EMPEROR MAXIMILIAN I AND THE AGE OF DÜRER EMPEROR MAXIMILIAN I AND THE AGE OF DÜRER Edited by Eva Michel and Maria Luise Sternath With Essays by Manfred Holleger, Eva Michel, Friedrich Polleroß, Thomas Schauerte, Andrea Scheichl, Manfred Schreiner, Larry Silver, Werner Telesko and Elisabeth Thobois PRESTEL Munich . London . New York ACKNOWLEDGEMENTS Julián Martín Abad Agnes Husslein-Arco Karl Rehberger Alfred Auer Tim Juckes Alfred Reichling László Baán Thomas Just Werner Richter Peter Barnet Rainer Kahsnitz Martin Roland Christian Beaufort-Spontin Waltraud Kaufmann Michael Roth Tobias Beck Stephan Kemperdick Veronika Sandbichler Ulrich Becker Kathrin Kininger Ingo Sandner Holm Bevers Franz Kirchweger Anneliese Schallmeiner Bernard Bousmanne Alexander Koch Martin Schawe Catherine Bouvier Renate Kohn Annette Schommers Friedrich Buchmayr Thomas Kuster Karl Schütz Véronique Bücken Rainer Laskowski Lothar Schultes Thomas P. Campbell Patrick Lefèfre Heinrich-Theodor Schulze Altcappenberg Julien Chapuis Thomas Leibnitz Harald Siebenmorgen Fernando Checa Bernd Wolfgang Lindemann Friedrich Simader Günther Dankl Jochen Luckhardt Andreas Stolzenburg Yasmin Doosry Lukas Madersbacher Axel Vécsey Katrin Dyballa Thomas Maisel Michiel Verweij Thomas Eser Bernd Mayer Dieter Vorsteher Cornelia Ewigleben Wolfgang Meighörner Heinrich Wanderwitz Sylvia Ferino-Pagden Guido Messling Ian Wardropper Andreas Fingernagel Maria-Christina Metzler Matthias Weniger Karl Fischer Teresa Mezquita Mesa Christian Werner Werner Fröhlich Kurt Mühlberger Inge Wiesflecker-Friedhuber Monika Gärtner Hilde Neugebauer Hans Christian Graf Wilczek Hubertus Gaßner Christian Ortner Franz Zehetner G. Ulrich Großmann Gertrud Oswald Sabine Haag Gloria Pérez Salmerón Sebastian Hackenschmidt Karl-Georg Pfändtner Gregor Ulrich Henckel Donnersmarck Matthias Pfaffenbichler Helga Hensle-Wlasak Veronika Pirker-Aurenhammer Daniel Hess Kathrin Pokorny-Nagel Michael Hofbauer Anne-Claire de Poulpiquet Robert Hoozee † Johanna Rachinger LENDERS Stiftung Deutsches Historisches Museum, Berlin Staatliche Museen zu Berlin, Gemäldegalerie Staatliche Museen zu Berlin, Kupferstichkabinett Staatliche Museen zu Berlin, Skulpturensammlung und Museum für Byzantinische Kunst Herzog Anton Ulrich-Museum Braunschweig, Kunstmuseum des Landes Niedersachsen Bibliothèque Royale de Belgique, Brussels Musées royaux des Beaux-Arts de Belgique, Brussels Museum voor Schone Kunsten, Ghent Universalmuseum Joanneum GmbH, Schloss Eggenberg & Alte Galerie, Graz Hamburger Kunsthalle, Kupferstichkabinett, Hamburg Zisterzienserabtei Stift Heiligenkreuz, Heiligenkreuz Kunsthistorisches Museum, Sammlungen Schloss Ambras, Innsbruck Tiroler Landesmuseum Ferdinandeum, Innsbruck Badisches Landesmuseum Karlsruhe Städtisches Museum Kirchheim unter Teck Biblioteca Nacional de España, Madrid Bayerisches Nationalmuseum, Munich The Metropolitan Museum of Art, Department of European Sculpture and Decorative Arts, New York Germanisches Nationalmuseum, Nuremberg Landesmuseum Württemberg, Stuttgart Archiv der Universität Wien, Vienna Belvedere, Vienna Kunsthistorisches Museum Wien, Gemäldegalerie, Vienna Kunsthistorisches Museum Wien, Hofjagd- und Rüstkammer, Vienna Kunsthistorisches Museum Wien, Kunstkammer, Vienna Österreichische Nationalbibliothek, Sammlung von Handschriften und alten Drucken, Vienna Österreichisches Staatsarchiv, Haus-, Hof- und Staatsarchiv, Vienna Wiener Stadt- und Landesarchiv, Vienna Kunstsammlungen der Fürsten zu Waldburg-Wolfegg, Wolfegg 14 FOREWORD AND ACKNOWLEDGEMENTS Klaus Albrecht Schröder 16 PREFACE Eva Michel and Maria Luise Sternath ESSAYS 22 PERSONALITY AND REIGN THE BIOGRAPHY OF EMPEROR MAXIMILIAN I Manfred Hollegger 36 THE EMPEROR NEVER DIES: TRANSITORY ASPECTS OF THE MAXIMILIAN MEMORIA Thomas Schauerte 48 “FOR PRAISE AND ETERNAL MEMORY” ALBRECHT ALTDORFER’S TRIUMPHAL PROCESSION FOR EMPEROR MAXIMILIAN I Eva Michel 66 CONSERVATION TREATMENT OF THE TRIUMPHAL PROCESSION MINIATURES BY ALBRECHT ALTDORFER AND HIS WORKSHOP Elisabeth Thobois Painting and Drawing Materials Manfred Schreiner, Dubravka Jembrih-Simbürger, Wilfried Vetter 80 WHO WAS (OR WERE) JÖRG KÖLDERER? INNSBRUCK COURT PAINTER AND TYROLEAN MASTER BUILDER Andrea Scheichl 90 THE “PAPIER-KAISER” BURGKMAIR, AUGSBURG, AND THE IMAGE OF THE EMPEROR Larry Silver 100 TRADITION AND INNOVATION EMPEROR MAXIMILIAN I AND HIS PORTRAITS Friedrich Polleroß 116 IMPERATOR PERPETUUS? THE RECEPTION OF EMPEROR MAXIMILIAN I FROM THE EIGHTEENTH TO THE EARLY TWENTIETH CENTURIES Werner Telesko C ATALO G 130 THE FAMILY 160 GENEALOGY 184 HUM ANISM 210 THE TRIUMPH OF THE EMPEROR 276 THE IDEAL IMAGE OF THE RULER 324 THE FIRST KNIGHT 356 DEATH AND MEMORIA APPENDIX 390 Chronology 393 Bibliography 410 Index of Names 414 Picture Credits FOREWORD AND