Court Culture in Dresden
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Augustus II the Strong's Porcelain Collection at the Japanisches
Augustus II the Strong’s Porcelain Collection at the Japanisches Palais zu Dresden: A Visual Demonstration of Power and Splendor Zifeng Zhao Department of Art History & Communication Studies McGill University, Montreal September 2018 A thesis submitted to McGill University in partial fulfillment of the requirements of the degree of Master of Arts © Zifeng Zhao 2018 i Abstract In this thesis, I examine Augustus II the Strong’s porcelain collection in the Japanisches Palais, an 18th-century Dresden palace that housed porcelains collected from China and Japan together with works made in his own Meissen manufactory. I argue that the ruler intended to create a social and ceremonial space in the chinoiserie style palace, where he used a systematic arrangement of the porcelains to demonstrate his kingly power as the new ruler of Saxony and Poland. I claim that such arrangement, through which porcelains were organized according to their colors and styles, provided Augustus II’s guests with a designated ceremonial experience that played a significant role in the demonstration of the King’s political and financial prowess. By applying Gérard de Lairesse’s color theory and Samuel Wittwer’s theory of “the phenomenon of sheen” to my analysis of the arrangement, I examine the ceremonial functions of such experience. In doing so, I explore the three unique features of porcelain’s materiality—two- layeredness, translucency and sheen. To conclude, I argue that the secrecy of the technology of porcelain’s production was the key factor that enabled Augustus II’s demonstration of power. À travers cette thèse, j'examine la collection de porcelaines d'Auguste II « le Fort » au Palais Japonais, un palais à Dresde du 18ème siècle qui abritait des porcelaines provenant de Chine, du Japon et de sa propre manufacture à Meissen. -
1 Der Goldene Reiter - Ein Wahrzeichen Dresdens
Originalveröffentlichung in: Die Restaurierung des Goldenen Reiters 2001 - 2003 : Dokumentation [Hrsg.: Landeshauptstadt Dresden, Liegenschaftsamt], Dresden 2004, S. 4-13 1 Der Goldene Reiter - Ein Wahrzeichen Dresdens Dr. Barbara Bechter „Des Höchstseel. Königs Augusti II. Statua" steht in platzbeherr • 1.1 Die Modelle zum Reiterdenkmal2 schender Lage auf dem Neustädter Markt in Dresden. Das in Überlebensgröße ausgeführte Reiterdenkmal zeigt den sächsi In den Akten wird das Denkmal erstmals 1704 genannt. Am schen Kurfürsten Friedrich August I. (16701733), genannt Au 27. Januar 1704 bestätigte der Hofbildhauer Balthasar Permoser gust der Starke, seit 1697 als August II. König von Polen. Er ist in dem König „nochmahls", dass er den Auftrag für ein solches der Art römischer Imperatoren gekleidet und sitzt auf einem sich Denkmal annehme: „Allerdurchlauchtigster Großmächtigster aufbäumenden Pferd. König und ChurFürst, Allergnädigster Herr! Nachdehm Eu. Königl. Wohl schon sehr bald nach seiner Krönung wünschte der junge Majst. Nochmahls allergnädigst resolviret seyn, das Pferd mit der Herrscher eine seiner Person und Position angemessene reprä darauff sizenden Persohn, so Eu:Maj: praesentiren soll, von mir sentative Darstellung in Form eines Reiterstandbildes. Obwohl von verferttigen zu lassen..." verschiedenen Bildhauern am sächsischen Hof immer wieder Mo Gleichzeitig bat er um Zahlung seines ausstehenden Gehal delle hierzu angefertigt wurden, zog sich die tatsächliche Ausfüh tes, um sich eine neue Werkstatt in Altendresden bauen zu -
Collecting and Representing Saxon Identity in the Dresden Kunstkammer and Princely Monuments in Freiberg Cathedral
