DOCSLIB.ORG

Icfs2006-The-Politics-Of-Porcelain.Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Icfs2006-The-Politics-Of-Porcelain.Pdf THE POLITICS OF PORCELAIN: Nicolas de Largillière’s (1656-1746) portrait of Conrad flying tables from Saxony were sent to Prussia and to Detlef (1688-1753), Count von Dehn, the envoy for the France.10 Carved amber from the Baltic was sent all PREVIEW OF AN EXHIBITION Duke of Brunswick, in the suit he wore for his audience over Europe by the kings of Prussia, the most extrava- with Louis XV (1710-1774) in 1724, he is shown with gant being the amber room given to Peter the Great in by Maureen Cassidy-Geiger the miniature portrait of the Duke in a jeweled frame, 1716 at the signing of the Russo-Prussian alliance against Curator, The Arnhold Collection destined for the King, displayed in its fitted leather case Sweden.11 A set of Spanish stallions accompanied the (Fig. 1).5 Also depicted is the letter from Louis XV remarkable gift of six differently coloured saddles addressed to the Duke, and the two books of engrav- embroidered in silver and gold sent with pistols to ings from the French King, Médailles de Louis le Grand Augustus the Strong in 1715 by Louis XIV of France.12 In his dedication to The Prince, Niccolò Machiavelli and Perspective de Versailles after Israël Silvestre. An (1469-1527) wrote: “Those who strive to obtain the engraving of a portrait of Louis XV in a jewelled frame good graces of a prince are accustomed to come belongs to the historical print collection in the Meissen before him with such things as they hold most precious, archives, demonstrating how the designs for these types or in which they see him take most delight; whence one of objects circulated (Fig. 2). Such models supplied often sees horses, arms, cloth of gold, precious stones, information and ideas to the painters and modellers and similar ornaments presented to princes, worthy of and were also used in the drawing studio where the their greatness.” The exhibition Fragile Diplomacy: apprentices were trained. Meissen Porcelain for Foreign Courts, 1710-1763, sched- Objects of exquisite workmanship, in precious or uled to open in October 2007 at the Bard Graduate exotic materials, were presented to the Electors of Center in New York, poses the question, ‘How did Saxony from the 16th century onwards. Unmounted Meissen porcelain function as an object of diplomatic gems were much esteemed as royal gifts, for example currency in the 18th century, from the founding of the the sapphire nodes from Peter the Great (1672-1725) manufactory in 1710 until the death of Augustus III in and the cluster of emeralds from South America, 1763’? presented by Rudolf II to the Elector of Saxony in 1581 Porcelain was first produced in Asia in the 8th and mounted in 1724 by Balthasar Permoser (1651- century and by the 16th century, a small number of 1732), Johann Melchior Dingliner (1664-1731) and pieces of Chinese porcelain were the treasured posses- Martin Schnell (1675-c.1740).6 Swords were exchanged sions of emperors, kings and princes in Europe, gifts between princes; a Tula-work sword was presented to from courtiers and ambassadors seeking influence and Augustus the Strong by the Russian Czar in 1697.7 favour at court. Some of these gifts became royal Figure 1. Studio of Nicolas de Largillière. Portrait of Conrad Objects of personal workmanship were especially tributes from one European monarch to another and Detlef, Count von Dehn. 1724. Oil on canvas; 92 x 73 cm. suitable gifts from one ruler to another, and so Peter (Photo courtesy Sotheby’s) so sixteen pieces of Chinese porcelain entered the the Great presented turned ivory boxes with royal Kunstkammer in Dresden in April 1590, a gift from compasses to the Elector of Saxony and to the King of Grand Duke Ferdinand de Medici (1549-1609) to present day, with the exception of medals. Most snuff- Denmark.8 Figure 2. Anonymous engraving with portrait of Louis XV in a jeweled frame surmounted by a crown. Historical Collection, Elector Christian I of Saxony (1560-1591), a gift of one boxes were simply converted into cash by the diplo- Native animals and objects made of indigenous State Porcelain Manufactory, Meissen, inv. nr. VA-1553. King’s property to another.1 mats who received countless examples. Some precious materials as well as examples of local craftsmanship or At the time, porcelain was valued for its rarity but it gifts were returned to the King on the death of the even local comestibles were also suitable diplomatic Antiquities and reliquaries were the specialty gifts of was not an intrinsically valuable material and this distin- recipient and were re-used as a gift for someone else, gifts because they represented the uniqueness of the the Pope and the clergy in and around Rome. In 1739, guishes