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A Selection of Important Objects

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A Selection of Important Objects A SELECTION OF IMPORTANT OBJECTS Emperor Leopold I & Infanta Margarita Teresa Jan Thomas (Ypres 1617–1678 Vienna) 1667, copper Picture Gallery, inv.nos. 9135 & 9136 These two portraits depict Emperor Leopold I and his niece, Infanta Margarita Teresa, during the festivities organized to celebrate their wedding in 1666, which lasted several weeks. Both loved music and acted in the musical drama La Galatea; the court painter depicted them in the baroque costumes they wore on stage. The two portraits therefore also document the beginning of opera in Vienna, of which Leopold was a major patron. Old Man and Young Girl Lucas Cranach the elder (Kronach 1472–1553 Weimar) c. 1530/1540, panel Picture Gallery, inv.nos. 895 No painter’s workshop produced more versions of the subject “ill- matched couples” – which first appear in classical literature - than that run by the Cranachs: over forty versions are known today! Our painting features one of the more innocent compositions: an old man is placing a ring on a young woman’s finger while grabbing hold of her wrist, a clear indication of the dubious nature of their relationship. Cameo: Gemma Claudia Roman, c. AD 49 Five-layered brown and white onyx; gold setting Collection of Greek and Roman Antiquities, inv.no. IXa 63 Two cornucopias rise from a flower, each bearing the portrait busts of two couples depicted in profile: on the left is Emperor Claudius (AD 41-54) and his wife, Agrippina the younger; facing them are the bride’s parents: Germanicus, the brother of the emperor, and his wife, Agrippina the elder. In classical antiquity such state cameos functioned as political propaganda and glorified the ruler and his family. Gold Sandwich Glass with a Depiction of a Married Couple Late Antiquity, 1st half of the 4th century Glass, gold foil Collection of Greek and Roman Antiquities, inv.no. Xia 35 This fragment of the bottom of a glass cup features the busts of a married couple; note the toast framing their heads, a Greek inscription written in Roman letters: PIE ZESES = drink and live. Scroll and wreath are symbols of concordia, matrimonial harmony, suggesting that such glasses may have been popular wedding gifts. Statue of a Baboon with the Figure of a King Original location unknown, probably from the vicinity of Memphis New Kingdom 18th Dynasty, reign of Amenophis II (1454-1419 BC) Rose granite Egyptian and Near Eastern Collection, inv.no. ÄS 5782 The ancient Egyptians regarded baboons as sacred animals that played a role in, for example, the veneration of the sun. Here a giant baboon seems to tower above and protect a figure of the king, his arms outstretched and his hands placed face down on his skirt in a gesture denoting adoration. Note his headdress and the Uraeus, the insignia of royal power. Such statues depicting a god or a divine creature together with a king were originally placed in temples. Iupiter & Io Antonio Allegri, called Correggio (Correggio 1489/94–1534 Reggio Emilia) c. 1530 canvas, 162 x 73,5 cm Picture Gallery, inv.no. 274 In his Metamorphoses Ovid tells how Jupiter caused a fog to cover the earth to prevent beautiful Jo from fleeing from his advances, and her subsequent rape. However, Correggio turns this into a scene of ecstatic surrender: seated by a pool of water, the beautiful nymph seems to abandon herself completely to the god’s embrace. Emperor Friedrich III & Empress Eleonor of Portugal Hans Burgkmair the Elder (Augsburg 1473–1531 Augsburg) and his workshop turn of the 16th century, panel Picture Gallery, inv.nos. 4399 & 4398 The templates for these two portraits have not survived; they date from 1468 – a year after Eleanor’s death – and probably also commemorated her. They are among the earliest official princely portraits in which the sitters are depicted with all the insignia denoting their authority; however, a portrait of this kind showing the ruler’s wife is rare. Eleanor wears the hoop crown she had received from the Pope and clutches a lily as a symbol of royal authority. Seated Couple Giza, Western Cemetery, Mastaba S 4419 Old Kingdom, 6th Dynasty or First Intermediate Period, c. 2374–2040 BC, limestone Egyptian and Near Eastern Collection, inv.no. ÄS 8019 Such statues were placed in tombs to represent the deceased owner at the ritual sacrifices offered in his honour. The owner of the tomb was frequently depicted together