival for most of her reign) promptly invaded and took the affluent Habsburg province of Silesia in the seven-year conflict known as the War of the Austrian Portrait by Martin van Meytens, 1759 Succession. In defiance of the grave situation, she managed to secure the vital support of the Hungarians for the war effort. During the course of the war, Maria Theresa successfully Holy Roman Empress defended her rule over most of the Habsburg Monarchy, apart from the loss of Silesia and a German Queen few minor territories in Italy. -
© Cambridge University Press Cambridge
Cambridge University Press 0521814227 - Queenship in Europe 1660-1815: The Role of the Consort Edited by Clarissa Campbell Orr Index More information INDEX Aachen, Hans von 72 Althann, Count 123 absolutism, Danish 9, 344–9, 362–4, 382 Althann, Countess 116–17 Academy of Letters 339 Alvensleben, Hanoverian minister 378 Act of Settlement (1701) 280 Amalie Wilhelmina, Empress 233 Addison, Joseph 284 American War of Independence 359 Adolf Frederick, King of Prussia 322, 323, Amigoni, Santiago 178 327 Anna Amalia, Dowager Duchess of Saxe-Weimar coronation 328 379 death 338 Anna Amalia, sister of Frederick II, the Great, and defence of Louise Ulrica 332–3 of Louise Ulrica 322, 323 and Louise Ulrica’s plots 330–1 Anna Ivanova, Empress of Russia 132, 136–7, 138, Adolphus, Duke of Strelitz 369 139, 149 Adolphus, son of George III and Queen Anna Leopoldovna, Russian princess 361 Charlotte 369, 376 Anna of the Tyrol, Archduchess 72 Age of Liberty (Frihetstiden) 9, 326–7, 328, Anna Sophia Charlotte, Dowager Duchess of 340 Saxony-Eisenach 313 Agen, Bishop of 94 Anna Sophie, mother of Augustus I 259, 262, 263 Agli`e, Filippo d’ 16 Annals of the Holy Roman Empire 389 Agn`es, Abbess of Chelles 94 Anne, Queen of Great Britain 276, 284, 286, 292 Alberoni, Guilio 158, 162–5, 167, 170 Anne-Marie-Louise, duchesse de Montpensier 21 Albertines 252–5, 258–9 Anne-Marie of Orl´eans, wife of Vittorio Amedeo II Alekseevna, Ekaterina see Catherine I 34–5, 36–7, 38–9, 40–1 Alenc¸on, Mlle d’ 21 Anne of Austria 19, 21, 78–9 Alexander VIII, Pope 87 Antoine, Prince of -
Tracing the Heroic Through Gender Tracing the Heroic Tracing Through Gender Through
8 8 HELDEN – HEROISIERUNGEN – HEROISMEN Carolin Hauck – Monika Mommertz – Andreas Schlüter – Thomas Seedorf (Eds.) Tracing the Heroic Through Gender Tracing the Heroic Tracing Through Gender Through BAND 8 Carolin Hauck – Monika Mommertz – Hauck – Monika Carolin SeedorfThomas (Eds.) – Schlüter Andreas ISBN 978-3-95650-402-0 https://doi.org/10.5771/9783956504037, am 29.09.2021, 20:09:05 Open Access - http://www.nomos-elibrary.de/agb Tracing the Heroic Through Gender Edited by Carolin Hauck – Monika Mommertz – Andreas Schlüter – Thomas Seedorf https://doi.org/10.5771/9783956504037, am 29.09.2021, 20:09:05 Open Access - http://www.nomos-elibrary.de/agb HELDEN – HEROISIERUNGEN – HEROISMEN Herausgegeben von Ronald G. Asch, Barbara Korte, Ralf von den Hoff im Auftrag des DFG-Sonderforschungsbereichs 948 an der Universität Freiburg Band 8 ERGON VERLAG https://doi.org/10.5771/9783956504037, am 29.09.2021, 20:09:05 Open Access - http://www.nomos-elibrary.de/agb Tracing the Heroic Through Gender Edited by Carolin Hauck – Monika Mommertz – Andreas Schlüter – Thomas Seedorf ERGON VERLAG https://doi.org/10.5771/9783956504037, am 29.09.2021, 20:09:05 Open Access - http://www.nomos-elibrary.de/agb Gefördert durch die Deutsche Forschungsgemeinschaft Cover: Mezzo Soprano Giuditta Pasta (1798–1865) in the title role of Gioachino Rossini’s opera Tancredi (1822), Lithograph by Cäcilie Brand, n.d. © Herzog August Bibliothek Wolfenbüttel: Portr. II 4023 (A 15982) Bibliografische Information der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über http://dnb.d-nb.de abrufbar. © Ergon – ein Verlag in der Nomos Verlagsgesellschaft, Baden-Baden 2018 Das Werk einschließlich aller seiner Teile ist urheberrechtlich geschützt. -
The Popular Imagery Collection