it from the more traditional types of princely or or the gemstones were retrieved for other purposes foreign monarch’s property and realm. Greenland- during his long stay in the Holy City, the crown prince diplomatic gifts, such as those named in Machiavelli’s The tradition of diplomatic gifts involved bestowing falcons from the King of Denmark and hunting dogs of Saxony, Friedrich Christian (1722-1763), received a statement (that is, the “horses, arms, cloth of gold, precious upon kings, courtiers and retainers objects of a prede- from England were especially prized, as were wines mosaic from Hadrian’s villa, incorporated into a stones and similar ornaments”).2 Gold snuffboxes, termined value, in tribute or thanks. Reciprocal gifts from France and Austria, and cheeses from Italy. Every tabletop, from Cardinal Alessandro Albani (1692-1779) jewelled swords, medals in gold and silver, and portraits were to be of equal value. Protocol required more nation had its speciality workshops. A masterpiece of and an antique sculpture of a gladiator from the of the ruler framed with gold and gemstones were the expensive or rare gifts for more important persons and carving by Grinling Gibbons (1648-1721) was sent by Cardinal’s brother, Annibale Albani (1682-1751).13 He norm in this category.3 Known chiefly through archival there was a hierarchy in terms of who could receive the English king Charles II to Cosimo III de Medici also received dozens of reliquaries which were later documents and contemporary reports, very few of what. The ambassadors received snuffboxes, for (1642-1721) in 1682. Pietre dure plaques were sent to installed in the Silberkapelle in the Taschenberg Palace, these sorts of precious gifts have survived to the example, while their secretaries received medals.4 In Dresden by Rudolf II and, later, by Cosimo III.9 So-called his residence in Dresden. The Blessed Order of the ICF&S-2006 28 29 ICF&S-2006 the French diplomatic correspondence, in 1735 and fired enamel colours or in gold (Fig. 4).19 Conceived as 1741, to efforts to obtain the secret for making hard- showpieces rather than as functional objects for daily paste porcelain through intrigue and payoffs.16 In Italy use, such services were sent in customised leather and France in particular, several glassy soft-paste porce- boxes with velvet interiors trimmed in silver or gold lain-like products preceded the discovery of the braid. There was a specific trade who made these fitted formula and the special ingredients for making true boxes; according to the manufactory reports, a group of porcelain at the court of Augustus the Strong (1670- fitted boxes delivered to the Meissen factory in 1737 1733), the ambitious Elector of Saxony who succeeded were all made by women, each termed a “Futteral- his brother in 1694 and won the Crown of Poland in macherin”.20 1697. The prestige associated with being the owner of The standing cup with cover and stand secretly deliv- the first porcelain manufactory in Europe distinguished ered to Queen Sophie Dorothea of Prussia by Augustus the King and his court and the porcelain made at the Strong in 1728 is nearly unique as a Meissen model Meissen quickly achieved the status of “white gold.”17 and in the use of a highly personalized scheme of Made of the King’s earth, in the King’s factory, by the decoration.21 Somewhat similar is the personalized King’s artists and artisans, the products of the Meissen decoration on the tea-and-coffee service made for manufactory were a tangible demonstration of the Clemens August, Prince-Bishop of Cologne (1718- scientific acumen and mercantile strength of the nation. 1761), though there is no evidence to suggest it was a Focused experimentation over several years led to gift.22 the production of a repertoire of models that Over time, a standardised repertoire of gifts devel- Figure 4. Coffee and tea service in fitted box. Meissen porce- embodied the artistic and representational traditions of lain, c.1724-25, gilded decoration applied in Dresden or oped at Meissen. Services for tea, coffee and chocolate the court of Saxony. Initial inspiration was provided by Augsburg. Arnhold Collection, New York, inv. nr. 1931.226 were popular gifts, perhaps beginning with the service (Photo: Maggie Nimkin) the thousands of Chinese and Japanese porcelains for the Electress of Hanover.23 Armorial services went amassed by the King, who sought to emulate the porce- to the Kings or Queens of France, Denmark, and lain cabinets of the French and Prussian Kings. Actual Leipzig for the fairs, held three times a year, to view and Sweden, and to Pope Benedict XIV. The numerous Asian porcelains were copied faithfully in the factory’s buy luxury products from the leading workshops and services with Italian coats of arms acknowledge the Figure 3.
