DOCSLIB.ORG

Martin Van Meytens the Younger

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Martin Van Meytens the Younger MARTIN VAN MEYTENS THE YOUNGER Winter Palace 18 October to 15 February 2015 Martin van Meytens Yr. The Family of Count Nikolaus Pálffy of Erdöd, around 1760 Oil on canvas 333 x 283 cm © Belvedere, Vienna MARTIN VAN MEYTENS THE YOUNGER In Martin van Meytens the Younger (1695 1770) the Belvedere is presenting a pre- eminent European master of the Baroque age. As the preferred portraitist at Maria impressively captured influential personalities of his highlight this important figure of the Austrian art scene in a monographic exhibition, which is on view from 18 October 2014 to 15 February 2015 in the Baroque ambience of the Winter Palace. Of Dutch origins and born in Sweden, Martin van Meytens the Younger developed his specific style, for which he borrowed from diverse European models and which he later successfully passed on to numerous students, during several lengthy sojourns in France, England, and Italy. Originally trained as a painter of miniatures, Meytens perfected monumental painting over the years while always remaining true to portraiture, apart from a few forays into other figural genres. The focus of this exhibition is on his fascinating portraits and the art of his most important pupils, including that of Joseph Hickel. Martin van Meytens is taking place in Vienna the city where the artist, following extensive stays in a number of other countries, spent more than half of his life and where he left behind impressive traces -Arco. Like no other artist, Martin van Meytens the Younger succeeded in documenting the protagonists of the legendary age of Maria Theresa in his portraits. garments, and the unmistakabl lively impression of this period, which was probably not as glamorous as it appears in the Agnes Husslein-Arco adds. Unlike the other genres, portraiture necessitated the a curator Georg Lechner explains. Martin van Meytens the Younger was born in Stockholm in 1695 the son of Martin Mijtens the Elder (1648 1736), who was also active as a portraitist. His parents, who originally came from Southern Holland, had emigrated to Sweden. Having first been trained by his father, the younger Meytens embarked on a study tour of several years as early as 1714, which led him to in Italy for an extensive period of time when he was still very young, so that from 1731 on the Habsburg Georg Lechner points out. Martin van Meytens cannot be assigned to any particular painting tradition, such as the Swedish, French, or Roman school. His personal style, which is characterised by precise drawing and partly intense colours, is much too distinctive for categorisation. Having been highly interested in alchemy and physics, he immersed himself in the development of his own materials, namely paints, besides his activities as an artist, receiving a patent from the imperial government for the production of mineral paints in 1743. Moreover, Martin Meytens the Younger is said to have had a written and spoken command of several languages, so that he can probably be most fittingly described as a European citizen who was proud of his Swedish origins. From Miniature Painting to Portraiture The beginnings of Meytens, who today is known primarily for his life-sized portraits, lie in miniature painting, which was greatly appreciated at the time. Meytens, a student of his compatriot Charles Boit (1662 1727), soon acquired considerable fame in this genre and achieved a special brilliance in the enamel technique. Even the Russian tsar and the Swedish king tried to lure him to their courts, but Meytens decided for Vienna. He entered the service of the Habsburg family and became a successful portraitist of the court and the aristocracy. In likenesses, physiques, and social ranks he depicted in his paintings almost resemble a Who of the age of Maria Theresa. They include such statesmen as Johann Christoph von Bartenstein or Wenzel Anton von Kaunitz-Rietberg, as well as members of the Batthyány, Liechtenstein, Pálffy, and Schwarzenberg families. However, they only represent one aspect of his oeuvre. Besides more than a dozen of self-portraits, he also painted such artist colleagues Antonio Bertoli, and the librettist Pietro Metastasio. Held in high esteem particularly by Maria Theresa, Meytens was finally appointed director of the Vienna Academy and filled this position until his death in 1770. Characteristics of Style The precision in the rendering of laces, fabrics, and