Originalveröffentlichung in: Artibus et Historiae 19 (1998), Nr. 38, S. 9-19 ANDRZEJ ROTTERMUND Bernardo Bellotto’s Unknown View of Munich Searching for a painting by Bernardo Bellotto, called third one depicted A View of Munich from Gasteig Hill. Canaletto1, which was generally assumed to have been lost Fritzsche formulated a hypothesis that the replicas of the during World War II, in one of private collections I came across paintings from the Munich Residence whichwere known to a painting, not known to Stefan Kozakiewicz, entitled A View of him, were painted byBellotto in 17614. On the other hand, Munich from Gasteig Hill [Fig. 3]. This painting is a reduced S. Kozakiewicz gathered, with great meticulousness, the replica of the famous townscape from the Residence in whole existing literature on the views of Nymphenburg and the Munich2 [Fig. 1], A close examination of the newly discovered veduta ofMunich and traced the history of the paintings (the painting by Bellotto allows us to take another look at the paintings travelled between the Residence, Alte Pinakoteka method of Bernardo Bellotto’s work and, basing on that knowl­ and Bayerische Nationalmuseum). He comprised all collected edge, give opinion on the authorship and dating of the paint­ information in his monumental monograph on Bernardo ing. It also induces reflections on the presentations of town­ Bellotto. As regards the above mentioned replicas, he admit­ scapes in the iconographic tradition of the Central Europe.ted that they could have been painted between 1761-67, Before I proceed to discuss the above issues, it is neces­ before Bellotto’s departure from Dresden to Warsaw. He also sary to recapitulate the extensive literature on the Munich advanced a hypothesis that they were painted in collaboration veduta3. H. A. Fritzsche, the first monographer of Bernardo with someone from his studio, probably with his son Lorenzo5. Bellotto, found out that Bellotto was in Munich in 1761. He was A note of Gisela Barche published in the catalogue of the exhi­ staying at the court of Elector Maximilian III Joseph and his bition “BernardoBellotto. Verona e le citta europee” consti­ wife, Maria Anna Sofie, daughter of Augustus III, King of tutes an extensive study of A View of Munich from Gasteig Hill. Poland and a Saxon elector, and was commissioned by them The starting-point for the author’s analysis is a replica of the to paint three large pictures for the elector’s new private apart­ townscape from the National Gallery in Washington [Fig. 3]. ment in the Munich Residence. Two of them presented the Barche found out that Bernardo Bellotto came to Munich on Wittelsbachs’ summer residence in Nymphenburg, i.e., The January 14, 1761. He was accompanied by six other painters Palace in Nymphenburg from the Side of the Town and The who had formerly worked for the Court of Dresden. Barche Palace in Nymphenburg from the Side of the Park, while the paid attention to the frame of the painting from the Residence 9 ANDRZEJ ROTTERMUND 1) Bernardo Bellotto, «A View of Munich from Gasteig Hill», 1761, Residenzmuseum, Munich. 2) Bernardo Bellotto and Workshop, «A View of Munich from Gasteig Hill», 1762-1767, Washington, National Gallery of Art, Samuel H. Kress Foundation. 10 BERNARDO BELLOTTO’S UNKNOWN VIEW OF MUNICH 3) Bernardo Bellotto, «A View of Munich from Gasteig Hill», 1762-1767. Private collection. in Munich, with cartouches covered with the coats of arms of za sulla parete di fronte alle finestre, diventa il punto di demar- the Bavarian and Saxon electors, as well as those of the kings cazione delle linee di fuga a cui si riferiscono le due Vedute di of the Polish Commonwealth. In her opinion all three paintings Nymphenburg, poste sulle pareti lateral!. Infattiil punto di vista could have been commissioned by a princely couple, da cui queste ultime furono rispettivamente riprese non e piu Frederick Christian and Maria Antonia, daughter of Emperor centrale, ma si dirige verso la Veduta di Monaco: per cui II di- Charles VII (and sister of Maximilian III Joseph), and then pre­ pinto di sinistra con II castello di Nymphenburg visto dalla citta sented as a gift to the Bavarian couple6. In her study Barche si alarga in direzione della Veduta di Monaco, cosi come il devotes much space to the paintings' location in the so-called quadro di destra, con II castello di Nymphenburg visto dal Elector’s Rooms, i.e., private apartments of Elector giardino”8. Fifteen years later Bellotto carried out a similar, Maximilian III Joseph. The paintings were hung in the second though more sophisticated and more extended spatial con­ antechamber, serving also as a small dining room, on the first ception in the Senatorial Antechamber of King Stanislas II floor, over the famous Antiquarium7. G. Barche