ACKNOWLEDGEMENTS Klaus Albrecht Schröder Over half a century has passed since the last exhibition on Emperor Maximilian I in Vienna: On the th anniversary of his birth, in , the Albertina mounted the largest show ever held on Maximilian, in cooperation with the Kunsthistorisches Museum and the Österreichische Na- tionalbibliothek. Since then not only have crucial historical works been published—most notably the five-volume biography by Hermann Wiesflecker—but the in last few years in particular numerous art historical studies have also appeared on the imperial commissions, the artists in Max imilian’s circle, and his virtually modern propagandistic use of the medium of woodcut. There is scarcely anywhere more predestined to mount an exhibition on Maximilian I than the Albertina, with its rich and important holdings particularly in early sixteenth-century German art. After a series of monographic presentations of the Albertina’s central holdings over the past ten years, including those devoted to Albrecht Dürer ( ), Rembrandt ( ), Peter Paul Ru- bens ( ), Rudolf von Alt ( ), Egon Schiele ( ), and Gustav Klimt ( ), the Alberti- na’s exhibition dedicated to a historical figure might seem to enter uncharted territory; but in fact many of the most important works created for imperial propaganda and memoria can be found in our collections. It is also a striking peculiarity of history that it was not Maximilian I, the world’s most powerful monarch at the time, but rather one of the artists in his employ whose name came to stand for an entire epoch: the Age of Dürer. In this exhibition the Albertina presents numer- ous works by Albrecht Dürer together with other exceptional imperial commissions from its own collection, complemented by exclusive loans from international museums. Mathias F. Müller—who had extensively studied one of the emperor’s greatest commis- sions, the Triumphal Procession miniatures—was the first to seriously consider an exhibition on Maximilian I. The more immediate motivation for this exhibition was one of the most com- prehensive conservation projects ever undertaken by the Albertina: the conservation treatment, between and , of the Triumphal Procession of Maximilian I by Albrecht Altdorfer and his workshop, among the greatest treasures of the Albertina’s holdings. The frieze of images, origi- nally over a hundred meters long, with representations of the most important persons and events in the emperor’s life, has not been exhibited since and is thus known only to scholars. Its meticulous conservation now complete, the Triumphal Procession forms the focus of our show and, thanks to a special exhibition architecture, can be shown for the first time ever as a conti nuous pictorial frieze. As the work approaches the th anniversary of its execution in – , it is a special pleasure for us to be able to exhibit this important commission by Emperor Maximilian once again after such a long time. Because of the work’s fragility executed with pen in gouache on parchment, they can be displayed only very seldom. The exhibition offers an exceptionally rare opportunity to rediscover this outstanding artwork. An exhibition of this ambition is only possible through the collaboration of numerous col- leagues and the generous cooperation of other museums and collections. I would thus like to express my gratitude first to our lenders, who have entrusted their precious works to us for the duration of the exhibition. In addition to prominent key works these also include new discoveries, presented for the first time in the context of Maximilian’s art. 14 Nor could a project of this magnitude be realized without the financial support of our generous patrons and sponsors. My particular gratitude is owed to the partners of the Albertina, SIGNA Holding and SUPERFUND , the exhibition’s sponsor Raiffeisen Zentralbank Österreich AG as well as all the private sponsors who have made possible such a lavish presentation of the Triumphal Procession . My warmest gratitude goes to the curators Maria Luise Sternath and Eva Michel for the conception and coordination of both the exhibition and the catalog. Thomas Schauerte of the Museen der Stadt Nürnberg and director of the Dürer Haus, a renowned expert on Maximilian I and Albrecht Dürer, provided advice in developing the exhibition’s concept and in selecting the works. It is also my pleasure to thank all the catalog authors, in particular for the essays by Man- fred Hollegger, Eva Michel, Friedrich Polleroß, Thomas Schauerte, Andrea Scheichl, Manfred Schreiner, Larry Silver, Werner Telesko, and Elisabeth Thobois. The editing, translations, and production of the catalog were expertly carried out by Prestel Verlag. My special thanks go to Gabriele Ebbecke, Sophie Reinhardt, Brigitte