UNIVERSITY OF CALIFORNIA RIVERSIDE International Projects with a Local Emphasis: Collecting and Representing Saxon Identity in the Dresden Kunstkammer and Princely Monuments in Freiberg Cathedral A Thesis submitted in partial satisfaction of the requirements for the degree of Master of Arts in Art History by Daniel A. Powazek June 2020 Thesis Committee: Dr. Kristoffer Neville, Chairperson Dr. Randolph Head Dr. Jeanette Kohl Copyright by Daniel A. Powazek 2020 The Thesis of Daniel A. Powazek is approved: Committee Chairperson University of California, Riverside ABSTRACT OF THE THESIS International Projects with a Local Emphasis: The Collecting and Representation of Saxon Identity in the Dresden Kunstkammer and Princely Monuments in Freiberg Cathedral by Daniel A. Powazek Master of Arts, Graduate Program in Art History University of California, Riverside, June 2020 Dr. Kristoffer Neville, Chairperson When the Albertine Dukes of Saxony gained the Electoral privilege in the second half of the sixteenth century, they ascended to a higher echelon of European princes. Elector August (r. 1553-1586) marked this new status by commissioning a monumental tomb in Freiberg Cathedral in Saxony for his deceased brother, Moritz, who had first won the Electoral privilege for the Albertine line of rulers. The tomb’s magnificence and scale, completed in 1563, immediately set it into relation to the grandest funerary memorials of Europe, the tombs of popes and monarchs, and thus establishing the new Saxon Electors as worthy peers in rank and status to the most powerful rulers of the period. By the end of his reign, Elector August sought to enshrine the succeeding rulers of his line in an even grander project, a dynastic chapel built into Freiberg Cathedral directly in front of the tomb of Moritz. -
Eighteenth-Century Sculpture and Its Interpretation
Eighteenth-century Sculpture and its Interpretation Malcolm Baker University of Edinburgh PhD (by Research Publications) 2003 Eighteenth-century sculpture and its interpretation Publications by Malcolm Baker submitted for Degree of Ph.D by Research Publications The following publications are submitted for the above degree: 1. Figured in Marble. The Making and Viewing of Eighteenth-century Sculpture, London and Los Angeles, 2000. (65,431 words) 2. Roubiliac and The Eighteenth-century Monument. Sculpture as Theatre, New Haven and London, 1995, 207-273, 382-387. (23,337 words) (The text submitted by the candidate forms part of a collaborative work by David Bindman and Malcolm Baker; the volume is made up of several distinct authorial contributions and the responsibility of each author for different parts is clearly stated in the publication.) 3. They are accompanied by a Critical Review (10, 956 words) (Total word length: 99, 724 words.) Appendix I: Catalogue of Roubiliac's Funerary Monuments, forming Part III of Roubiliac and the Eighteenth-century Monument, 275-359 Appendix II: A list of ten related articles. 1 and 2, along with the Critical Review, were written solely by me. The text included under Appendix I was written almost entirely by me but incorporates some material provided by David Bindman and Tessa Murdoch. The articles listed in Appendix II were written solely by me, except for one article of which I was the principal author, the co-authors being Alastair Laing and Colin Harrison. I also declare that none of the above mentioned writings have been submitted for any other degree or professional qualification. -
OPTICAL OBJECTS in the DRESDEN KUNSTKAMMER: LUCAS BRUNN and the COURTLY DISPLAY of KNOWLEDGE Sven Dupré and Michael Korey* Intr
OPTICAL OBJECTS IN THE DRESDEN KUNSTKAMMER: LUCAS BRUNN AND THE COURTLY DISPLAY OF KNOWLEDGE Sven Dupré and Michael Korey* Introduction The museum situation that we see today in Dresden is the consequence of a radical reorganization of the Saxon court collections by Friedrich August I (August the Strong) in the 1720s.1 One of the steps in this restructuring was the formation of a distinct, specialized collection of scientifi c instruments, which is the basis of the Mathematisch- Physikalischer Salon. This reorganization effectively ended two centuries’ development of the Kunstkammer,2 the vast early modern collection in Saxony thought to have been founded around 1560 by Elector August.3 It was principally in the context of this Kunstkammer that ‘scientifi c instruments’ were collected in Dresden in the course of the 16th and 17th centuries. We will sketch the evolution of the Dresden Kunstkammer * The research of the fi rst author has been made possible by the award of a post- doctoral fellowship and a research grant of the Research Foundation—Flanders. 1 On this reorganization of the collections, see Dirk Syndram, Die Schatzkammer Augusts des Starken. Von der Pretiosensammlung zum Grünen Gewölbe, Dresden-Leipzig, 1999, and Helen Watanabe-O’Kelly, Court Culture in Dresden: From Renaissance to Baroque, New York, Palgrave, 2002, ch. 7. 2 Even after its reorganization under August the Strong, a truncated torso of the Kunstkammer in fact continued to be displayed—including a gallery of fi ne clocks and automata—until its fi nal dissolution in 1832. Many of the remaining items were then absorbed into several other Dresden court collections: the Grünes Gewölbe (Green Vault), the Mathematisch-Physikalischer Salon, and the Historisches Museum, now once again known as the Rüstkammer (Armoury). -