Load more

Recommended publications
  • Open Access Version Via Utrecht University Repository
    Philosopher on the throne Stanisław August’s predilection for Netherlandish art in the context of his self-fashioning as an Enlightened monarch Magdalena Grądzka Philosopher on the throne Magdalena Grądzka Philosopher on the throne Stanisław August’s predilection for Netherlandish art in the context of his self-fashioning as an Enlightened monarch Magdalena Grądzka 3930424 March 2018 Master Thesis Art History of the Low Countries in its European Context University of Utrecht Prof. dr. M.A. Weststeijn Prof. dr. E. Manikowska 1 Philosopher on the throne Magdalena Grądzka Index Introduction p. 4 Historiography and research motivation p. 4 Theoretical framework p. 12 Research question p. 15 Chapters summary and methodology p. 15 1. The collection of Stanisław August 1.1. Introduction p. 18 1.1.1. Catalogues p. 19 1.1.2. Residences p. 22 1.2. Netherlandish painting in the collection in general p. 26 1.2.1. General remarks p. 26 1.2.2. Genres p. 28 1.2.3. Netherlandish painting in the collection per stylistic schools p. 30 1.2.3.1. The circle of Rubens and Van Dyck p. 30 1.2.3.2. The circle of Rembrandt p. 33 1.2.3.3. Italianate landscapists p. 41 1.2.3.4. Fijnschilders p. 44 1.2.3.5. Other Netherlandish artists p. 47 1.3. Other painting schools in the collection p. 52 1.3.1. Paintings by court painters in Warsaw p. 52 1.3.2. Italian paintings p. 53 1.3.3. French paintings p. 54 1.3.4. German paintings p.
    [Show full text]
  • Gemälde Galerie Alte Meister Gemäldegalerie Alte Meister Gemäldegalerie Alte Gemälde Galerie Alte Meister
    Museumsführer Museumsführer GEMÄLDE GALERIE ALTE MEISTER GEMÄLDEGALERIE ALTE MEISTER GEMÄLDEGALERIE ALTE GEMÄLDE GALERIE ALTE MEISTER Herausgegeben von den Staatlichen Kunstsammlungen Dresden, Stephan Koja Stephan Koja Eine derart groß angelegte Sammeltätigkeit war möglich, weil das Kurfürsten tum Sachsen zu den wohlhabendsten Gebieten des Heiligen Römischen Reiches Deut- »Ich wurde ob der Masse des scher Nation gehörte. Reiche Vorkommen wertvoller Erze und Mineralien, die Lage am Schnittpunkt wichtiger Handelsstraßen Europas sowie ein ab dem 18. Jahrhun- Herrlichen so konfus« dert hochentwickeltes Manufakturwesen ermöglichten den Wohlstand des Landes. Die Dresdner Gemäldegalerie Neuordnung der Sammlungen unter August dem Starken 1707 ließ August der Starke die Gemäldesammlung aus den allgemeinen Beständen der Kunstkammer herauslösen und die besten Bilder in einem eigenen Raum im Schloss unterbringen. 