other details is characteristic of the works by Martin van Meytens the Younger and his collaborators. Such paintings as Maria Theresa in a pink lace dress have thereby even gained documentary importance. This special focus on textiles and accessories sometimes also stands out in portraits that were produced outside neglected element. The meticulous representation of motifs recalls Lucas Cranach the Elder, whose flourishing workshop was also known for its extraordinary precision and sharpness with regard to details, which occasionally even gives the impression of a certain degree of steeliness. Whereas Meytens was so successful during his lifetime just because of the great precision of his works, this very characteristic of his style would later meet with disapproval among critics. A Flourishing Workshop case, the demand for his paintings was so high that the artist was soon no longer able to cope with the workload by himself and therefore employed numerous pupils and collaborators. Among the most talented of them were Sophonias de Derichs (1712 1773), who also came from Sweden, and Joseph Hickel (1736 1807). They worked so that their share in the individual works has remained hidden for both patrons and art lovers of the past and present. Moreover, Meytens hardly ever signed his works. Scholars therefore also depend on archival materials a their attributions, as these documents and reproductions usually mention the names of both painter and sitter. The following generation of artists represents the transition from the type of official Baroque portraiture they had been taught by Meytens to a distinctly drier style that was in keeping with the age of Josephinism and the Enlightenment. raisonné on Martin van Meytens the Younger, which will presumably appear in 2015 within the A PDF of the catalogue is available for download at: www.belvedere.at/press (login: pr2014) ARTIST BIOGRAPHY Martin van Meytens the Younger 1695 Martin van Meytens is born in Stockholm as the son of Dutch immigrants. He receives his first artistic training from his father, the portraitist Martin Mijtens the Elder. 1712 Meytens travels to Holland, where he lives for two years with relatives. 1714 1721 Stays in England, Paris and Dresden. The young artist specializes in the painting of miniatures, perfecting his skills under the enamel painter Charles Boit. 1721 Meytens arrives in Vienna, where his artistic talent soon attracts the attention of the Imperial household and the high nobility. 1723 Emperor Charles VI enables the painter to make a protracted study trip to Italy, which takes him to Venice, Rome, Naples, Florence and Turin. 1731/31 Meytens returns for 16 months to his homeland, visiting his parents. The attempts of King Frederick I to keep the artist in Sweden are unsuccessful. 1731 Return to Vienna, where Meytens lives and works until his death (residence and studio in the 4th district at the current address Waaggasse 4; not preserved). His employment by the Hapsburgs and the high nobility expands rapidly. 1740 With the accession to power of Maria Theresa, a particularly productive phase in the oeuvre of Martin van Meytens begins. The large number of commissions he receives make it necessary to establish a larger studio with a number of assistants and specialists. 1759 Meytens is named rector of the Vienna Academy of Fine Arts. 1770 Martin van Meytens dies on 23 March and is buried in the cemetery outside the city walls by Schottentor. Because he was unmarried and without children, he left his entire estate to his nephew Heinrich Wilhelm Peill. GENERAL INFORMATION Exhibition Title Martin van Meytens the Younger Exhibition Duration 18 October 2014 to 15 February 2015 Venue Winter Palace Exhibits 60 Artist Martin van Meytens the Younger Curators Georg Lechner Rolf H. Johannsen Catalogue Martin van Meytens der Jüngere (German edition) Editors: Agnes Husslein-Arco, Georg Lechner Belvedere, 160 pages, 20.5 x 24.5 cm, softcover, ISBN: 978-3-902805-54-6 ,- Contact Belvedere, Prinz Eugen-Straße 27, 1030 Vienna T +43 (01) 795 57-0 www.belvedere.at Opening Hours Daily 10 am to 6 pm Regular Tickets - Guided Tours T +43 (01) 795 57-134, M [email protected] Public Relations Belvedere & Winter Palace Public Relations Prinz Eugen-Straße 27, 1030 Vienna T +43 (01) 795 57-177 M [email protected] Complimentary images can be downloaded for press purposes at www.belvedere.at/press (login: pr2014). .
Load more

Recommended publications
  • 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.
