DOCSLIB.ORG

A PASSION for ART the Collections of Archduke Leopold Wilhelm INTERMEZZO 06

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A PASSION for ART the Collections of Archduke Leopold Wilhelm INTERMEZZO 06 A PASSION FOR ART The Collections of Archduke Leopold Wilhelm INTERMEZZO 06 JUNE 17 TO SEPTEMBER 28, 2014 In 2014 we celebrate the 400th birthday of Archduke Leopold Wilhelm (1614-1662). His exceptional and comprehensive collection forms a seminal part of the celebrated holdings of the Kunsthistorisches Museum. This is why the museum has decided to dedicate its sixth Intermezzo exhibition to this little-known member of the house of Habsburg. “… WITH BOTH SWORD AND QUILL …” As the youngest son of Emperor Ferdinand II, Leopold Wilhelm was destined for a career in the Church. To ensure his financial independence he was elected bishop of Passau and of Strasbourg at the tender age of twelve; other ecclesiastical offices followed. But his life was mainly dominated by the Thirty Years’ War during which he twice commanded the Imperial army. His true love, however, were the arts. Even during the turmoil of war Leopold Wilhelm found time to compose Italian poetry. A contemporary described the Archduke in a poem as a fighter “with both sword and quill”, but he was equally known for his love of music. IN THE RIGHT PLACE AT THE RIGHT TIME In 1647 Leopold Wilhelm was installed as Governor of the Spanish Netherlands. During his time there his love of art exploded and he became a passionate collector – a Habsburg in the right place at the right time, following the example of his art-loving predecessors with abandon. After the upheavals of the English Civil War – Cromwell taking over the government, the execution of King Charles I – a number of important English collections were put on the market, some of them in Antwerp and in Brussels. Leopold Wilhelm acquired – not only from English sellers – over 500 Kunstkammer objets d’art made of marble, bronze or ivory, as well as sculptures, tapestries and around 1400 paintings and 350 drawings. The collection was remarkable both for its size and for its outstanding quality. This is how numerous important masterpieces, among them works by Jan van Eyck, Francesco Laurana, Giorgione, Titian, Antico, Raphael and Rubens entered the Habsburg collections. But Leopold Wilhelm also patronized contemporary baroque painters and sculptors. He commissioned works from over 60 artists, among them celebrated Flemish masters like David Teniers the younger, Jan Davidz de Heem or Jérôme II Duquesnoy. TRADITION AND REPRESENTATION In his patronage and connoisseurship Leopold Wilhelm followed in the footsteps of a long line of Habsburg rulers of the Low Countries. The first was Margaret of Austria (1840-1530), the daughter of Emperor Maximilian I, who as Governor of the Netherlands called many artists to her court at Malines. Her nephew, Emperor Charles V, grew up at her court; his vast collection forms the foundation of the holdings of the Prado in Madrid. During her tenure as Governor, Charles’ sister Mary of Hungary assembled a collection in her palace in Brussels before following her brother to Spain – with her artworks – after his abdication. During his time in Brussels Archduke, later Emperor Matthew got so deep into debt that his creditors prevented him from leaving after his tenure as Governor had ended. Only after some hesitation did his brother Emperor Rudolf II, another passionate collector, decide to pay his debts and set him free. The joint Governors Archduke Albrecht and Infanta Isabella also supported the arts and installed a gallery at their palace in Brussels. After their death, however, their collection was dispersed and all that was left for Leopold Wilhelm to admire were the remaining paintings by Rubens. Like other contemporary collections, Leopold Wilhelm’s also functioned as a display of his status and authority. These extensive holdings documented their owner’s learning, his visual and intellectual cosmos, and reflected how he saw himself. His court painter David Teniers the younger celebrated the archducal picture collection in numerous gallery paintings. This is why Leopold Wilhelm commissioned different painted versions of the gallery and dispatched them to many of the major courts in Europe. The version sent to Vienna forms the focus of this exhibition. THE EXHIBITION The exhibition “A Passion for Art” offers an overview of the impressive breath of the Archduke’s connoisseurship and artistic interests that not only focused on paintings. It discusses the installation and presentation of collections and documents how Leopold Wilhelm cleverly publicized his collection’s renown by commissioning gallery paintings and the first-ever printed museum catalogue, the Theatrum Pictorium. Leopold Wilhelm’s collection continues to form a seminal part of the celebrated holdings of the Kunsthistorisches Museum Vienna. In addition to the show installed in the Special Exhibition Gallery visitors are invited to go on a “treasure hunt” in the Picture Gallery and the Kunstkammer: a map and signs on the labels of artworks identify works once in the magnificent collection assembled by Archduke Leopold Wilhelm. The exhibition is the sixth in our INTERMEZZO series, in which the Kunsthistorisches Museum showcases a selection of artworks from its own holdings in a single gallery, creating a stimulating dialogue. This exhibition is curated by a team of in-house curators from the participating collections. Team of curators: Anna Fabiankowitsch (Coin Collection), Gerlinde Gruber (Picture Gallery) Rotraut Krall (Education dept.), Stefan Krause (Collection of Arms and Armour), Manuela Laubenberger (Collection of Greek and Roman Antiquities), Konrad Schlegel (Kunstkammer), Heinz Winter (Coin Collection), Karin Zeleny (Editing dept.) and Renate Schreiber (historian). PRESS PHOTOGRAPHS These images may be used free of charge when writing about the exhibition; to download them go to press.khm.at. David Teniers the younger Archduke Leopold Wilhelm in his gallery in Brussels c. 1650 canvas, 124 cm x 165 cm Picture Gallery © KHM David Teniers the younger Archduke Leopold Wilhelm (1614-1662) in the background the Siege of Gravelingen c. 1652 canvas, 203,5 x 136 cm Picture Gallery © KHM Carlo Saraceni Judith with the Head of Holofernes c. 1610/15 canvas, 90 x 79 Picture Gallery © KHM Paolo Caliari, called Veronese Christ Raising the Son of the Widow of Naim c. 1565/1570 canvas, 102 x 136 cm Picture Gallery © KHM Tiziano Vecellio, gen. Tizian Cherry Madonna (on the left St. Joseph, on the right the Infant St. John the Baptist and St. Zachary) c. 1516/18 transferred from canvas onto panel, 81 x 99,5 cm Picture Gallery © KHM Peter Paul Rubens The Lamentation dated 1614 oak panel, 40,5 x 52,5 cm Picture Gallery © KHM Emperor Lucius Verus c. AD 160 marble h. (total) 100 cm Collection of Greek and Roman Antiquities © KHM Nicolaus van Hoy/Frans van de Steen The Gallery at Stallburg Palace from the Theatrum Pictorum of David Teniers the younger 1660 Library © KHM Leonhard Kern Szene from the Thirty Years’ War 1656(?)/59 Stone, alabaster h. 34,3 / w. 16,5 / d. 30 cm Kunstkammer © KHM Giusto Le Court Invidia (Fury); bust before 1662 stone, marble h. 58,5 cm Kunstkammer © KHM Attributed to Francesco Fanelli Venus or Amphitrite 2nd quarter of the 17th century Bronze h. 49,2 / w. 19 / d. 19 cm Kunstkammer © KHM Pier Jacopo Alari-Bonacolsi, called Antico Bacchus; bust um 1520/1525 Bronze, partly gilded h. 59 / w. 43 / d. 27 cm Kunstkammer © KHM Ink Well in the Shape of a Toad Statuette early 16th century h. 8, 5 / l. 14,5 / w. 13 cm Kunstkammer © KHM INFORMATION AND EXHIBITION PROGRAMME TALK Fri, Sept. 12., 4 p.m. (lecture room): Irene Schaudies (art historian, Netherlands) Celebrating a Habsburg Epiphany Power, Politics & Partying in Jordaens' The King Drinks GUIDED TOURS Would you like to book a guided tour? Please contact: +43 1 525 24 - 5202 [email protected] EXHIBITION CATALOGUE Sabine Haag (Ed.) SAMMELLUST Die Galerie Erzherzog Leopold Wilhelms 112 pages, in German ISBN 978-3-99020-071-1 € 14,95 OPENING HOURS AND ENTRANCE FEES June, July and August open daily! Thursdays, 10 a.m. – 9 p.m. In September: Tuesdays - Sundays, 10 a.m. – 6 p.m. Thursdays, 10 a.m. – 9 p.m. Annual Ticket € 34* Adults € 14 Vienna Card € 13 Concessions € 11 Children under 19 free Group ticket (p.p.) € 10 Audio Guide (german / english) € 4 * Annual Ticket Summer Special Buy an Annual Ticket between June 17 and August 31, 2014 and it will be valid for 14 instead of only 12 months! PRESS OFFICE Nina Auinger-Sutterlüty, MAS Head of Communication and Public Relations Kunsthistorisches Museum mit ÖTM und MVK Burgring 5, 1010 Vienna T +43 1 525 24 - 4021 [email protected] www.khm.at .