1718 zogen sie weiter in den Redoutensaal, schließlich 1726 in den »Riesensaal« und dessen angrenzende Zimmer. Die übrigen Objekte der »Die königliche Galerie der Schildereien in Dresden enthält ohne Zweifel einen Kunstkammer bildeten den Grundstock für die anderen berühmten Sammlungen Schatz von Werken der größten Meister, der vielleicht alle Galerien in der Welt Dresdens wie das Grüne Gewölbe, die Porzellansammlung, das Kupferstich-Kabinett, übertrifft«, schrieb Johann Joachim Winckelmann 1755.1 Schon 1749 hatte er be- den Mathematisch-Physikalischen Salon oder die Skulpturensammlung. Denn schon eindruckt seinem Freund Konrad Friedrich Uden mitgeteilt: »Die Königl. Bilder um 1717 hatte August der Starke, wohl inspiriert durch dementsprechende Eindrü- Gallerie ist […] die schönste in der Welt.«2 cke auf Reisen, eine Funktionsskizze4 für die Aufteilung der Sammlung entworfen, In der zweiten Hälfte des 18. Jahrhunderts war die Dresdner Gemäldegalerie nach der das Sammlungsgut und nicht die historische Klassifizierung das Ordnungs- bereits ein Anziehungspunkt für Künstler, Intellektuelle und kulturaffine Reisende kriterium darstellte.
    [Show full text]
  • O Mito De Apolo E Dafne
    o mito de apolo e dafne Sobre o autor LouiS de SiLveStre (1675-1760) Louis de Silvestre nasceu em Sceaux, cidade ao sul de Paris, França, no dia 23 de junho de 1675. Filho de Israel Silvestre, pintor e gravador oficial do Delfim Luís da França. Teve suas primeiras lições de pintura com o pai, sendo depois treinado por Charles Le Brun e Bon Boullogne. Parte para Roma, a fim de terminar seus estudos, onde é acolhido por Carlo Maratta, que terá imensa influência em sua pintura. Especializa-se na pintura histórica e de retratos. Retorna a Paris em 1702, sendo aceito na Academia Real de Pintura e Escultura logo em seguida. Torna-se professor dessa instituição em 1706. Destacam-se desse período a cena bíblica do paralítico do templo e o retrato do rei francês Luís XV, de 1715, mantido na Galeria de Dresden (Duissieux, 1876). Recebe convite do príncipe Frederico Augusto da Saxônia para trabalhar em Dresden, na corte de seu pai, o rei Augusto II da Polônia.1 Silvestre aceita a oferta e recebe dispensa da corte francesa, chegando em Dresden em 1718. Tanto Augusto II, quanto seu filho, admiravam o trabalho de Silvestre sobremaneira, concedendo-lhe as maiores honras disponíveis para o artista. Foi escolhido pintor oficial da corte, depois diretor da Academia de Dresden, em 1727. O príncipe Frederico, agora Augusto III da Polônia, concede-lhe um título nobiliárquico em 1741, fazendo o mesmo com 1 Entre os séculos XVI e XVIII, a Polônia e a Lituânia formavam uma monarquia dual e eletiva, chamada de Comunidade Polaco-Lituana.