    [Show full text]
  • Carlos. but It Was the Same Old Story – the Naval Powers Were Keen to Avoid Either the Bourbons Or the Habsburgs Attaining
    WEDDING DAY AND YOUNG MARRIAGE Carlos. But it was the same old story – the naval powers were keen to avoid either the Bourbons or the Habsburgs The eyes of many European princes now turned to attaining stratospheric levels of influence. And Char - Vienna, for although Maria Theresa was still playing les VI needed their signatures on an important agree- with her dolls, this lovely maiden was blossoming into ment – in short, his daughter would marry an insignifi- a most eligible match for their marriageable sons. In the cant prince without a major power base. In any case, 1720s, Austria was a Great Power, and its emperor’s Charles already knew who should get the little Theresa: daughter represented a desirable dowry for Bavaria or he had selected Leopold Clement, third son of Duke Saxony, for example. In Berlin too, the crown prince Leopold of Lorraine and future prince of a prosperous Fritz was just the right age, only five years older, soldierly but not exactly powerful province west of the Rhine. and strictly reared. Charles VI dismissed all these suitors, One day, he should take the now six-year-old Theresa Fig. 28: Anonymous, Francis Stephen of Lorraine and Ma - however. Even the Spanish Bourbon king, Philip V, had home. Charles had a high opinion of the father, who had ria Theresa, c. 1736. his eye on little Theresa, as a bride for his son Don fought bravely at Prince Eugene’s side against the Turks. And the blood of shared ancestors ran in their veins. They were already preparing for the prince’s arrival in Vienna when Clement was unexpectedly carried off by smallpox.
    [Show full text]
  • The State Rooms and Imperial Apartments on the Piano Nobile
    English It was in this room that Franz Joseph received individuals who had beginning and over the course of the years developed into a self- Hall of Mirrors requested an audience. People would come for an audience in order confident woman. She led an independent life, travelling extensively, Room 16 to thank the monarch for the award of an honour, to lodge a request, and in later life was rarely to be seen in Vienna. The Mirrors Room was used for family celebrations during Maria or to present themselves on receiving an official position. Franz Joseph In September 1898, at the age of 61, Elisabeth was stabbed to death Theresa’s reign, among other occasions for small concerts. would receive up to a hundred people in a morning and was famous with a file by the Italian anarchist Luigi Lucheni in Geneva. In 1762 this room saw the first concert given by the six-year-old for his phenomenal memory, never forgetting a name or a face. These Mozart to the empress. After the performance, according to his proud audiences lasted for a few minutes and were brought to an end when Salon of Empress Elisabeth father, “Wolferl jumped onto her majesty‘s lap, threw his arms around the emperor inclined his head slightly. Room 10 her neck and smothered her with kisses”. The atmosphere of this room, which served Elisabeth as a reception The State Rooms and Imperial Apartments Study of Emperor Franz Joseph room, is determined by the white and gold panelling, pale silk wall Rosa Rooms on the piano nobile Room 4 hangings and the sumptuous Neo-Rococo furniture.
    [Show full text]
  • Ethno-Lore XXXII. a Magyar Tudományos Akadémia Néprajztudományi Intézetének Évkönyvei