Load more

Recommended publications
  • Technological Studies Kunsthistorisches Museum Vienna
    Technological Studies Kunsthistorisches Museum Vienna CONSERVATION – RESTORATION – RESEARCH – TECHNOLOGY Special volume: Storage Vienna, 2015 Technological Studies Kunsthistorisches Museum Vienna Special volume: Storage Vienna, 2015 Technological Studies Kunsthistorisches Museum Vienna CONSERVATION – RESTORATION – RESEARCH – TECHNOLOGY Special volume: Storage Vienna, 2015 Translated from the German volume: Content Technologische Studien Kunsthistorisches Museum. Konservierung – Restaurierung – Forschung – Technologie, Sonderband Depot, Band 9/10, Wien 2012/13 PREFACE Sabine Haag and Paul Frey 6 Editor: Kunsthistorisches Museum Vienna INTRODUCTION Martina Griesser, Alfons Huber and Elke Oberthaler 7 Sabine Haag Editorial Office: ACKNOWLEDGEMENTS 9 Martina Griesser, Alfons Huber, Elke Oberthaler Assistant, Editorial Office: ESSAYS Stefan Fleck Building a Cost-Effective Art Storage Facility that 13 Tanja Kimmel maintains State-of-the-Art Requirements Joachim Huber Creating a Quantity Structure for Planning Storage 21 Translations: Equipment in Museum Storage Areas Aimée Ducey-Gessner, Emily Schwedersky, Matthew Hayes (Summaries) Christina Schaaf-Fundneider and Tanja Kimmel Relocation of the 29 Collections of the Kunsthistorisches Museum Vienna to the New Art Direction: Central Storage Facility: Preparation, Planning, and Implementation Stefan Zeisler Pascal Querner, Tanja Kimmel, Stefan Fleck, Eva Götz, Michaela 63 Photography: Morelli and Katja Sterflinger Integrated Pest Management (IPM) Christian Mendez, Thomas Ritter, Alexander Rosoli,
    [Show full text]
  • Fillegorical Truth-Telling Via the Ferninine Baroque: Rubensg Material Reality
    Fillegorical Truth-telling via the Ferninine Baroque: RubensgMaterial Reality bY Maria Lydia Brendel fi Thesls submitted to the Faculty of Graduate Studies and Research in partial folfiilment of the requirements of the degree of Doctor of Philosophy Department of flrt History McGIll Uniuerslty Montréal, Canada 1999 O Marfa lgdlo Brendel, 1999 National Library Bibliothèque nationale of Canada du Canada Acquisitions and Acquisitions et Bibliographie Services services bibliographiques 395 Wellington Street 395, rue Wellington Ottawa ON K 1A ON4 Ottawa ON K1A ON4 Canada Canada Your hls Votre roferenw Our fib Notre réMrencs The author has granted a non- L'auteur a accordé une licence non exclusive licence allowing the exclusive permettant à la National Library of Canada to Bibliothêque nationale du Canada de reproduce, loan, distribute or sel1 reproduire, prêter, distribuer ou copies of this thesis in rnicrofonn, vendre des copies de cette thèse sous paper or electronic formats. la forme de microfiche/film, de reproduction sur papier ou sur format électronique. The author retains ownership of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantiaî extracts fiom it Ni la thèse ni des extraits substantiels may be printed or otherwise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. Table of Contents Bcknowledgements ..............................................................................................................
    [Show full text]
  • CCS 2016 Venue Guide
    ACM CCS 2016 - Venue Guide Contents Venue Overview ............................................................................................................................................ 2 Directions (to CCS 2016 Conference Venue) ................................................................................................ 3 Conference Venue................................................................................................................................................ 3 How to get to the Conference Venue ................................................................................................................... 4 Directions (airport – city center) ................................................................................................................. 8 Vienna Sightseeing Map .................................................................................................................................... 13 Welcome to Vienna! .......................................................................................................................................... 14 About Vienna ..................................................................................................................................................... 16 The Culinary Side of Vienna .............................................................................................................................. 18 Tips from a Local ..............................................................................................................................................
