Baroque Routes Newsletter
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Diplomarbeit
DIPLOMARBEIT Titel der Diplomarbeit Kunst hat ihren Preis Ökonomische Aspekte der österreichischen Künstlerlandschaft in der frühen Neuzeit unter Berücksichtigung ihres sozialen Umfeldes Verfasserin Katrin Elisabeth Leisch angestrebter akademischer Grad Magistra der Philosophie (Mag. phil.) Wien, September 2008 Studienkennzahl lt. Studienblatt: A315 Studienrichtung lt. Studienblatt: Kunstgeschichte Betreuer: Ao. Univ.- Prof. Dr. Peter Fidler INHALTSVERZEICHNIS 1. Vorwort................................................................................. 5 2. Einblick in das Österreich der frühen Neuzeit ...................... 7 2.1. Herrscher und Kriege ...........................................................................8 2.1.1. Die Habsburger – das Leben am Hof ...................................................8 2.1.2. Kriege und Unruhen – von den Bauernaufständen, dem Dreißigjährigen Krieg und der Türkenbelagerung Wiens....................12 2.2. Gesellschaftsstruktur – der Adel, das Bürgertum und die Bauern ......16 2.3. Religion – von der Reformation zur Gegenreformation ......................20 3. Wirtschaft, Handel und Geldwert........................................ 23 3.1. Geldwert, Preise und Löhne...............................................................24 3.1.1. Verdienst am Beispiel eines Maurergesellen......................................25 3.1.2. Preise von Lebensmitteln ...................................................................26 4. Vom Handwerker zum (Hof-)Künstler ................................ 28 -
Science, Art and Passion: Treasures from the Imperial Habsburg Kunstkammer
Science, Art and Passion: Treasures from the Imperial Habsburg Kunstkammer Claudia Lehner-Jobst Art Historian and Curator, Vienna 108 The new Kunstkammer galleries at the Kunsthistorisches This meant that the twenty rooms had to be restored in the Museum in Vienna were opened in March 2013 after a period extant nineteenth-century historicist style and their structure of ten years of restoration, construction work, and the had to be maintained. There are now the most advanced design of a contemporary form of presentation. This most air-conditioning systems hidden behind the walls, and similar important and largest collection of Kunstkammer objects wonders have been worked in the three hundred display in the world is displayed in a space of 2.700 square metres. cases. Fifty-one “star brick” chandeliers, to a design by Olafur 2200 pieces, chosen from a tight “short list” of four thousand, Eliasson (b. 1967), add a contemporary element to rooms that thus found new and old places within the extensive holdings formerly had no electric lighting at ceiling level. of the former imperial museum. To understand the new display, which aims to act as a stage for those members of The last of this suite of rooms, the Goldsaal (“Golden Hall”) the Habsburg family who were outstanding collectors, art bears an important ceiling painting entitled Die Mäcene der lovers and initiators of new artistic styles, consideration first bildenden Künste im Hause Habsburg – Habsburg Patrons of the has to be given to certain other matters and facts, such as Fine Arts (fig. 1). This programmatic depiction was executed the Museum building itself, and the complexity of another by Julius Victor Berger (1850–1902) in 1890/91 and shows “house”, namely, the House of Habsburg. -
The Reiner Winkler Collection Joins the Liebieghaus Skulpturensammlung
Press release The Reiner Winkler Collection joins the Liebieghaus Skulpturensammlung The world’s most important private collection of 17th- and 18th-century ivory sculptures has been acquired for the Liebieghaus by the Ernst von Siemens Kunststiftung, the Städelscher Museums-Verein, and the Städel Museum, with the support of the Kulturstiftung der Länder and the Hessische Kulturstiftung. A large part of the collection has been acquired in the form of a generous gift by Reiner Winkler. Exhibition “White Wedding: The Reiner Winkler Ivory Collection Now at the Liebieghaus – Forever.” from 27 March 2019, Liebieghaus Skulpturensammlung Frankfurt am Main, March 26, 2019. The Liebieghaus Skulpturensammlung is to be enriched by a magnificent addition: The Ernst von Siemens