    ETHNO-LORE XXXII. A MAGYAR TUDOMÁNYOS AKADÉMIA NÉPRAJZTUDOMÁNYI INTÉZETÉNEK ÉVKÖNYVEI Főszerkesztő: ORTUTAY GYULA (NÉPI KULTÚRA – NÉPI TÁRSADALOM címmel) I. kötet – 1968. Szerkesztő: Diószegi Vilmos II–III. kötet – 1969. Szerkesztő: Diószegi Vilmos IV. kötet – 1970. Szerkesztő: Diószegi Vilmos V–VI. kötet – 1971. Szerkesztő: Diószegi Vilmos Összeállította: Kósa László VII. kötet – 1973. Szerkesztő: Diószegi Vilmos Összeállították: Istvánovits Márton és Kósa László VIII. kötet – 1975. Szerkesztő: Kósa László IX. kötet – 1977. Szerkesztő: Kósa László X. kötet – 1977. Szerkesztő: Kósa László XI–XII. kötet – 1980. Szerkesztő: Kósa László Főszerkesztő: BODROGI TIBOR XIII. kötet – 1983. Szerkesztő: Kósa László XIV. kötet – 1987. Szerkesztő: Kósa László Technikai szerkesztő: Niedermüller Péter Főszerkesztő: PaLÁDI-KOVÁCS ATTILA XV. kötet – 1990. Szerkesztő: Nidermüller Péter XVI. kötet – 1991. Szerkesztő: Niedermüller Péter és Sárkány Mihály XVII. kötet – 1993. Szerkesztő: Szilágyi Miklós XVIII. kötet – 1995. Szerkesztő: Szilágyi Miklós XIX. kötet – 1998. Szerkesztő: Szilágyi Miklós XX. kötet –2001. Szerkesztő: Szilágyi Miklós XXI. kötet – 2003. Szerkesztő: Vargyas Gábor Főszerkesztő: HOPPÁL MIHÁLY (ETHNO-LORE címmel) XXII. kötet – 2005. Szerkesztő: Vargyas Gábor A szerkesztő munkatársa: Berta Péter XXIII. kötet – 2006. Szerkesztő: Vargyas Gábor A szerkesztő munkatársa: Berta Péter XXIV. kötet – 2007. Szerkesztő: Vargyas Gábor és Berta Péter XXV. kötet – 2008. Szerkesztő: Vargyas Gábor és Berta Péter XXVI. kötet – 2009. Szerkesztő: Berta Péter Főszerkesztő: BALOGH BALÁZS XXVII. – 2010. Szerkesztő: Berta Péter XXVIII. – 2011. Szerkesztő: Ispán Ágota Lídia és Magyar Zoltán XXIX. – 2012. Szerkesztő: Báti Anikó – Sárkány Mihály A szerkesztő munkatársa: Vargha Katalin (Kiadja az MTA Bölcsészettudományi Kutatóközpont) XXX. – 2013. Szerkesztő: Berta Péter – Ispán Ágota Lídia – Magyar Zoltán – Szemerkényi Ágnes XXXI. – 2014. Szerkesztő: Ispán Ágota Lídia – Magyar Zoltán XXXII. – 2015.
    [Show full text]
  • Upcoming Exhibitions 2017
    UPCOMING EXHIBITIONS 2017 MARCH 7, - THE FIRST GOLD JUNE 25, 2017 ADA TEPE: EUROPE’S OLDEST GOLDMINE On March 7th the Kunsthistorisches Museum opens an exhibition showcasing Europe’s oldest goldmine together with the largest Bronze Age gold hoard ever discovered. A few years ago the sensational discovery of Europe’s oldest goldmine at Ada Tepe (Bulgaria) made international headlines. In collaboration with the Austrian Academy of Sciences, and using state-of-the-art technology, scholars are trying to determine if this is where the gold used for the artefacts comprising Priam’s legendary treasure and those found in the royal graves at Mycenae was mined. Recent scholarly findings form the basis for this exhibition, which looks at, among other things, transnational Bronze Age trade routes and the role of gold as an elite status symbol. A virtual reconstruction and finds from the mine document how the people who toiled there lived. A reflection of the period’s wealth and technical skills, the Valchitran Treasure comprises around 12,5 kilograms of gold and forms the core of the show. Selected gold masterpieces produced during the late classical/Hellenistic period and the Roman Empire document the importance of Bulgarian gold, which can look back on 3500 years of history. This exhibition is organised by the Kunsthistorisches Museum in collaboration with the National Archaeological Institute and Museum, Bulgarian Academy of Science, Sofia (NAIM), and the Institute for Oriental and European Archaeology of the Austrian Academy of Science(OREA). MARCH 15 - MARIA THERESA NOVEMBER 29, 2017 STRATEGIST – MOTHER – REFORMER IMPERIAL CARRIAGE MUSEUM, SCHLOSS HOF, SCHLOSS NIEDERWEIDEN AND HOFMOBILIENDEPOT - VIENNA IMPERIAL FURNITURE COLLECTION A major new exhibition marking the third centenary of the birth of Maria Theresa explores the life and work of this monarch and empress-consort.