    [Show full text]
  • 1622］ Bartolomeo Manfredi
    動としてのカラヴァジズムがローマに成 立したのである。註1） バルトロメオ・マンフレーディ［オスティアーノ、 1582 ― ローマ、1622］ 本作品は2002年にウィーンで「マンフレーディの周辺の画家」の 《 キリスト捕 縛 》 作として競売にかけられ世に出た。註 2） その後修復を経て2004年、 1613–15 年頃 油 彩 、カ ン ヴ ァ ス 研究者ジャンニ・パピによって「マンフレーディの最も重要な作品の 120×174 cm ひ と つ 」と し て 紹 介 さ れ （ Papi 2004）、 ハ ー テ ィ エ （ Hartje 2004）お よ Bartolomeo Manfredi [Ostiano, 1582–Rome, 1622] The Capture of Christ び パ ピ（ Papi 2013）のレゾネに真筆として掲載されたほか、2005–06 c. 1613–15 年にミラノとウィーンで開かれた「カラヴァッジョとヨーロッパ」展など Oil on canvas 註 3） 120×174 cm にも出 品された。 P.2015–0001 キリストがオリーヴ山で祈りをささげた後、ユダの裏切りによって 来歴／ Provenance: James Hamilton, 1st Duke of Hamilton (1606–1649), Scotland, listed in Inventories of 1638, 1643 and 1649; Archduke Leopold 捕縛されるという主題は、四福音書すべてに記されている（たとえば Wilhelm (1614–1662) from 1649, Brussels, then Vienna, listed in Inventories マタイ 26:47–56）。 銀 貨 30枚で買収されたユダは、闇夜の中誰がイ of 1659, 1660; Emperor Leopold I, Vienna, listed in Inventory of 1705; Emperor Charles VI, Stallburg, Vienna, listed in List of 1735; Anton Schiestl, エス・キリストであるかをユダヤの祭司長に知らせる合図としてイエ Curate of St. Peter’s Church, before 1877, Vienna; Church of St. Stephen, Baden, Donated by Anton Schiestl in 1877; Sold by them to a Private スに接吻をしたのである。マンフレーディの作品では、甲冑をまとった Collection, Austria in 1920 and by descent; Sold at Dorotheum, Vienna, 2 兵士たちに囲まれ、赤い衣をまとったキリストが、ユダから今にも裏 October 2002, lot 267; Koelliker Collection, Milan; purchased by NMWA in 2015. 切りの接吻を受けようとしている。キリストは僅かに視線を下に落と 展覧会歴／ Exhibitions: Milan, Palazzo Reale / Vienna, Liechtenstein し、抵抗するでもなく自らの運 命を受け入 れるかのように静 かに両 手 Museum, Caravaggio e l’Europa: Il movimento caravaggesco internazionale da Caravaggio a Mattia Preti, 15 October 2005–6 February 2006 / 5 を広げている。 March 2006–9 July 2006, no.
    [Show full text]
  • Center 5 Research Reports and Record of Activities
    National Gallery of Art Center 5 Research Reports and Record of Activities ~ .~ I1{, ~ -1~, dr \ --"-x r-i>- : ........ :i ' i 1 ~,1": "~ .-~ National Gallery of Art CENTER FOR ADVANCED STUDY IN THE VISUAL ARTS Center 5 Research Reports and Record of Activities June 1984---May 1985 Washington, 1985 National Gallery of Art CENTER FOR ADVANCED STUDY IN THE VISUAL ARTS Washington, D.C. 20565 Telephone: (202) 842-6480 All rights reserved. No part of this book may be reproduced without thc written permission of the National Gallery of Art, Washington, D.C. 20565. Copyright © 1985 Trustees of the National Gallery of Art, Washington. This publication was produced by the Editors Office, National Gallery of Art, Washington. Frontispiece: Gavarni, "Les Artistes," no. 2 (printed by Aubert et Cie.), published in Le Charivari, 24 May 1838. "Vois-tu camarade. Voil~ comme tu trouveras toujours les vrais Artistes... se partageant tout." CONTENTS General Information Fields of Inquiry 9 Fellowship Program 10 Facilities 13 Program of Meetings 13 Publication Program 13 Research Programs 14 Board of Advisors and Selection Committee 14 Report on the Academic Year 1984-1985 (June 1984-May 1985) Board of Advisors 16 Staff 16 Architectural Drawings Advisory Group 16 Members 16 Meetings 21 Members' Research Reports Reports 32 i !~t IJ ii~ . ~ ~ ~ i.~,~ ~ - ~'~,i'~,~ ii~ ~,i~i!~-i~ ~'~'S~.~~. ,~," ~'~ i , \ HE CENTER FOR ADVANCED STUDY IN THE VISUAL ARTS was founded T in 1979, as part of the National Gallery of Art, to promote the study of history, theory, and criticism of art, architecture, and urbanism through the formation of a community of scholars.