Der Weg Der Roten Fahne. Art in Correlation to Architecture, Urban Planning and Policy
JOURNAL OF ARCHITECTURE AND URBANISM ISSN 2029-7955 print / ISSN 2029-7947 online 2013 Volume 37(4): 292–300 doi:10.3846/20297955.2013.866861 Theme of the issue “Architectural education – discourses of tradition and innovation” Žurnalo numerio tema „Architektūros mokymas – tradicijų ir naujovių diskursai“ DER WEG DER ROTEN FAHNE. ART IN CORRELATION TO ARCHITECTURE, URBAN PLANNING AND POLICY Christiane Fülscher Department History of Architecture, University of Stuttgart, Keplerstrasse 11, 70174 Stuttgart, Germany E-mail: [email protected] Received 03 October 2013; accepted 04 November 2013 Abstract. The presented research focuses on the relationship between art and architecture. On the example of the mural Der Weg der Roten Fahne (The Path of the Red Flag) installed at the western façade of the Kulturpalast Dresden (Palace of Culture in Dresden) the author analyses the necessity of the mural as an immanent element to communicate political decisions of the German Democratic Republic’s government to the public by using architecture. Up until now the mural reinforces the political value of the International Style building in function and shape and links its volume to the urban layout. Keywords: architecture, culture house, German Democratic Republic, International Style, monumental art, mural, political archi- tecture, representation, Socialist Realism, urban planning. Reference to this paper should be made as follows: Fülscher, Ch. 2013. Der Weg der Roten Fahne. Art in correlation to architecture, urban planning and policy, Journal of Architecture and Urbanism 37(4): 292–300. Introduction The mural Der Weg der Roten Fahne An artefact that is designed in collaboration with ar- In 1969 a collective of the Dresden Academy of Fine chitecture depends on its context. -
CHAPTER ONE Page 23
FREDERICK THE GREAT‟S PORCELAIN DIVERSION: THE CHINESE TEA HOUSE AT SANSSOUCI Tania Solweig Shamy Department of Art History and Communication Studies McGill University, Montreal October 2009 A thesis submitted to McGill University in partial fulfillment of the requirements of the degree of doctor of philosophy. ©Tania Solweig Shamy 2009 Abstract This thesis signals a new approach in the study of the Chinese Tea House at Sanssouci. It argues that Frederick the Great‟s exotic pavilion, although made of sandstone and stucco, is porcelain in essence. The garden building reflects the many meanings of this highly valued commodity and art form in the privileged society of the king and his contemporaries. The pavilion is unique in that it was inspired by the type of sculptural ornament designed to decorate the eighteenth- century table of the nobility. The Tea House is a thematically integrated structure that demonstrates the influence of porcelain on interior décor and architecture. The designation of the garden building as a Gesamtkunstwerk acknowledges the blending of architecture, painting, and sculpture; characteristics shared by porcelain centerpieces. They exemplify the intermediality associated with the development of eighteenth- century porcelain and the interpretation of Frederick‟s pavilion. ii Résumé Cette thèse annonce une approche nouvelle dans l‟étude de la Maison de Thé Chinoise à Sans-Souci. Elle soutient que le pavillon exotique de Frédéric Le Grand, fait de pierre et de stuc, représentait intrinsèquement la porcelaine. Ainsi, cette construction de jardin refléterait de fait les sens multiples accordés par la société privilégiée du Roi et de ses contemporains à cette commodité de luxe et à cette forme d‟art. -
Migrations in the German Lands: an Introduction ALEXANDER SCHUNKA
