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Princely Splendour the Power of Pomp

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Princely Splendour the Power of Pomp PRINCELY SPLENDOUR THE POWER OF POMP Winterpalais 18 March to 26 June 2016 Hyacinthe Rigaud Louis XIV, 1701 Oil on canvas 131 x 97.3 cm Châteaux de Versailles et de Trianon, Versailles © bpk | RMN - Grand Palais | Gérard Blot PRINCELY SPLENDOUR THE POWER OF POMP The exhibition Princely Splendour - The Power of Pomp, showing from 18 March to 26 June 2016, explores collecting in the Baroque period and uses the transformation of Prince Eugene’s Winterpalais into a modern museum as an opportunity to look back to princely splendour, Baroque galleries, and the art of order. At the heart of the exhibition are the lavish catalogues of the major Eur opean Baroque galleries, proclaiming the prestige of their creators and also marking the origins of modern exhibition and art catalogues. They document princely ideals of beautiful interiors, provide glimpses behind concepts of Baroque (re)presentation and reflect classification systems, “public” accessibility, and display practices typical of the period. These original collection catalogues are combined with portraits of the princes and a selection of paintings from their collections. The exhibition is the first to explore this phenomenon from a pan-European perspective and compare the most important princely collectors from the Baroque period. The birth of the modern art book “I am delighted to present a further highlight in the Baroque setting of the Winterpalais. Princely Splendour - The Power of Pomp demonstrates to visitors how grand Baroque picture galleries became accessible to a wide public in the past through these early gallery catalogues and princely collecting thus entered the public sphere,” said Director of the Belvedere and 21er Haus, Agnes Husslein-Arco. Art collecting, its history, and the personalities behind it are a fascinating aspect of European art and cultural history. The significance these early catalogues or Galeriewerke held for the art collections has received scant attention, however. They have also been neglected in art-historical research. This is something that curator Tobias G. Natter seeks to remedy through this exhibition: “Magnificent loans from exquisite picture collections throughout Europe will be coming to Vienna. I n the Baroque period, however, paintings themselves did not travel and their fame was spread through Galeriewerke instead. Through these splendid illustrated volumes we can step back in time to when the doors of these top princely collections first started to open to the general public. You could say this marks the birth of the modern art book.” Power and pomp of a Baroque art collection The exhibition Princely Splendour - The Power of Pomp impressively demonstrates the importance that Europe’s former ruling dynasties attached to their art collections. For centuries, owning art was used as a way of flaunting power. This development was accompanied by the increasing status of artists, particularly painters, in the emerging Baroque period. Talented artists became the favourites of princes and securing their services for the court, and the exclusive rights to their work this entailed, were further “puzzle pieces” in the power structure. At the height of the Baroque period outstanding talents, such as Peter Paul Rubens, could even be promoted to diplomats and enjoyed the status of “painter princes”. Galeriewerke – the splendid origins of the modern exhibition catalogue As an atmospheric introduction to the exhibition, the reconstruction of a “Baroque” hanging transforms Prince Eugene’s Winterpalais into an exhibit itself. Painted views of Baroque picture galleries – visual treasure troves amassed at all of Europe’s princely courts – convey in great detail an impression of princely splendour at that time. But while pictures in a gallery have limited reach, the dissemination of printed Galeriewerke realized the great propaganda potential of such galleries. Originally conceived as diplomatic gifts, these compendiums also mark the advent of the modern art and exhibition catalogue. Now in the twenty-first century, a time when the book is facing a precarious future, these exquisite early catalogues celebrate the book as a work of art. A journey through Europe’s magnificent galleries – from Paris to Moscow The exhibits include Theatrum Pictorium (Theatre of Painting), published by court painter David Teniers the Younger in 1660. This lavishly illustrated work is a testimony to the Habsburg Archduke Leopold Wilhelm’s passion for collecting and represents the birth of these elaborately designed books with printed reproductions of the artworks. Also featuring in the exhibition are Jean-Baptiste Colbert’s Tableaux du Cabinet du Roi created under France’s King Louis XIV, the Dresden Galeriewerk under August III, elector of Saxony and king of Poland, as well as a Prodromus, a type of preview compiled under the Austrian Emperor Charles VI in Baroque Vienna around 1720–30 with over one thousand planned painting reproductions grouped into miniature tableaus. The Imperial Picture Gallery’s move from Vienna’s Stallburg to the Upper Belvedere presented an ideal opportunity to compile a new guide to the collection. This small-scale publication provides an insight into the concept and organization of the new hanging which, when compared with other European galleries, reveals a completely new, rationalized order. Increasingly, large albums were being replaced by more reasonably priced shorter catalogues, reflecting the public’s wishes to enjoy the collection in the form of handy guides. In the spirit of the Enlightenment, the opening of aristocratic collections to a new, wider public went hand in hand with the evolution of these gallery catalogues. This pan-European show features outstanding loans from the Louvre and other museums, with the state portrait of the French Sun King from the Palace of Versailles as the exhibition’s highlight. A PDF of the catalogue can be downloaded at the following link: www.belvedere.at/presse LIST OF ARTISTS Princely Splendour THE POWER OF POMP Johann Gottfried Auerbach Marcello Bacciarelli Cornelis de Baellieur Adam Johann Braun Johann Michael Bretschneider Annibale Carracci Marcantonio Chiarini Gonzales Coques Antoine Coysevox Christian Wilhelm Ernst Dietrich, called Dietricy Georg Raphael Donner Vincenzo Fanti Vinzenz Fischer Jean-Martial Fredou Friedrich Heinrich Fuger Philipp Ferdinand de Hamilton Jan van den Hoecke Sir Godfrey Kneller Anton von Maron Franz Anton Maulbertsch Karl Georg Merville Balthasar Ferdinand Moll Jacopo Negretti, called Palma il Giovane Guido Reni Jusepe de Ribera Hyacinthe Rigaud Francesco Solimena Ferdinand Storffer David Teniers the Younger John Wootton GENERAL INFORMATION Title of the exhibition Princely Splendour - The Power of Pomp Dates 18 March to 26 June 2016 Location Winterpalais Exhibits 132 Curator Tobias G. Natter Catalogue Princely Splendour - The Power of Pomp Eds.: Agnes Husslein-Arco, Tobias G. Natter Ueberreuter GmbH, Korneuburg, 224 pages, 23.5 x 32.5 cm, hardcover with velvet spine ISBN: 978-3-902805-97-3, € 39 Contact Himmelpfortgasse 8, 1010 Vienna T +43 (01) 795 57–0 www.belvedere.at Opening hours Daily 10 am–6 pm Regular admission € 9 (Winterpalais) Contact for tours Belvedere & Winterpalais Visitor Services and Education T +43 (01) 795 57-134, M [email protected] Press office Belvedere & Winterpalais Press Office Prinz Eugen-Straße 27, 1030 Vienna T +43 (01) 795 57-177 M [email protected] Press images for media coverage of the exhibition are available to download at the following link: www.belvedere.at/press .
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