    [Show full text]
  • Hunting with the Empress: Hunting, Gender and Dynastic Ambition at the Court of Charles VI
    Hunting with the Empress: Hunting, Gender and Dynastic Ambition at the Court of Charles VI and Maria Theresa By Thomas Stokes Submitted to Professors Lisa Jane Graham and Darin Hayton In partial fulfillment of the requirement of History 400: Senior Thesis Seminar Abstract In the first half of the eighteenth century, the Habsburg family faced a dynastic crisis. Holy Roman Emperor Charles VI had no sons to inherit his kingdom. Consequently, he presented his daughter, Maria Theresa, as his heir making her the first female Habsburg regent after centuries of patrilineal descent. Contemporary gender ideals and international and internal attempts to disrupt Habsburg hegemony obstructed Maria Theresa from a smooth dynastic transition. This thesis investigates strategies employed by Maria Theresa and her father that strengthened her claim and identity as a female regent. Some strategies blurred the gender divide embedded in contemporary thoughts on patriarchal society. Others highlighted Maria Theresa’s effeminate virtues. Court hunting provides the most informative example of imperial strategies legitimizing Maria Theresa’s inheritance. The hunting vulture espoused by the Habsburg court expressed the authority of its monarch. More specifically for Maria Theresa, hunting helped characterize her as a powerful female leader by highlighting female participation in hunting and female influence on hunting culture. I start by introducing the political background of Austria and Europe in the eighteenth century and Charles’ issuing of the Pragmatic Sanction. The next section describes Maria Theresa’s state building projects and the gender dynamic in her public identity. The third section transitions into hunting highlighting the social and political implications of the sport at Charles VI’s court.
    [Show full text]
  • Martin Van Meytens's Portrait of Johann Michael Von Grosser
    Martin van Meytens’s Portrait of Johann Michael von Grosser: The Business of Nobility Michael Yonan Professor of Art History, University of California, Davis Art Bulletin of Nationalmuseum Stockholm Volume 26:1 Art Bulletin of Nationalmuseum, Stockholm, © Copyright Musei di Strada Nuova, Genova Martin van Meytens’s Portrait of Johann is published with generous support from the (Fig. 4, p. 17) Michael von Grosser: The Business of Nobility Friends of the Nationalmuseum. © National Gallery of Art, Washington D.C. Open © Österreichisches Staatsarchiv 2020 (Fig. 2, Access image download (Fig. 5, p. 17) p. 92) Nationalmuseum collaborates with Svenska Henri Toutin’s Portrait of Anne of Austria. A © Robert Wellington, Canberra (Fig. 5, p. 95) Dagbladet, Bank of America Merrill Lynch, New Acquisition from the Infancy of Enamel © Wien Museum, Vienna, Peter Kainz (Fig. 7, Grand Hôtel Stockholm, The Wineagency and the Portraiture p. 97) Friends of the Nationalmuseum. © Rijksmuseum, Amsterdam/Public Domain (Fig. 2, p. 20) Graphic Design Cover Illustration © Christies, 2018 (Fig. 3, p. 20) BIGG Daniel Seghers (1590–1661) and Erasmus © The Royal Armoury, Helena Bonnevier/ Quellinus the Younger (1607–1678), Flower CC-BY-SA (Fig. 5, p. 21) Layout Garland with the Standing Virgin and Child, c. Four 18th-Century French Draughtsmen Agneta Bervokk 1645–50. Oil on copper, 85.5 x 61.5 cm. Purchase: © The Metropolitan Museum of Art, New York, Wiros Fund. Nationalmuseum, NM 7505. NY/Public Domain (Fig. 7, p. 35) Translation and Language Editing François-André Vincent and Johan Tobias Clare Barnes and Martin Naylor Publisher Sergel. On a New Acquisition – Alcibiades Being Susanna Pettersson, Director General.
    [Show full text]
  • The Castle of the 5 2 Cosa Nostra: Our Cause 49 3 Universal Empire 83 4
    Maps xiii Preface xix xxvii A Note on xxix Introductory The Castle of the 5 2 Cosa Nostra: Our Cause 49 3 Universal Empire 83 4 El Dorado: The Golden One 5 A War to the Last Extremity 6 Felix Austria — The Happy State 7 The Last Cavalier 266 8 Finis Austriae: The End? 329 Notes 339 Sources and Bibliography 397 Index 425 inside back Family Trees: The of Habsburg Wheatcroft, Andrew digitalisiert durch: The Habsburgs IDS Luzern BETWEEN PAGES 64 AND 65 Rudolf the Priest. painting by Johann Hoechle, I9th (Österreichische Galerie Vienna) Frederick III. Oil painting by Hans Century. {Kunsthistorisches Eleanor of Portugal. Oil painting after Hans Burgkmair, Museum, Art London) Maximilian I. painting by Bernard Striegel, (Tiroler Landesmuseum Ferdinandeum, Innsbruck) Ceremonial of Maximilian, (Kunsthistorisches Museum, Viennd) Philip I of Spain. Oil painting attributed to Juan de Flandes, (Kunsthistorisches Museum, Art Library, London) of Castile. Oil painting by Juan de Flandes, (Kunsthistorisches Museum, Art Library, London) Charles V. painting by Michael early Century. (Schatzkammer Bruges) The Lance, 8th Century. (Kunsthistorisches Museum, Vienna) Ferdinand I. painting by Scrots, (Kunsthistorisches Museum, Philip II of Spain. Oil painting by Titian, Florence) View of the of the Escorial. Oil painting, Spanish School, Century. G. RMN, Paris) PAGES I 76 AND Allegory of the reign of Matthias. Oil painting by an unknown artist, (© Berlin) Philip IV. Oil painting by Diego de Velazquez, (Prado, Florence) View of the palace and gardens of the Buen Retiro. Oil painting by Jusepe Leonardo, (Museo Amatller Mas, Barcelona) The Oil painting by Fray Juan Batista Maino, c. (Prado, Art Library, London) II.