12 Migrations in the German Lands: An Introduction ALEXANDER SCHUNKA Overview he history of human cultures is a history of migrations and movements.1 TThe contours of human mobility are remarkably sensitive to a broader historical context, and migrations have to a large extent produced and affected historical realities. Based on the insight that cultures are always shaped by mobility and exchange, scholars have developed a growing interest in under- standing the cross-cultural connections and conflicts that emerge in response to migration. Dealing with the history of immigration into Germany during the last five hundred years, the present volume breaks new ground. For a long time, immigration into Germany was not considered as historically relevant as the emigrations of Germans to the New World, to Russia, and elsewhere. The question of whether Germany was predominantly a land of emigration or one of immigration has become a political issue during the last thirty years, leaving its imprint on historical research. Migration illustrates a particular tension between the realities of human movement in German history and the capacity of the country’s social, cultural, and political institutions to absorb its effects. Indeed, the politics of migration in Germany have helped to produce any number of frank assertions about the desirability—and in fact the very nature of—a heterogeneous Germany. The stakes were perhaps never more clear than in the political statements originating in the 1982 federal coalition agreement between the West German ruling Christian Democrats (CDU/CSU) and the liberal Free Democratic Party (FDP): the “Federal Republic of Germany is not a country of immigration. -
Pöppelmann 3D. Bücher – Pläne – Raumwelten
Tiller, Elisabeth/Lieber, Maria (Hrsg.): Pöppelmann 3D. Bücher – Pläne – Raumwelten. Online-Katalog zur Ausstellung im Buchmuseum der Sächsischen Landesbibliothek – Staats- und Universitätsbibliothek Dresden (SLUB) vom 17. Mai bis 01. September 2013. Zweite, durchgesehene Version (August 2013). URL: http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-118312 Die Ausstellung ist Ergebnis der Zusammenarbeit des TU Dresden-Teilprojekts „Baroque Fantasies - Creating Exotic Spaces. The Case of Dresden“ im europäischen Forschungsverbund European Network for Baroque Cultural Heritage (ENBaCH) mit der Sächsischen Landesbibliothek – Staats- und Universitätsbibliothek Dresden (SLUB) und der Staatliche Schlösser, Burgen und Gärten gGmbH. Sie wurde maßgeblich finanziert aus Mitteln des Culture Programme der Europäischen Kommission. INHALT Matthäus Daniel Pöppelmann (1662 – 1736) ›› 4 Bibliotheksbestand ›› 104 Bücherwissen und Architektur ›› 11 Erbauung und Unterhaltung ›› 104 Residenzschloss und Zwinger ›› 13 Dresden – Sachsen – Polen ›› 114 Römische Entwurfsvorlagen ›› 17 Europäische Geschichte ›› 123 Perspektivzeichnen ›› 41 Gebrauchsliteratur ›› 131 Festungsbaukunde ›› 47 Ferne Länder ›› 137 Portaltürme des Dresdner Zwingers ›› 49 Privatbibliotheken in der Barockzeit ›› 143 Große Schlossplanung für Dresden ›› 53 Die kurfürstliche Bibliothek und das barocke Asienbild ›› 152 Säulenbücher ›› 57 Literaturverzeichnis ›› 161 Hofbauwesen ›› 67 Buchinventar Pöppelmanns laut Mechanik ›› 70 Nachlassakte ›› 185 Zwingerstichwerk ›› 74 Impressum ›› 200 MATTHÄUS -
German and Austrian Eighteenth-Century Sculpture and Decorative Arts: Recent Acquisitions at the Metropolitan Museum of Art
German and Austrian Eighteenth-Century Sculpture and Decorative Arts: Recent Acquisitions at The Metropolitan Museum of Art Ian Wardropper Director of The Frick Collection Former Iris and B. Gerald Cantor Chairman of the Department of European Sculpture and Decorative Arts, The Metropolitan Museum of Art 17 he Department of European Sculpture and Decorative Arts Figure 1: View of Gallery of Central Europe, 1700-1800, showing a suite of furniture for Seehof, circa 1763-64. at the Metropolitan Museum of Art is justly famed for its French, English, and Italian collections. A series of period Trooms—The Wrightsman Galleries—are filled with some Renaissance jewellery and metalwork, Rococo gold boxes, and of the most important decorative arts outside France, and superb carvings, such as Hans Daucher’s honestone relief eighteenth- and nineteenth-century French masters Jean-Antoine Allegory of Virtues and Vices at the Court of Charles V, dated Houdon, Clodion, Jean-Baptiste Carpeaux, and Auguste