    [Show full text]
  • Titian's Later Mythologies Author(S): W
    Titian's Later Mythologies Author(s): W. R. Rearick Source: Artibus et Historiae, Vol. 17, No. 33 (1996), pp. 23-67 Published by: IRSA s.c. Stable URL: http://www.jstor.org/stable/1483551 . Accessed: 18/09/2011 17:13 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. IRSA s.c. is collaborating with JSTOR to digitize, preserve and extend access to Artibus et Historiae. http://www.jstor.org W.R. REARICK Titian'sLater Mythologies I Worship of Venus (Madrid,Museo del Prado) in 1518-1519 when the great Assunta (Venice, Frari)was complete and in place. This Seen together, Titian's two major cycles of paintingsof mytho- was followed directlyby the Andrians (Madrid,Museo del Prado), logical subjects stand apart as one of the most significantand sem- and, after an interval, by the Bacchus and Ariadne (London, inal creations of the ItalianRenaissance. And yet, neither his earli- National Gallery) of 1522-1523.4 The sumptuous sensuality and er cycle nor the later series is without lingering problems that dynamic pictorial energy of these pictures dominated Bellini's continue to cloud their image as projected
    [Show full text]
  • Barbarigo' by Titian in the National Gallery, London
    MA.JAN.MAZZOTTA.pg.proof.corrs_Layout 1 08/12/2011 15:31 Page 12 A ‘gentiluomo da Ca’ Barbarigo’ by Titian in the National Gallery, London by ANTONIO MAZZOTTA ‘AT THE TIME he first began to paint like Giorgione, when he was no more than eighteen, [Titian] made the portrait of a gen- tleman of the Barbarigo family, a friend of his, which was held to be extremely fine, for the representation of the flesh-colour was true and realistic and the hairs were so well distinguished one from the other that they might have been counted, as might the stitches in a doublet of silvered satin which also appeared in that work. In short the picture was thought to show great diligence and to be very successful. Titian signed it in the shadow, but if he had not done so, it would have been taken for Giorgione’s work. Meanwhile, after Giorgione himself had executed the principal façade of the Fondaco de’ Tedeschi, Titian, through Barbarigo’s intervention, was commissioned to paint certain scenes for the same building, above the Merceria’.1 Vasari’s evocative and detailed description, which would seem to be the result of seeing the painting in the flesh, led Jean Paul Richter in 1895 to believe that it could be identified with Titian’s Portrait of a man then in the collection of the Earl of Darnley at Cobham Hall and now in the National Gallery, London (Fig.15).2 Up to that date it was famous as ‘Titian’s Ariosto’, a confusion that, as we shall see, had been born in the seventeenth century.