    [Show full text]
  • Hand out English A5 New.Indd
    Rupture and Continuity: The fate of the Habsburg inheritance after 1918 5 December 2018 – 30 June 2019 Rupture and Continuity: The fate of the Habsburg inheritance after 1918 5 December 2018 – 30 June 2019 The key texts have been translated into English and compiled in this booklet to guide you through the exhibition. Texts: Ilsebill Barta, Martin Mutschlechner Translation: Sophie Kidd 2 1. About the exhibition ‘The Republic of Austria is the proprietor of the entire movable and immovable property on its territory of the Court Exchequer as well as properties tied to the previously reigning House or a branch thereof.’ Section 5 of the Habsburg Act of 10 April 1919 With this brief statement the young Republic laid claim to the ownership of the material legacy of the Habsburg Monarchy in the spring of 1919. However, the actual appropriation of the former imperial court offices, art collections, palaces and estates proved to be considerably more complicated. The whole process took three years to complete, and the ‘court without an emperor’ continued to exist until November 1921, albeit under republican administration. Based on this imperial legacy, the exhibition explores various facets of the historical and social upheaval of the time. First of all the convoluted legal nexus of Habsburg properties and collections is presented in order to ex- plain the various ways in which they were appropriated and exploited by the new Republic. Continuities in these processes can be seen particularly on the administrative level. The young Republic faced huge challenges as it struggled with the conse- quences of the world war, widespread poverty and the crisis in supplies.
    [Show full text]
  • List of Works
    List of Works Mori Arts Center Gallery(R oppongi Hills Mori Tower 52F) Organised by: Musée National des Châteaux de Versailles et de Trianon / Nippon Television Network Corporation / e Yomiuri Shimbun / BS Nippon Corporation / Mori Arts Center Under the auspices of: Embassy of France / Institut français du Japon With the sponsorship of: Dai Nippon Printing Co., Ltd. / Breguet / Renault-Nissan Alliance / Air France / Perrier-Jouët With the cooperation of: Nippon Cargo Airlines Co., Ltd. / Nippon Express Co., Ltd. / East Japan Railway Company / CS Nippon Corporation / RF RADIO NIPPON CO., LTD. / J-WAVE, INC. / Nippon Cultural Broadcasting Inc. / TOKYO MX / Television Kanagawa Inc. With the special cooperation NTVof: Europe B.V. With the special cooperation for loan M of:usée Carnavalet-Histoire de Paris / Paris Musées Curated by: Musée National des Châteaux de Versailles et de Trianon ・ Unless otherwise stated, works are in Musée national des châteaux de Versailles et de Trianon. ・ Exhibits from Marie Antoinette’s Japanese lacquerware collection (nos. 73–79) featured in the First Period (10.25 Tue – 12.16 Fri) will be rotated in the Second Period (12.17 Sat – 2.26 Sun). First Period will feature nos. 74, 76, 77 and 79, and Second Period , nos. 73, 75, 78 and 79. ・ e order of exhibits in the exhibition diers from that in the catalogue due to venue space conditions. We ask your understanding. ・ Temperature, humidity, and lighting levels are adjusted to protect the exhibits in accord with the lender’s terms and conditions. Please accept our
    [Show full text]
  • The Impact of Habsburg Monarchs on Architectural Discourse Based on the Influence of Maria Theresa, Joseph II and Elisabeth of Austria and Their Design Values