    [Show full text]
  • Porcelain Acquisitions Through Private Networks for Augustus the Strong, Heidelberg: Arthistoricum.Net, 2020
    1. Introduction Ever since the discovery of the maritime routes to America by Christopher​ Columbus in 1492, and to India by Vasco da Gama in 1498, the global expansion of trade and trade routes influenced European culture in an unprecedented man- ner. Knowledge about geography and foreign nations expanded, and the intro- duction of new consumables such as tea and chocolate transformed European table culture. Silk and fine cottons from China and India, once brought to the West via the Silk Roads, now arrived in large quantities at the European courts. The European global expansion had its downsides, of course. The conquest of the Americas led to the expulsion, exploitation and eradication of its indigenous peoples. The trade in sugar cane products became the linchpin of colonial rule on the Caribbean islands. After the extinction of almost the entire native pop- ulation, large areas became available for cultivation. Millions of Africans were deported and enslaved over the course of 400 years to work on the plantations under inhuman conditions. One trade item, which also found its way to Europe with the growing maritime traffic, was Chinese porcelain. Still a mysterious substance in the 16th century, vessels made from the luxurious-looking material quickly gained wide popularity with the intensification of the export trade by the Dutch. Millions of East Asian porcelains reached Europe in the 17th and 18th centuries, partly through the professional East Asia trading companies and partly through private enterprise. Chinese and – later – Japanese porcelain soon became deeply anchored in European culture, where it was used for its intended purpose as tableware, as gifts exchanged between royal courts, or as decorative and useful items in the households of even the general public.
    [Show full text]
  • Geist Und Glanz Der Dresdner Gemäldegalerie
    Dresden_Umschlag_070714 15.07.14 16:23 Seite 1 Geist und Glanz der Dresdner Gemäldegalerie Rund hundert Meisterwerke berühmter Künstler, darunter Carracci, van Dyck, Velázquez, Lorrain, Watteau und Canaletto, veranschau lichen Entstehen und Charakter der legendär reichen Dresdner Gemälde - galerie in Barock und Aufklärung. Im »Augusteischen Zeitalter« der sächsischen Kurfürsten und polnischen Könige August II. (1670–1733) und August III. (1696–1763), einer Zeit der wirtschaft lichen und kultu- Dr Geis rellen Blüte, dienten zahlreiche Bauprojekte und die forcierte Entwick- esdner Gemäldegal lung der königlichen Sammlungen dazu, den neuen Machtanspruch des t und Glanz der Dresdner Hofs zu demonstrieren. Damals erhielt die Stadt mit dem Bau von Hof- und Frauenkirche ihre heute noch weltberühmte Silhouette. Renommierte Maler wie der Franzose Louis de Silvestre (1675–1760) oder der Italiener Bernardo Bellotto (1722–1780) wurden als Hofkünst- ler verpflichtet. Diese lebendige und innovative Zeit bildet den Hinter- grund, vor dem die Meisterwerke ihre Geschichten erzählen. erie HIRMER WWW.HIRMERVERLAG.DE HIRMER Dresden_Inhalt_070714 07.07.14 15:30 Seite 1 Rembrandt Tizian Bellotto Dresden_Inhalt_070714 07.07.14 15:30 Seite 2 Dresden_Inhalt_070714 07.07.14 15:30 Seite 3 Rembrandt Geist und Glanz der Tizian Dresdner Gemäldegalerie Bellotto Herausgegeben von Bernhard Maaz, Ute Christina Koch und Roger Diederen HIRMER Dresden_Inhalt_070714 07.07.14 15:31 Seite 4 Dresden_Inhalt_070714 15.07.14 16:16 Seite 5 Inhalt 6 Grußwort 8 Vorwort Bernhard Maaz
    [Show full text]
  • Stephano Torelli's “Coronation Portrait of Catherine II”: Crowns As a Visual Formula of the Lands of the Russian Empire
    UDC 75.04 Вестник СПбГУ. Искусствоведение. 2020. Т. 10. Вып. 2 Stephano Torelli’s “Coronation Portrait of Catherine II”: Crowns as a Visual Formula of the Lands of the Russian Empire* E. A. Skvortcova Saint Petersburg State University, 7–9, Universitetskaya nab., St. Petersburg, 199034, Russian Federation For citation: Skvortcova, Ekaterina. “Stephano Torelli’s ‘Coronation Portrait of Catherine II’: Crowns as a Visual Formula of the Lands of the Russian Empire”. Vestnik of Saint Petersburg University. Arts 10, no. 2 (2020): 274–299. https://doi.org/10.21638/spbu15.2020.206 The “Coronation portrait of Catherine II” by Stephano Torelli introduces a new type of ico- nography of the Russian Empress in which she appears as a bearer of multiple (i. e. four) crowns. Whereas originally such a portrait type in European art served as a representation of the several titles of the ruler and correspondent lands joined in a personal union, it became a representation of the titles of Catherine II as the Russian Empress and tsarina of the conquered tsarstva of Kazan, Astrakhan and Siberia. The theme of titles and lands of the Empire had al- ready developed in 18th-century Russia in other forms (allegorical figures, coats-of-arms) and visual media (decorative painting and sculpture). Circa 10 examples collected here for the first time are set side by side with their European counterparts. Three types of representations of native and conquered territories emerged in which the very choice of particular titles and the place of their symbolic representation in composition accentuated different aspects in the con- cept of the Russian Empire.
