Stefan Krause
My research focuses on art historical, social and cultural aspects of arms and armour, particularly from the late Middle Ages and the Renaissance. I published on the conecpt of fashion in European Renaissance armour, on the social and cultural significance of late medieval tournaments, the decoration of armour and its relation to printing techniques etc.
Address: New York
Address: New York
less
InterestsView All (12)
Uploads
Papers by Stefan Krause
The inventory informs us that in the late seventeenth century the imperial armoury in Vienna still comprised core holdings dating from the second half of the sixteenth century; housed in the attic of Stallburg Palace, they were continually enriched by the edition of further dynastic mementos, tournament armour and war trophies. The inventory also suggests that parts of the armoury of Leopold I were already installed as an ancestral gallery, which eventually was to provide the basis for the “gallery of ancestors and heroes” installed at the imperial Arsenal in Vienna’s Renngasse in the middle of the eighteenth century.
One of the seminal findings on still extant objects listed in this inventory is the attribution of the so-called Laternenschild, a mannerist fencing shield with an oil lamp now in the Kunsthistorisches Museum to Archduke Ernest (1553–1595); the inventory records that in 1571 Ernest brought this shield back from Spain when he returned to Vienna with his brother Rudolf (II) (1552–1612) after the end of their sojourn at the court of King Philip II (1527–1598).
The results of this research project will be published in two new and comprehensive publications in late 2018 and in 2019 commemorating the 500th anniversary of Emperor Maximilian's death.
(http://www.hirmerverlag.de/de/titel-1-1/turnier-1557/)
The publication contains 21 essays by 17 international experts. It is the first publication to tell the story of tournaments from the 11th up until the 21st century.
The armour was made by an anonymous, middle or north German (possibly Saxon) armourer in the early 1540s for the young August during the early reign of his brother and predecessor Moritz as Duke of Saxony.
The text presents a catalogue raisonné of the portait
paintings by the German Renaissance painter Hans Maler
(ca. 1475–1526/29). It is the first catalogue of Maler’s
portraits since the 1960s and only the third since the late
19th century. Maler was born in Swabia, probably in Ulm,
where he was trained as a painter and during his earlier
career produced religious paintings. In 1515/17 he moved
to Tyrol and settled in Schwaz east of Innsbruck, one of
the leading European mining centres of its time. Here,
in Schwaz Maler shifted his artistic focus to portrait
paintings; about 40 portraits from his workshop dating
from ca. 1515 to 1526/29 are known nowadays. Maler
painted local mine owners and officials, south-German
merchants and financiers invested in the Schwaz mining
industry (Fugger) and members of the Habsburg family and
their court. The group of portraits by Hans Maler provides
a unique insight in the political, financial and social
elite of Northern Tyrol in the years about 1520 when the
mining city of Schwaz was a dominating force in Central
European economy and politics.
The paper discusses the portait paintings of Hans Maler who worked in the mining city of Schwaz near Innsbruck in about 1520. The focus of the Text lies on the social significance and practical use of Maler's portrait paintings.
Ritter", exhibition catalogue, Innsbruck, Schloss Ambras, published by Sabine Haag, edited by Thomas Kuster, Vienna 2013, p. 56-65.
see also more recent: Stefan Krause, Freydal. Medieval Games. The Tournament Book of Emperor Maximilian I, Cologne 2019.
The inventory informs us that in the late seventeenth century the imperial armoury in Vienna still comprised core holdings dating from the second half of the sixteenth century; housed in the attic of Stallburg Palace, they were continually enriched by the edition of further dynastic mementos, tournament armour and war trophies. The inventory also suggests that parts of the armoury of Leopold I were already installed as an ancestral gallery, which eventually was to provide the basis for the “gallery of ancestors and heroes” installed at the imperial Arsenal in Vienna’s Renngasse in the middle of the eighteenth century.
One of the seminal findings on still extant objects listed in this inventory is the attribution of the so-called Laternenschild, a mannerist fencing shield with an oil lamp now in the Kunsthistorisches Museum to Archduke Ernest (1553–1595); the inventory records that in 1571 Ernest brought this shield back from Spain when he returned to Vienna with his brother Rudolf (II) (1552–1612) after the end of their sojourn at the court of King Philip II (1527–1598).
The results of this research project will be published in two new and comprehensive publications in late 2018 and in 2019 commemorating the 500th anniversary of Emperor Maximilian's death.
(http://www.hirmerverlag.de/de/titel-1-1/turnier-1557/)
The publication contains 21 essays by 17 international experts. It is the first publication to tell the story of tournaments from the 11th up until the 21st century.
The armour was made by an anonymous, middle or north German (possibly Saxon) armourer in the early 1540s for the young August during the early reign of his brother and predecessor Moritz as Duke of Saxony.
The text presents a catalogue raisonné of the portait
paintings by the German Renaissance painter Hans Maler
(ca. 1475–1526/29). It is the first catalogue of Maler’s
portraits since the 1960s and only the third since the late
19th century. Maler was born in Swabia, probably in Ulm,
where he was trained as a painter and during his earlier
career produced religious paintings. In 1515/17 he moved
to Tyrol and settled in Schwaz east of Innsbruck, one of
the leading European mining centres of its time. Here,
in Schwaz Maler shifted his artistic focus to portrait
paintings; about 40 portraits from his workshop dating
from ca. 1515 to 1526/29 are known nowadays. Maler
painted local mine owners and officials, south-German
merchants and financiers invested in the Schwaz mining
industry (Fugger) and members of the Habsburg family and
their court. The group of portraits by Hans Maler provides
a unique insight in the political, financial and social
elite of Northern Tyrol in the years about 1520 when the
mining city of Schwaz was a dominating force in Central
European economy and politics.
The paper discusses the portait paintings of Hans Maler who worked in the mining city of Schwaz near Innsbruck in about 1520. The focus of the Text lies on the social significance and practical use of Maler's portrait paintings.
Ritter", exhibition catalogue, Innsbruck, Schloss Ambras, published by Sabine Haag, edited by Thomas Kuster, Vienna 2013, p. 56-65.
see also more recent: Stefan Krause, Freydal. Medieval Games. The Tournament Book of Emperor Maximilian I, Cologne 2019.
This sumptuously illustrated book celebrates a curious masterpiece of German Renaissance art--the Landsknecht armor of Wilhelm von Rogendorf (1523). Recently conserved to its original glory, this magnificent suit of armor, made for a trusted courtier, diplomat, and commander of infantry units for the Habsburgs, deceives the eye: the steel sleeves drape in graceful folds, with cuts in the surface, suggesting the armor is made from cloth rather than metal. The author of this fascinating volume explores the question: why does the armor look this way?
Stefan Krause delves back five centuries to the political, social, and cultural context in which von Rogendorf lived. Among other key venues in the Holy Roman Empire, this story takes the reader to the court of Emperor Charles V in Spain and to Augsburg, the leading center of armor making, where Rogendorf was introduced to the court armorer of Charles V, Kolman Helmschmid (1471-1532). Helmschmid was famous for his inventive and masterfully sculptured works, and this book elaborates on his unique contributions to the history of armor, and how and why von Rogendorf's suit was informed by contemporary fashion.
The book is avaiable in English (Sept. 2017) and in German:
http://yalebooks.com/book/9780300230864/fashion-steel
https://shop.khm.at/shop/detail/?shop[showItem]=100000000030726-1901-0&cHash=ce7a904dd48e30fb9200ec2ab2fc8349