    [Show full text]
  • LA VERÓNICA DE ZURBARÁN Victor I. STOICHITA*
    LA VERÓNICA DE ZURBARÁN Victor I. STOICHITA* Trad. Ana María CODERCH Plinio, el Viejo, consideraba la naturaleza muerta como un género menor. En su Naturalis Historia hace un juego de palabras entre los términos «rhopograp- hia» («pintura menor») y «rhyparografia» (pintura sucia). Uno de los más famo- sos «rhyparografoi» de la Antigŭedad, Sosos de Pérgamo, había, seg ŭn Plinio, realizado un mosaico en «trompe l'oeil» que fingía el suelo, sin barrer, de un sa- lán comedor («asarotos oikos»), es decir, presentaba una imagen en la que el en- gaño del ojo se asociaba a la naturaleza muerta I. Cuando, en el siglo xvii, la naturaleza muerta reaparece con nuevos bríos, la crítica artística se muestra muy reservada. El comentario erudito acude constante- mente a Plinio y se muestra poco partidario de incluir el «trompe-l'oeil» y la na- turaleza muerta en el género mayor 2• Desde este punto de vista, la obra de Zurbarán se nos plantea como una curio- sa paradoja: Zurbarán pintó una larga serie de retratos de Cristo 3 , que por * Catedrático de la Universidad de Friburgo. I PLINIO EL VIEJO, Naturalis Historia, XXXV, 112. Véase también: N. BxvsoN, Looking at the Overlooked. Four Essays on Still Life Painting, Cambridge, Mass. 1990, pp. 60 ss. 2 Me limito aqui, a citar los textos españoles más importantes: F. PACHECO, Arte de la Pintura (1649), ed. por F. J. SÁNCHEZ CANTON, Madrid 1956, t. II, p. 136; V. CARDUCHO, Diálogos de la Pintura (1633), ed. por Fr. CALvo SERRALLER, Madrid 1979, p. 114; A. PALOMINO, El Museo pictóri- co y Escala óptica, t.
    [Show full text]
  • Historic Centre of Vienna
    WHC Nomination Documentation File Name: 1033.pdf UNESCO Region: EUROPE AND THE NORTH AMERICA __________________________________________________________________________________________________ SITE NAME: Historic Centre of Vienna DATE OF INSCRIPTION: 16th December 2001 STATE PARTY: AUSTRIA CRITERIA: C (ii)(iv)(vi) DECISION OF THE WORLD HERITAGE COMMITTEE: Excerpt from the Report of the 25th Session of the World Heritage Committee The Committee inscribed the Historic Centre of Vienna on the World Heritage List under criteria (ii), (iv), and (vi): Criterion (ii): The urban and architectural qualities of the Historic Centre of Vienna bear outstanding witness to a continuing interchange of values throughout the second millennium. Criterion (iv): Three key periods of European cultural and political development - the Middle Ages, the Baroque period, and the Gründerzeit - are exceptionally well illustrated by the urban and architectural heritage of the Historic Centre of Vienna. Criterion (vi): Since the 16th century Vienna has been universally acknowledged to be the musical capital of Europe. While taking note of the efforts already made for the protection of the historic town of Vienna, the Committee recommended that the State Party undertake the necessary measures to review the height and volume of the proposed new development near the Stadtpark, east of the Ringstrasse, so as not to impair the visual integrity of the historic town. Furthermore, the Committee recommended that special attention be given to continuous monitoring and control of any changes to the morphology of the historic building stock. BRIEF DESCRIPTIONS Vienna developed from early Celtic and Roman settlements into a Medieval and Baroque city, the capital of the Austro- Hungarian Empire. It played an essential role as a leading European music centre, from the great age of Viennese Classicism through the early part of the 20th century.
    [Show full text]
  • KHM Sammellustcover.Indd