    Die approbierte Originalversion dieser Diplom-/ Masterarbeit ist in der Hauptbibliothek der Tech- nischen Universität Wien aufgestellt und zugänglich. http://www.ub.tuwien.ac.at The approved original version of this diploma or master thesis is available at the main library of the Vienna University of Technology. http://www.ub.tuwien.ac.at/eng DIPLOMARBEIT The impact of Habsburg Monarchs on architectural discourse Based on the influence of Maria Theresa, Joseph II and Elisabeth of Austria and their design values ausgeführt zum Zwecke der Erlangung des akademischen Grades eines Diplom-Ingenieurs unter der Leitung ao.Univ.Prof.Dipl.-Ing.Dr.-Ing. Dörte Kuhlmann E259.4 Abteilung für Architekturtheorie Institut für Architekturwissenschaften eingereicht an der Technischen Universität Wien Fakultät für Architektur und Raumplanung von Elvira Hadzalic 0928925 Wien, am eigenhändige Unterschrift II In order to observe interior architecture and spatial design Um die Innenarchitektur und Raumgestaltung durch die Abstract en | de through the eyes of Habsburg’s, three contrasting figures in Augen der Habsburger zu beobachten, werden drei kontras- the Habsburg Monarchy are chosen: Maria Theresa, Joseph tierende Figuren der Habsburger Monarchie, ausgewählt: II and Elisabeth. Each character is chosen within the con- Maria Theresia, Joseph II. und Elisabeth. Jede Persönlich- text of their architectural influence and outstanding input keit wird im Kontext ihres architektonischen Einflusses und in Viennese society and architecture as we know it today. des hervorragenden Beitrag in der Wiener Gesellschaft und The essence of their personalities was reflected in their way Architektur wie wir es heute kennen, ausgewählt. Das We- of decorating and creating interior of their living and res- sen ihrer Persönlichkeiten spiegelte sich in ihrer Art der idential spaces.
    [Show full text]
  • Download Full Text (Pdf)
    Art Bulletin of Nationalmuseum Stockholm Volume 26:1 Art Bulletin of Nationalmuseum Volume 26:1, 2019 Art Bulletin of Nationalmuseum Stockholm Volume 26:1 2019 3 Art Bulletin of Nationalmuseum Volume 26:1, 2019 Art Bulletin of Nationalmuseum, Stockholm, © The Trustees of the British Museum (Fig. 3, © Studio Tomi Aho, Tomi Aho (Figs. 4 and 6, is published with generous support from the p. 16) pp. 80 and 81) Friends of the Nationalmuseum. © Copyright Musei di Strada Nuova, Genova © Finnish National Gallery, Helsinki, Hannu (Fig. 4, p. 17) Pakarinen (Fig. 5, p. 80) Nationalmuseum collaborates with Svenska © National Gallery of Art, Washington D.C. Open Martin van Meytens’s Portrait of Johann Dagbladet, Bank of America Merrill Lynch, Access image download (Fig. 5, p. 17) Michael von Grosser: The Business of Nobility Grand Hôtel Stockholm, The Wineagency and the Henri Toutin’s Portrait of Anne of Austria. A © Österreichisches Staatsarchiv 2020 (Fig. 2, Friends of the Nationalmuseum. New Acquisition from the Infancy of Enamel p. 92) Portraiture © Robert Wellington, Canberra (Fig. 5, p. 95) Cover Illustration © Rijksmuseum, Amsterdam/Public Domain © Wien Museum, Vienna, Peter Kainz (Fig. 7, Daniel Seghers (1590–1661) and Erasmus (Fig. 2, p. 20) p. 97) Quellinus the Younger (1607–1678), Flower © Christies, 2018 (Fig. 3, p. 20) Garland with the Standing Virgin and Child, c. © The Royal Armoury, Helena Bonnevier/ Graphic Design 1645–50. Oil on copper, 85.5 x 61.5 cm. Purchase: CC-BY-SA (Fig. 5, p. 21) BIGG Wiros Fund. Nationalmuseum, NM 7505. Four 18th-Century French Draughtsmen © The Metropolitan Museum of Art, New York, Layout Publisher NY/Public Domain (Fig.
    [Show full text]