draws our Augustus Poniatowski at the Royal Castle in Warsaw. Twenty attention to a homogeneous design of the interior of the sec­ two paintings of different sizes, depicting the views of Warsaw ond antechamber, whose space is filled with Bellotto’s paint­ and its environs were placed in a certain interdependence as ings which are related in terms of their composition. “Per cui regards their composition. The carefully planned manner of — Barche writes — la Veduta di Monaco, al centro della stan­ the presentation of the horizon in the paintings testifies to the 11 ANDRZEJ ROTTERMUND 5) Bernardo Bellotto, «A View of Munich from Gasteig Hill», 1762-1767, fragment with a pilgrim and monk at the right side of the painting. Private collection. 4) Bernardo Bellotto, «A View of Munich from Gasteig Hill», 1762-1767, fragment with a beggar and woman at the left himself”. Bowron believes that if Lorenzo had really partic­ side of the painting. Private collection. ipated in the creation of the three replicas of the views of Munich known to Bowron, it would have to have taken place in Munich in 1761, when he was only seventeen years old, otherwise, if he painted them later he would not have access to the originals from the Residence in Munich10. In the further fact that Bellotto was painting his works with the idea of hung part of my dissertation I shall try to present my view on the them in a definite place, within the framework of the whole opinion of Bowron, who has finally determined the authorship composition of the wall. In the paintings hanging high up the of the Washington replica as “Bernardo Bellotto and horizon is elevated, which suggests that these paintings are to Workshop". be viewed from below, then the horizon lowers slightly, and, All the above mentioned experts who were examining the finally, it makes an impression as if we were watching the view Munich paintings managed to identify the majority of the build­ from the bird’s-eye perspective 9. ings presented in the paintings. Therefore, I do not feel oblig­ Edgar Peters Bowron, the co-author of the catalogue of ated to make a more detailed analysis of the building struc­ the Italian paintings of the 17th and 18th cc. at the National tures of Munich around 1760 depicted by Bellotto. Gallery in Washington, had the final word on the vedute of In the analysis of the newly discovered replica of A View of Munich. He summed up the existing knowledge about the Munich from Gasteig Hill, I had to take into consideration two views of Munich and expressed his standpoint in relation to well-known views of Munich, namely, the first painting from the Kozakiewicz’s opinion about the participation of Bellotto’s Munich Residence and the replica from the National Gallery of son, Lorenzo, in the creation of the replicas which can be Washington11. I must admit, however, that for me the painting found at the Washington Gallery. He came to the conclusion from the Residenceis but the ultimate source of reference, that “despite these minor departures from the originals, the whereas the comparison of two replicas, i.e., the replica from quality and handling of the Washington version of the view of the National Gallery in Washington and the newly discovered Munich suggests that it is substantially the work of Bellotto replica in the private collection, are essential for answering the 12 BERNARDO BELLOTTO’S UNKNOWN VIEW OF MUNICH 6) Bernardo Bellotto, «A View of Munich from Gasteig Hill», 1762-1767, fragment with a high building at the bridge gate. Private collection. 7) Bernardo Bellotto, «A View of Munich from Gasteig Hill», 1762-1767, fragment with a figure of a postman on a horse. Private collection. questions posed in the article. Were they simple, literal, reduced by 50% replicas of the painting from the Munich Residence? Or, perhaps, they were created in some close interrelation, or copied from each other. One shouldremem­ number of the item in the collection, i.e., “No 16” and a wax ber that the view of Munich by Bellotto was popularized in the seal with an inscription “Prag” and a name “Leopold form of a large copperplate executed by Franz Xavier Zdeborsky”, which is the name of its owner. Jungwierth12 five years after Bellotto had painted the veduta The examination of biographical dictionaries and for the Munich Residence. The print could have served as genealogical trees of German, Czech and Austrian families, a basis for its replicas in oil technique. enabled me to discover that Leopold Zdeborsky lived in The painting I have examined, size: 69 x 119 cm, thus, Prague in the years 1815-1887. Around 1840 he married almost identical with the replica at the National Gallery in Jiricek-Wunsch (1818-1859), a daughter of Mr. Wunsch (born Washington, was painted in oil.