    DE HERAUSGEBERIN Dr. Sabine Haag EINLEITUNG Viele Menschen gehen ihrer Sammellust mit Generaldirektorin Enthusiasmus nach, doch nur wenige Samm- Kunsthistorisches Museum Wien lungen werden über Jahrzehnte oder gar Jahr- Burgring , Wien hunderte gleichsam als Einheit bewahrt und ge- © KHM schätzt. Zu diesen Ausnahmen gehört glück- Autoren: licherweise die außergewöhnlich qualitätvolle Gerlinde Gruber (Barocke Hängung, , , ) »galeria« von Erzherzog Leopold Wilhelm Barbara Herbst (, , , ) (–). Anlässlich der . Wiederkehr sei- Rotraut Krall (, , , , , , , ) nes Geburtstages präsentiert das Kunsthistori- Manuela Laubenberger () sche Museum Wien eine Auswahl aus seiner Konrad Schlegel (, , , , , ) Sammlung, die einen grundlegenden Bestand Renate Schreiber (Einleitung, ) des Hauses umfasst. Mit Leidenschaft und ei- Agnes Stillfried (, , , , ) nem großen Teil der ihm zur Verfügung stehen- Francesca del Torre Scheuch () den Mittel hat der Erzherzog seine Kunstsamm- Daniel Uchtmann (, , , ) lung zusammengetragen. Er nutzte sie auch ge- Karoline Zhuber-Okrog () schickt für sein Ansehen: Indem er seine Sammellust Andreas Zimmermann (, , , ) Sammellust Meisterwerke durch gemalte und gedruckte Bil- der international bekannt machte, etablierte er seinen Ruf als exzellenter Kenner und Liebha- PARTNER ber der Künste. W Saal VIII bietet einen Eindruck von der Viel- LD IL O H P E falt der Sammlung und wie Leopold Wilhelm L O M ÖFFNUNGSZEITEN 17. Juni bis 28. September 2014 E sie präsentierte. Zusätzlich werden in der Ge- L Di – So, – Uhr; Do – Uhr
    [Show full text]
  • Bruegel the Hand of the Master
    BRUEGEL THE HAND OF THE MASTER The 450th Anniversary Edition BRUEGEL THE HAND OF THE MASTER Essays in Context Edited by Alice Hoppe-Harnoncourt, Elke Oberthaler, Sabine Pénot, Manfred Sellink and Ron Spronk CONTENTS 8 Introduction: 96 Pieter Bruegel the Elder and 210 Dendroarchaeology of the Panels ESSAYS FROM THE VIENNA EXHIBITION E-BOOK (2018) Bruegel between 2019 and 2069 Flemish Book Illumination by Pieter Bruegel the Elder in the Stefan Weppelmann Till-Holger Borchert Kunsthistorisches Museum, Vienna Pascale Fraiture 336 Leading the Eye and Staging the Composition. Some Remarks 12 Pieter Bruegel: A Preliminary 114 Traces of Lost Pieter Bruegel on Pieter Bruegel the Elder’s Reconstruction of his Network Paintings Revealed through 228 Bruegel’s Panel Paintings in Vienna: Compositional Techniques Jan Van der Stock Derivative Paintings, Phantom Some Remarks on their Research, Manfred Sellink Copies and Dealer Practices Construction and Condition 30 ‘Die 4. Jahrs Zeiten, fecit der alte Ingrid Hopfner and Georg Prast Hans J. van Miegroet 358 The Rediscovery of Pieter Bruegel Brueghel.’ The Changing Story the Elder. The Pioneers of Bruegel of Bruegel’s Cycle of the Seasons 124 Observations on the Genesis of 248 Survey of the Bruegel Paintings Scholarship in Belgium and Vienna in the Imperial Collection Pieter Bruegel the Elder’s of the Kunsthistorisches Museum Sabine Pénot Alice Hoppe-Harnoncourt The Conversion of Saul and the from a Technological Point of View Sabine Stanek, Václav Pitthard, Katharina Uhlir, Examination of Two Copies Martina Griesser and Elke Oberthaler 372 Antwerp – Brussels – Prague – 46 Functions of Drawings Christina Currie and Dominique Allart Vienna.
    [Show full text]
  • April 2007 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. 24, No. 1 www.hnanews.org April 2007 Have a Drink at the Airport! Jan Pieter van Baurscheit (1669–1728), Fellow Drinkers, c. 1700. Rijksmuseum, Amsterdam. Exhibited Schiphol Airport, March 1–June 5, 2007 HNA Newsletter, Vol. 23, No. 2, November 2006 1 historians of netherlandish art 23 S. Adelaide Avenue, Highland Park NJ 08904 Telephone/Fax: (732) 937-8394 E-Mail: [email protected] www.hnanews.org Historians of Netherlandish Art Officers President - Wayne Franits Professor of Fine Arts Syracuse University Syracuse NY 13244-1200 Vice President - Stephanie Dickey Bader Chair in Northern Baroque Art Queen’s University Kingston ON K7L 3N6 Canada Treasurer - Leopoldine Prosperetti Johns Hopkins University North Charles Street Baltimore MD 21218 European Treasurer and Liaison - Fiona Healy Marc-Chagall-Str. 68 D-55127 Mainz Germany Board Members Contents Ann Jensen Adams Krista De Jonge HNA News .............................................................................. 1 Christine Göttler Personalia ................................................................................ 2 Julie Hochstrasser Exhibitions ............................................................................... 2 Alison Kettering Ron Spronk Museum News ......................................................................... 5 Marjorie E. Wieseman Scholarly Activities Conferences: To Attend ..........................................................
    [Show full text]