    [Show full text]
  • Lagnasco / Wallenstein
    LAGNASCO / WAllENSTEIN SIX TEA BOWLS AND SAUCERS FROM THE EARLIEst ARMORIAL SERVICE KNOWN TO HAVE BEEN MANUFACTURED AT MEISSEN BÖttGER PORCELAIN C. 1720 These six Böttger porcelain tea bowls and saucers came from a coffee and tea service that was one of the earliest Meissen armorial services known to us today. The alliance coat of arms and Funcke colours enable us to date it with confidence to around 1720. The arms are those of Pietro Roberto Taparelli, Conte di Lagnasco (1659–1732) and his (second) wife Countess Maria Josepha Antonia Carolina Waldstein or Wallenstein (1687–1735), the widowed Countess Thun-Hohenstein. We are extremely grateful to Dr Cristina Maritano, curator of the Museo Civico Palazzo Madama in Turin, for drawing our attention to the Taparelli family and providing information on its background; and to Dr Johanna Lessmann for putting us in contact with Dr Maritano. The service can be assumed to have been a wedding gift from Augustus the Strong to his gen- eral and minister Count Lagnasco, who was close to the King and rendered him loyal service in his extensive purchases of East Asian porcelain from the Netherlands. Count Lagnasco married Countess Waldstein on 7 February 1721 in Vienna. The Taparelli family continued to enjoy close relations with the Saxon court even after Count Lagnasco’s death in 1732. From that year onwards his nep- hew Carlo Francesco Taparelli, Conte di Lagnasco, was royal Saxon-Polish envoy to the Holy See in Rome; around 1735 Augustus III made him a gift of a 26-piece coffee, tea and chocolate service decorated with the Taparelli arms, which is a prize example of the Italian armorial services of the later period.
    [Show full text]
  • Faking, Forging, Counterfeiting
    Daniel Becker, Annalisa Fischer, Yola Schmitz (eds.) Faking, Forging, Counterfeiting Daniel Becker, Annalisa Fischer, Yola Schmitz (eds.) in collaboration with Simone Niehoff and Florencia Sannders Faking, Forging, Counterfeiting Discredited Practices at the Margins of Mimesis Funded by the Elite Network of Bavaria as part of the International Doctoral Program MIMESIS. An electronic version of this book is freely available, thanks to the support of libraries working with Knowledge Unlatched. KU is a collaborative initiative designed to make high quality books Open Access for the public good. The Open Access ISBN for this book is 978-3-8394-3762-9. More information about the initiative and links to the Open Access version can be found at www.knowledgeunlatched.org. This work is licensed under the Creative Commons Attribution-NonCommer- cial-NoDerivs 4.0 (BY-NC-ND) which means that the text may be used for non- commercial purposes, provided credit is given to the author. For details go to http://creativecommons.org/licenses/by-nc-nd/4.0/. To create an adaptation, translation, or derivative of the original work and for commercial use, further permission is required and can be obtained by contac- ting [email protected] © 2018 transcript Verlag, Bielefeld Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Na- tionalbibliografie; detailed bibliographic data are available in the Internet at http://dnb.d-nb.de Cover concept: Maria Arndt, Bielefeld
    [Show full text]