with his wife to symbolize their eternal love and affection. All in all, the relationship between husband and wife in ancient Egypt may be described as fair and equal; ideally each complemented the other. Heraclitus and Democritus Salvator Rosa (Arenella/Naples 1615–1673 Rome) c. 1645/49, canvas Picture Gallery, inv.no. 5765 Since the Roman Empire, these two philosophers have been described as a contrasting pair: Heraclitus was regarded as a melancholic pessimist who mourns mankind’s folly while cheerful Democritus merely laughs at it. Salvator Rosa carefully characterizes their contrasting attitudes to life, with the outline of the globe in the foreground referencing the circular shape of the painting. Scenes of Rural Life: A Pair of Lovers in Bower Design and cartoon: Jacob Jordaens (1593–1678) and his workshop, c. 1627–1628 Executed in Brussels, c. 1635, tapestry (wool, silk) Kunstkammer, Collection of Tapestries, inv.no. T C/5 Many details in this tapestry woven after a design by the painter Jacob Jordaens allude to the depicted couple’s amorous relationship. Note the courting doves in the bases of the columns framing the scene; they are symbols of Venus, the goddess of love. The parrot perched above the couple is found in many depictions of a garden of love. Both Cupid’s quiver and bow, and the flaming heart with two arrows on the framing columns also function as symbols of love. Medallion Commemorating the Arrival of the Imperial Family at Innsbruck Anton Franz Wideman July 15, 1765 Gold, minted Coin Collection, inv.no. 1766bβ Minted in connection with the wedding of Archduke Leopold and Maria Ludovica of Bourbon-Spain, the medal commemorates the arrival of the Viennese court at Innsbruck. It depicts Franz Stephan I, Maria Theresia, King Joseph II and Maria Josepha of Bavaria, his second wife. However, the state visit was overshadowed by the sudden death of the Emperor, who passed away at Innsbruck on August 18. The medallion’s delicate rococo-like portraits are probably among the last depictions of the imperial couple together. Funerary Stela of the Sisters Keti & Senet Unknown provenance Early Middle Kingdom, 11h or early 12th Dynasty, c. 2000 BC Polychromed limestone Egyptian and Near Eastern Collection, inv.no. ÄS 95 The two sisters are flanking an offering table laden with calfs’ heads, the head of a goose, various pieces of meat, bread and two cucumbers. These sacrifices symbolize the offerings to the dead believed to ensure that the two sisters will eternally be provided for in the afterlife. Such funerary stelae were placed outside the tomb to identify its owner and indicate the altar for offerings to the dead. Adam & Eva Hans Memling, Bruges, c. 1485/1490 Panel Picture Gallery, inv.nos. 994a & 994b Adam and Eve, the first man and woman, are clutching apples – a reminder of the Fall of man; according to the book of Genesis they had eaten from the tree of knowledge of good and evil. The fact that Memling depicts both holding a fruit taken from this tree may be read as a plea for a “gender-free allocation of guilt”. The two panels once adorned the outside of a small triptych and were visible only when its wings were closed. Man Playing a Hurdy-Gurdy & Young Woman Venetian, c. 1530 canvas Picture Gallery, inv.no. 3052 In early 16th century Venetian art and literature the longing for Arcadia and the rediscovery of bucolic poetry play a seminal role. For poets and musicians love was not only a central theme of their work, it was also a source of inspiration. Here, the beautiful woman is performer, muse and lover at the same time. Stone from an Engagement Ring Roman, 3th– 4th century AD from Petronell (Lower Austria) Onyx; modern gilt-silver setting Collection of Greek and Roman Antiquities, inv.no. IX 2053 The entwined right hands represent the dextrarum iunctio, the “union of the right (hands)”, a gesture that played a seminal role in the ancient Roman marriage ceremony. The Greek inscription translates as “harmony” (Greek: homonoia). Ansegisus & Saint Bega Peter Paul Rubens, Antwerp, c. 1612/1615 panel Picture Gallery, inv.no. 521 The Habsburgs numbered Ansegisus and Bega among their official ancestors; Rubens painted the couple for a series of dynastic portraits. In his composition the female saint, Bega, is given a more prominent position than her husband. The hand resting on her belly may indicate that she is pregnant. Her son, Pepin of Herstal, was the first Carolingian to rule the Frankish Kingdom. .
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