Rodin, 1522. The extensive Mühsam collection of fifteenth- to nineteenth- among many others, are represented by marble, bronze, and century glass, split evenly with the Art Institute of Chicago, entered terracotta sculpture at the highest level of quality and in great the Museum in 1927 with help from the Munsey Fund. The depth. Centered on period rooms by Robert Adam, the Annie Laurie Museum’s most significant class of German objects—works in Aitken Galleries display fine British furniture, silver, and ceramics. porcelain and pottery—was built up over half a century with gifts Italian Renaissance bronzes and maiolica, as well as important or bequests of a series of stellar collections. -
Art and Culture Entertainment, Dining and Shopping Nature and Activities Young and Trendy Science and Research Business and Convention
Welcome to Dresden Art and Culture Entertainment, Dining and Shopping Nature and Activities Young and Trendy Science and Research Business and Convention For centuries, it was the magnificent residence of the Wettin royal Dresden’s “noble position” may have been fashioned by nature, but it Dresden is a feast for the senses. When Augustus the Strong ruled The interplay of culture and landscape along the banks of the Elbe As the sun sets behind the Frauenkirche, a different Dresden begins The first porcelain in Europe was manufactured in Dresden. Other Often referred to as “Silicon Saxony”, this fastest-growing region in family. Today, Dresden is one of the most beautiful Baroque cities in was the love of art and the creative will of the Saxon Electors (and Saxony, he was famous for his lavish celebrations, combining art counts as one of Dresden’s greatest treasures. No other city has been to emerge. On the fringes of the Neustadt district and in the former pioneering developments – the bra or coffee filter papers – may merely the former East Germany is Europe’s leading location for the Europe – and a bustling metropolis at the same time. Because of its later the bourgeoisie) that created its unique cultural landscape. This and enjoyment in elaborate productions. Likewise today, you are quite as successful in keeping such an extensive floodplain free of industrial area of the city, a tightly-knit club and party scene has raise a wry smile. But Dresden’s reputation as a highly creative city development of memory chips and a major centre of hi-tech industry. -
VENUS UND SATYR« in DRESDEN Ein Durchdachtes Geschenk Für Einen Florenz-Bewunderer
Originalveröffentlichung in: Myssok, Johannes ; Wiener, Jürgen (Hrsgg.): Docta Manus. Studien zur italienischen Skulptur für Joachim Poeschke. Münster 2007, S. 301-312 GIAMBOLOGNAS »VENUS UND SATYR« IN DRESDEN Ein durchdachtes Geschenk für einen Florenz-Bewunderer Sybille Ebert-Schifferer 2u den beliebtesten kleinplastischen Bronzegruppen des Flo- dem kooperativen paragone von Lehrer und Schüler hervorge- rentiner Hofbildhauers Giovanni da Bologna und seiner Werk- gangenen ikonographischen Umgewichtung. statt gehört die Gruppe »Venus und Satyr«. Das einzige Exem- Wer wäre dann das »weibesbild«, das Giambologna ur- plar davon, das noch zu Lebzeiten des Künstlers dokumentiert sprünglich ohne Faun erfunden hatte - Nymphe oder Venus? ist, befindet sich im Grünen Gewölbe der Staatlichen Kunst- Häufig ist auf die Ähnlichkeit der Pose der Liegenden mit einer sammlungen zu Dresden (Abb. i). Es gelangte Ende März 1587 der damals berühmtesten antiken Statuen, der sog. Schlafenden mit einer ersten Sendung Staatsgeschenke von Großherzog Ariadne des Vatikan (Abb. 3) verwiesen worden, einer der am Francesco I. de ’ Medici an Kurfürst Christian L nach Sachsen. meisten gezeichneten, gestochenen und bis ins 20. Jahrhundert Das diplomatische Gabenpaket enthielt, mit Rücksicht auf die hinein in der Kunst rezipierten Antiken.7 Doch Giambolognas Vorlieben des Empfängers, kostbare Waffen, acht Pferde, zwei Figur ist im Gegensatz zu dieser gänzlich unbekleidet, und Gift und Pest abwehrende Trinkgefäße aus Rhinozeros-Horn, während ihr linker Arm, wie der rechte der antiken Plastik, um aber auch drei Bronzeplastiken Giambolognas: den »Merkur« den Kopf gelegt ist, dient der andere nicht als Stütze dessel- sowie die Gmppen »Nessus und Dejanira« und eben »Venus ben, sondern rafft ein Tuch über der Scham zusammen, an der und Satyr«.