  • Miniatury Europejskie Collection of European Miniatures
    The Royal Castle in Warsaw – Museum The Royal Castle in Warsaw – Muzeum Zamek Królewski w Warszawie Katalog zbiorów Zamek Królewski w Warszawie – Muzeum Collection of European Miniatures Miniatury europejskie Catalogue The Royal Castle in Warsaw Katalog zbiorów – Museum European Miniatures Miniatury europejskie Hanna Małachowicz Catalogue Collection of Zamek Królewski w Warszawie – Muzeum Miniatury europejskie Katalog zbiorów The Royal Castle in Warsaw – Museum Collection of European Miniatures Catalogue The Royal Castle in Warsaw – Museum Collection of European Miniatures Catalogue Hanna Małachowicz The Royal Castle in Warsaw – Museum Warsaw 2018 Zamek Królewski w Warszawie – Muzeum Miniatury europejskie Katalog zbiorów Hanna Małachowicz Zamek Królewski w Warszawie – Muzeum Warszawa 2018 Redakcja i korekta tekstów polskich: Editing and proofreading of Polish version: Daniela Galas Tłumaczenie: Translation: Anne-Marie Fabianowska Korekta tekstów angielskich: Proofreading of English version: Maria Aldridge Indeks: Index: Grażyna Waluga Opracowanie graficzne, skład i łamanie: Graphic design, pre-press, typesetting: Zofia Tomaszewska Autorzy fotografii: Photographs: Andrzej Ring, Lech Sandzewicz oraz wymienieni w spisie ilustracji porównawczych na s. 259 as well as those indicated in the list of comparative illustrations on p. 260 © Copyright by Zamek Królewski w Warszawie – Muzeum 2018 ISBN 978-83-7022-238-3 Arx Regia® Ośrodek Wydawniczy Zamku Królewskiego w Warszawie – Muzeum plac Zamkowy 4, 00-277 Warszawa tel. 22 35 55 232, 22 35 55
    [Show full text]
  • Sächsische Kunstkammer in Dresden Geschichte Einer Sammlung Die Kurfürstlich- Sächsische Herzlicher Dank Kunstkammer
    Die kurfürstlich- sächsische Kunstkammer in Dresden Geschichte einer Sammlung Die kurfürstlich- sächsische Herzlicher dank Kunstkammer freunde des grünen gewölbes e.v. MUSEIS SAXONICIS USUI – in Dresden freunde der staatlichen Kunstsammlungen dresden e.v. dr. frank Knothe, dresden Geschichte einer tavolozza foundation, münchen thomas färber, genf Sammlung ermöglichten den druck dieses bandes Herausgegeben im au ftrag der staatlicH en Kunstsammlungen dr esden von di r K syndram und marti na mi n n i ng san dstei n ver lag Inhalt 8 Di r K syn dram · marti na mi n n i ng 142 Peter PlaSSmeyer 246 Di rK Weber 380 Clau dia br i n K Literaturbericht zur Dresdner Kunstkammer »liegen hir und da in der grösten confusion herum« »Alles was frembd, das auß den Indias kombt« »auf daß Ich alles zu sehen bekhomme« Die Verwahrung der Dresdner Kunstkammer im Zwinger Von stummen Zeugen und illustrativen Zeugnissen Die Dresdner Kunstkammer bis zu ihrer Auflösung im 19. Jahrhundert exotischer Welten in der Dresdner Kunstkammer und ihr Publikum im 17. Jahrhundert 14 Di r K syn dram Die Anfänge der Dresdner Kunstkammer 152 Marti na mi n n i ng 262 Klaus ThalH eim 408 Peter Wiegand Die Auflösung der königlich-sächsischen Kunstkammer Minerale, Gesteine und Fossilien Die Kunstkammer in der Quellenüberlieferung 46 MattH ias dämmig im Jahr 1832 in der Dresdner Kunstkammer des Hauptstaatsarchivs Dresden Gabriel Kaltemarckts Bedencken, wie Mit einem Exkurs zu den Kunstkammerstücken eine kunst-cammer aufzu richten seyn mochte im Archivbestand von 1587 mit einer Einleitung