The Popular Imagery Collection An Inventory of the Collection at the Harry Ransom Center Descriptive Summary Title: Popular Imagery Collection Dates: circa 14th–19th centuries (bulk 16th–18th centuries) Extent: 22 boxes, 3 flat file drawers, 2 rolled prints, 1 large folder (826 items) Abstract: The Popular Imagery collection comprises 822 European prints, paintings, and drawings, most of which date from the 16th through 18th centuries. Language: Almost half of the works have German titles and/or text; other predominant languages are French, Latin, Dutch, and Italian. There are a few works with English or Spanish text. Access: Open for research. A minimum of twenty-four hours is required to pull art materials to the Reading Room. Digital images from this collection are available on the ArtStor website. Administrative Information Acquisition: Purchase (R1775, R1776, R1777) 1963 Processed by: Helen Young, 2004 Repository: The University of Texas at Austin, Harry Ransom Center Sources: For additional information, see “Popular Imagery” by Norman Farmer, Jr., in The Library Chronicle, N.S. no.4 (1972): 49-57. Scope and Contents The Popular Imagery collection comprises 822 European prints, paintings, and drawings, most of which date from the 16th through 18th centuries. Prints make up the bulk of the collection, with 686 intaglios (including seventeen mezzotints), 115 woodcuts, one wood engraving, and six lithographs. There are fourteen unique drawings and paintings. Six of the works are on vellum, and there is an engraving on silk. In addition there are four sheets of accompanying letterpress. Almost half of the works have German titles and/or text; other predominant languages are French, Latin, Dutch, and Italian. -
A Selection of Important Objects
A SELECTION OF IMPORTANT OBJECTS Emperor Leopold I & Infanta Margarita Teresa Jan Thomas (Ypres 1617–1678 Vienna) 1667, copper Picture Gallery, inv.nos. 9135 & 9136 These two portraits depict Emperor Leopold I and his niece, Infanta Margarita Teresa, during the festivities organized to celebrate their wedding in 1666, which lasted several weeks. Both loved music and acted in the musical drama La Galatea; the court painter depicted them in the baroque costumes they wore on stage. The two portraits therefore also document the beginning of opera in Vienna, of which Leopold was a major patron. Old Man and Young Girl Lucas Cranach the elder (Kronach 1472–1553 Weimar) c. 1530/1540, panel Picture Gallery, inv.nos. 895 No painter’s workshop produced more versions of the subject “ill- matched couples” – which first appear in classical literature - than that run by the Cranachs: over forty versions are known today! Our painting features one of the more innocent compositions: an old man is placing a ring on a young woman’s finger while grabbing hold of her wrist, a clear indication of the dubious nature of their relationship. Cameo: Gemma Claudia Roman, c. AD 49 Five-layered brown and white onyx; gold setting Collection of Greek and Roman Antiquities, inv.no. IXa 63 Two cornucopias rise from a flower, each bearing the portrait busts of two couples depicted in profile: on the left is Emperor Claudius (AD 41-54) and his wife, Agrippina the younger; facing them are the bride’s parents: Germanicus, the brother of the emperor, and his wife, Agrippina the elder. -
Women and Friendship in Early Modern Italy A
UNIVERSITY OF CALIFORNIA Los Angeles Ties that Bind: Women and Friendship in Early Modern Italy A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Italian by Adriana Laura Guarro 2020 Ó Copyright by Adriana Laura Guarro 2020 ABSTRACT OF THE DISSERTATION Ties that Bind: Women and Friendship in Early Modern Italy by Adriana Laura Guarro Doctor of Philosophy in Italian University of California, Los Angeles, 2020 Professor Andrea Moudarres, Co-Chair Professor Deanna Shemek, Co-Chair This dissertation is a comparative study of literary texts authored by sixteenth-century Italian women that treat female friendship across the genres of epistolary writing, lyric poetry, and heroic poetry. The primary works under consideration include the correspondence between Elisabetta Gonzaga (1471–1526) and Isabella d’Este (1474–1539), the lyric poems authored by women in Lodovico Domenichi’s anthology Rime diverse d’alcune nobilissime et virtuosissime donne (1559), and Margherita Sarrocchi’s heroic poem the Scanderbeide (1623). In addition to the long-standing classical and Christian notions of friendship that held strong in Renaissance Italy, the genres of epistolary writing, lyric poetry, and heroic poetry each had a distinct and mostly male literary tradition of friendship. The literary works in this study reveal the various ways early modern Italian women contributed to their respective genres, and moreover, to larger cultural discourses on friendship by inserting the female perspective and experience. Their writings not only illuminate their ii understandings and interpretations of female bonds but also demonstrate their use of writing to initiate and maintain friendships with other women.