Kunststiftung, the Städelscher Museums-Verein, and the Städel Museum, with the support of the Kulturstiftung der Länder and the Hessische Kulturstiftung, have acquired for the Liebieghaus Skulpturensammlung a collection of over 200 valuable ivory sculptures owned by Reiner Winkler. With this acquisition, which was made possible through the generous gift of a large part of the collection by Reiner Winkler, the Liebieghaus has achieved the most important expansion of its own holdings in the history of the museum. From 27 March 2019, some 190 artworks will be shown on view in the exhibition “ ” The ivory works from the Middle Ages and the Baroque and Rococo periods will be presented in theme-based chapters. Over the decades, the collector and patron Reiner Winkler (b. 1925) has assembled a legendary private collection of ivory sculptures with a focus on Baroque masterpieces. One outstanding work is, for example, Fury on a Charging Horse (1610). -
Das Reiterstandbild Josephs II. Am Josefsplatz in Wien“
MASTERARBEIT Titel der Masterarbeit „Das Reiterstandbild Josephs II. am Josefsplatz in Wien“ verfasst von Dipl. Ing. Mag. Elisabeth Werner, BA angestrebter akademischer Grad Master of Art (MA) Wien, 2013 Studienkennzahl lt. Studienblatt: A315 Studienrichtung lt. Studienblatt: Kunstgeschichte Betreuerin: Univ.-Prof. Dr. Ingeborg Schemper-Sparholz 1 2 Inhaltsverzeichnis Inhaltsverzeichnis ............................................................................................. 3 Abbildungsverzeichnis ........................................................................................ 7 1 Einleitung ........................................................................................ 15 2 Forschungsstand ................................................................................... 19 3 Typus des Reiterstandbildes ...................................................................... 26 3.1 Kaiser Marc Aurel, 173 n. Chr., Künstler unbekannt ............................................... 27 3.2 Condottiere Erasmo da Narni, genannt Gattamelata, 1444 – 1453, Donatello .................... 32 3.3 König Ludwig XIV. von Frankreich, Place Vendôme, 1692, François Girardon ................. 36 3.4 Das Reiterstandbild als Bezugspunkt eines Platzes in Frankreich ................................. 38 3.5 Reiterstandbild des Großen Kurfürsten, 1696 – 1700, Andreas Schlüter.......................... 46 3.6 Reiterdenkmäler unter den Habsburgern ............................................................ 47 4 Reiterstandbild Josephs II. -
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. -
Vienna Architecture Guide 2020
WHAT Architect WHERE Notes Zone 1: Innere Stadt Built in 1906 as the headquarters of the Österreichische Postsparkasse (P.S.K.) bank, formerly the k.k. Postsparcassen-Amt (Imperial-Royal Postal Savings Office). The building is regarded as an important early work of modern architecture, representing Wagner's first move away from Art Nouveau and Neoclassicism. Through the Austrian Postal Haupteingang Georg *** Otto Wagner main entrance at Georg-Coch-Platz the visitor ascends a flight of Savings Bank Coch-Platz 2 stairs to the grand Kassenhalle, where customer services are located. The main hall is thus effectively on the first floor. The hall is designed like an atrium, with a large glass skylight allowing natural light to enter the heart of the building at all times. Mon-Fri (8am-3pm), Thu (8am-5.30pm) The University of Applied Arts Vienna is an arts university and institution of higher education. It was closely associated with the Österreichischen Museums für Kunst und Industrie (Imperial Royal Austrian Museum of Art and Industry, today known as the MAK). It University of Applied Oskar Kokoschka- *** was the first school of its kind on the continent. In 1941 it became Arts Vienna Platz 2, 1010 Wien an institution of higher education. Famous artists such as Gustav Klimt, Oskar Kokoschka, Karl Lagerfeld, Jean-Charles de Castelbajac, Jil Sander, Pipilotti Rist, Matteo Thun, F. Valentiny, H Markl and Stefan Sagmeister were part of the university's staff or student body. The MAK – Austrian Museum of Applied Arts / Contemporary Art is one of the most important museums of its kind worldwide. -
Rzeźba Barokowa Na Dolnym Śląsku W 2