    [Show full text]
  • SKD-Jahresbericht-2009.Pdf
    für Dresden des18.JahrhundertsMalerei Wirklichkeit.« und Sehnsucht »Wunschbilder. BlickindieAusstellung Titel: –1709) (1548 derKunst« im Spiegel Ehen undAllianzen Sachsen undDänemark– »Mit Fortuna übersMeer. Die Sonderausstellung Staatlich E Ku nStsammlu ngEn Dresden · JAh resbEricht 2009 2009 Jahresbericht 2009 Kunsthalle im Lipsiusbau Zwinger Schloss Pillnitz, Bergpalais Seite 4 i nstitution mit freundlicher Vorwort im Wan del u nterstützung Seite 27 Seite 35 Von barock Die Staatlichen Kunstsammlungen Gemeinsam »Für Canaletto« – bis baselitz Dresden als Staatsbetrieb im Ein Dresdner Wahrzeichen braucht Freistaat Sachsen Unterstützung! Seite 7 Seite 28 Seite 36 Wirtschaftsdaten Freundeskreise son der- Seite 30 Seite 39 ausstellungen Kunstsammlungen und Ethno­ Sponsoren und Förderer 2009 graphische Sammlungen unter­ zeichnen Kooperationsvertrag Seite 13 aus den sammlu ngen Sonderausstellungen Seite 31 in Dresden, Sachsen Zwei Direktoren verabschieden und Deutschland 2009 sich – Wechsel bei Alten Meistern Seite 43 und Kupferstich­Kabinett Erwerbungen und Schenkungen Seite 24 Sonderausstellungen im Seite 50 Ausland 2009 Publikationen Seite 52 Recherchen und Restitutionen Seite 53 Restaurierungen Japanisches Palais Albertinum Residenzschloss Wissenschaft Seite 62 museumsbauten u n d ­Forsch u ng Zum Beispiel: Kooperation mit der Technischen Universität Dresden Seite 77 Seite 59 Seite 63 Unsichtbare und Wissenschaftliche Projekte Zum Beispiel: Staatliche Ethno­ sichtbare Architektur und Kooperationen graphische Sammlungen Sachsen Seite 59
    [Show full text]
  • November 2014 Newsletter
    historians of netherlandish art NEWSLETTER AND REVIEW OF BOOKS Dedicated to the Study of Netherlandish, German and Franco-Flemish Art and Architecture, 1350-1750 Vol. 31, No. 2 November 2014 Jacob Jordaens, Merry Company, c. 1644. Watercolor over black chalk, heightened with white gouache, 21.9 x 23.8 cm. The J. Paul Getty Museum, Los Angeles. Exhibited at The Getty Center, Los Angeles, October 14, 2014 – January 11, 2015. HNA Newsletter, Vol. 23, No. 2, November 2006 1 historians of netherlandish art 23 S. Adelaide Avenue, Highland Park, NJ 08904 Telephone: (732) 937-8394 E-Mail: [email protected] www.hnanews.org Historians of Netherlandish Art Offi cers President – Amy Golahny (2013-2017) Lycoming College Williamsport PA 17701 Vice-President – Paul Crenshaw (2013-2017) Providence College Department of Art History 1 Cummingham Square Providence RI 02918-0001 Treasurer – Dawn Odell Lewis and Clark College 0615 SW Palatine Hill Road Portland OR 97219-7899 European Treasurer and Liaison - Fiona Healy Seminarstrasse 7 D-55127 Mainz Germany Contents Board Members President's Message .............................................................. 1 HNA News ............................................................................1 Lloyd DeWitt (2012-2016) Stephanie Dickey (2013-2017) Personalia ............................................................................... 4 Martha Hollander (2012-2016) Boston Conference Photos ....................................................5 Walter Melion (2014-2018) Exhibitions .........................................................................
    [Show full text]