Rzeźba barokowa na Dolnym Śląsku w 2. połowie XVII wieku R zeźba barokowa na Dolnym Śląsku w 2. połowie XVII wieku R zeźba barokowa na Dolnym Śląsku w 2. połowie XVII wieku Redakcja naukowa ARTUR KOLBIARZ Wydawnictwo Uniwersytetu Śląskiego • Katowice 2020 Redaktor serii: Publikacje Wydziału Nauk Społecznych w dostępie otwartym DARIUSZ ROLNIK Recenzent ANDRZEJ KOZIEŁ Pamięci prof. Konstantego Kalinowskiego W stęp - Rzeźba na Śląsku w 2 połowie XVII wieku, - Zamieszczone w niniejszym tomie materiały stanowią pokłosie sesji nau kowej: . która odbyła się 20 stycz- nia 2017 roku w Muzeum Miedzi w Legnicy, gromadząc badaczy z różnych- ośrodków naukowych i muzeów w Polsce. Konferencja była częścią szer szego projektu, poświęconego śląskiej rzeźbie wczesnobarokowej, obejmu- jącego: wydanie monografii Matthäusa Knotego (jednego z prekursorów nowego stylu w regionie), zorganizowanie w legnickim Muzeum wysta wy poświęconej artyście (13 stycznia – 27 maja 2017) oraz wygłoszenie szeregu prelekcji. Przedsięwzięcia te mają szczególny charakter, rzeźba- barokowa – potraktowana jako temat przewodni – rzadko bowiem staje się obiektem zainteresowań badaczy i muzealników. Wielkie słowa uzna nia należą się w tym miejscu panu Andrzejowi Niedzielence, ówczesnemu dyrektorowi Muzeum w Legnicy, który z entuzjazmem podjął się realizacji- tych wydarzeń w gościnnych murach prowadzonej przez siebie instytucji. Pomysł zorganizowania sesji naukowej poświęconej w całości rzeź- bie barokowej inspirowany był chęcią nawiązania – choćby w skromnej- skali – do sympozjów, które odbyły się na przestrzeni lat siedemdziesią tych, osiemdziesiątychBarockskultur ini dzie Mittel-więćdziesiątych und Osteuropa XX wieku wStudien Instytucie zur euHi- storiiropäischen Sztuki Barock- w Pozna undniu Rokokoskulptur z inicjatywy prof. KonstantegoStudien zur WerkstattpraxisKalinowskiego der(1978 Barockskulptur – im 17. und 18. Jahrhundert , 1981Studien – zur barocken Gartenskulptur , 1985 – - 1 , 1993 – ) . -
The Wachau Cultural Landscape
WHC Nomination Documentation File Name: 970.pdf UNESCO Region: EUROPE AND THE NORTH AMERICA __________________________________________________________________________________________________ SITE NAME: The Wachau Cultural Landscape DATE OF INS CRIPTION: 2nd December 2000 STATE PARTY: AUSTRIA CRITERIA: C (ii) (iv) DECISION OF THE WORLD HERITAGE COMMITTEE: Criterion (ii): The Wachau is an outstanding example of a riverine landscape bordered by mountains in which material evidence of its long historical evolution has survived to a remarkable degree. Criterion (iv):The architecture, the human settlements, and the agricultural use of the land in the Wachau vividly illustrate a basically medieval landscape that has evolved organically and harmoniously over time. Several members of the Committee expressed their appreciation for this nomination including the Delegate of Canada who underlined the importance of the coordinating commission for the management of the site. She also inquired whether the new boundaries of the site protected its viewscape; this question was answered positively by ICOMOS. BRIEF DESCRIPTIONS The Wachau is a stretch of the Danube Valley between Melk and Krems of high visual landscape quality. It preserves intact and visible many traces, in terms of architecture, urban design, and agricultural use, principally for the cultivation of vines, of its continuous and organic evolution since prehistoric times. 1.b State, Province or Region: Towns of Krems and Melk, Lower Austria 1.d Exact location: 48° 13' N, 15° 17' E REPUBLIC OF AUSTRIA THE WORLD HERITAGE Documentation for the nomination of WACHAU CULTURAL LANDSCAPE The present study is based on various contributions compiled by the Bundesdenkmalamt A-1010 Vienna, Hofburg, Säulenstiege Vienna 1999 2 WACHAU CULTURAL LANDSCAPE The Wachau region including the abbeys of Melk and Göttweig and the historic centre of Krems Contents Page I. -
Der Ganze Text
Clemens Kieser DIE MEMORIALMONSTRANZEN VON INGOLSTADT UND KLOSTERNEUBURG Studien zur Ikonologie der barocken Goldschmiedekunst Teil I: Text Teil II: Abbildungen Kieser: Memorialmonstranzen 2 CIP-Titelaufnahme der Deutschen Bibliothek Kieser, Clemens: Die Memorialmonstranzen von Ingolstadt und Klosterneuburg: Studien zur Ikonologie der barocken Goldschmiedekunst / Clemens Kieser. – Tübingen: Genista Verlag 1998 Zugl.: Braunschweig, Univ., Diss., 1997 ISBN 3-930171-19-8 Kieser: Memorialmonstranzen 3 Dank Mein Dank gilt an erster Stelle Herrn Prof. Dr. Carsten-Peter Warncke, Universität Göttingen, dessen Vorlesungen, Seminare, Exkursionen und eigene Forschungsarbeiten mich mit der frühneuzeitlichen Gold- schmiedekunst vertraut werden ließen. Das Entstehen der vorliegen- den Arbeit wurde durch seine immer hilfsbereite und verbindliche Betreuung maßgeblich gefördert. Danken möchte ich auch Herrn Prof. Dr. Johannes Zahlten, Hochschule der Bildenden Künste Braun- schweig, der die Arbeit in Zweitkorrektur beurteilte. Wichtige archivalische Hinweise verdanke ich Herrn Dr. Siegfried Hofmann vom Stadtarchiv Ingolstadt. Herrn Prof. Drr. Floridus Röhrig vom Augustiner-Chorherrenstift Klosterneuburg bin ich für seine Bera- tung und die Überlassung hervorragender Abbildungsmaterialien zu höchstem Dank verpflichtet. Für die zahlreichen Hinweise und die ste- tige, immer wertvolle Diskussion der Arbeit möchte ich insbesondere meiner Frau Dr. Isolde Dautel danken. Der vorliegende Text lag 1997 dem Fachbereich für Philosophie, Wirt- schafts- und Sozialwissenschaften -
Pressmappe EN Jan 2018
Press Kit January 2017 Press Office The Monastery of Klosterneuburg, January 2018 Contents The Monastery of Klosterneuburg – Past and Present ............................................................ 3 Historical overview .......................................................................................................................................... 3 Excerpt from the Chronicles ............................................................................................................................ 6 Margrave Leopold III – Saint & Patron Saint of Austria ................................................................................... 7 Faith ......................................................................................................................................... 8 Living according to the Monastic Rules of St. Augustin .................................................................................. 8 Pastoral Care in 27 parishes ............................................................................................................................ 9 A World-wide Social Commitment ................................................................................................................ 10 Effectiveness Report ..................................................................................................................................... 11 The Monastery of Klosterneuburg as an Economic Factor .................................................... 11 Facts - the Monastery’s Business Enterprises -
The Pietas Austriaca. a Political Myth?
THEHABSBURGSANDTHEIRCOURTSINEUROPE,1400–1700.BETWEENCOSMOPOLITISMANDREGIONALISM ThePietasAustriaca.Apoliticalmyth? OntheInstrumentalisationofPietytowardstheCrossattheVienneseCourtin theSeventeenthCentury __________________________________________________________________________________________________ WernerTeleskoȋ Ȍ It is well known that the Habsburg practice of piety was based on the fundamental pillars of the venerationoftheVirginMary,thecultofthesaints,Eucharisticpiety,andthevenerationoftheHoly Cross. In her fundamental work Pietas Austriaca (1959) Anna Coreth provides an exemplary introduction to the effectiveness of this practice of piety over the centuries and showed how the Habsburgsregardedreligiouslydefinedpietas(meaningbothpietyandthefearofGod)asthemost importantvirtueofrulers.1ItwasonthebasisofthisparticularpracticeofpietythattheHabsburg rulersfromFerdinandIIonwardssetthemselvesapartfromotherroyaldynastieswhoweremore concerned with earthly glory, and from the French Bourbons in particular. Unlike other monarchs whotendedtoemphasisetheirpersonalaccomplishments,theHabsburgs2wereconvincedthattheir royallinewasdivinelyordained;thattheyhadbeenespeciallychosenandentrustedwithamission; andthattheyhadaspecialrelationshiptoGodinthesensethattheyenjoyedthedivinerightof kings. Thepresentpaperintendstoinvestigatethewayinwhichtheritualpracticeofdevotionto thecrosshastobedistinguishedfromthepoliticallyinstrumentalisedpropagandaoftheveneration of the cross. In this context the question arises whether Pietas Austriaca was not perhaps