Ján Jakub Stunder (1759 - 1811). Nikde cudzincom. , 2021
Ján Jakub Stunder (1759 - 1811), a painter of Danish origin, was one of the proponents of the new... more Ján Jakub Stunder (1759 - 1811), a painter of Danish origin, was one of the proponents of the new style of Classicism, which became part of the fine art and culture around 1800 in the area of the former Kingdom of Hungary. The artist was connected with his birthplace in Copenhagen; however, he is generally neglected in overviews of the history of Danish art. His work brought him to Vienna, Pest (now Budapest), Levoča, Košice and Banská Bystrica. The experts participating in this book contributed to new information and knowledge related to Stunder´s life and work in a wider sense of the period scene and artistic practice. Not only in terms of artistic genres but as well as contribution to the contacts among the Freemason community or Protestant church.
Napriek tomu, že krajina bola častým maliarskym motívom už v stredoveku, produkcia diel s ústredn... more Napriek tomu, že krajina bola častým maliarskym motívom už v stredoveku, produkcia diel s ústredným námetom prírodnej oblasti sa v Uhorsku začala až v 18. storočí, hoci ešte stále bez existencie domácej krajinárskej školy. Kľúčovú úlohu pri formovaní tohto maliarskeho námetového okruhu zohrala aristokracia, zamestnávajúca vedutistov. Začiatky maľovanej veduty na Slovensku, využívajúcej techniky maľby ideálnych krajín, sa spájajú s Johannom Christianom Brandom (1722 – 1795), pracujúcim medzi rokmi 1751 a 1756 v Bratislave, v službách Mikuláša VIII. Pálffyho (1710 –1774). Jediným zachovaným výsledkom tejto Brandovej činnosti je krajinomaľba, zachytávajúca sútok Moravy a Dunaja pri hrade Devín, nachádzajúca sa v zbierkach Národnej galérie v Prahe. Jej význam umocňuje aj skutočnosť, že ide o vôbec najstaršiu známu Brandovu prácu. Jej prevedenie vychádza z inšpirácie nizozemskou žánrovou štafážou a zrejme aj z analogických prác pôvodom burgenlandského maliara, Josefa Orienta (1677 – 1747). Vďaka dobovým prameňom je známe, že umelcov angažmán ocenil uhorský mecén štedrou sumou 400 florinov ročne. Brand pritom stíhal realizovať aj rakúske objednávky. Približne tri roky po Brandovom odchode z Uhorska začal v rovnakej lokalite pracovať Bernardo Bellotto, zvaný Canaletto (1721 – 1780), zamestnaný viedenským cisárskym dvorom. Na základe pozvania Márie Terézie a následnej objednávky vytvoril Bellotto sériu vedút z prostredia Viedne. Okrem nich namaľoval aj pohľady z pohraničia, zachytávajúce hrad Devín a zámok Hof. Zachytené krajinné výseky pritom vyjadrujú vzájomnú blízkosť Devína a Schloßhofu. V porovnaní s Johannom Christianom Brandom je Bellottova tvorba faktografickejšia, so zameraním na architektúru a urbánne štruktúry, spodobené čo najvernejšie realite. Vyhliadkové stanovište Branda je pritom volené so záujmom o spodobenie prírody, ktorá obklopuje architektúru, slúžiacu najmä pre identifikáciu konkrétneho krajinného rámca. Práve Brandov koncept maľovanej veduty sa stal v priebehu nasledujúcich desaťročí zásadným postupom v tvorbe rakúskych a uhorských krajinárov, a to najmä vďaka jeho neskoršiemu pedagogickému pôsobeniu. Od roku 1771 začal Brand vyučovať ako suplujúci učiteľ ryteckej akadémie Jakoba Matthiasa Schmutzera (1733 – 1811). O rok neskôr už získal pozíciu učiteľa krajinárskej kresby. Počas teplejších období boli so študentmi realizované exkurzie do prírody, ktorých výsledkom boli skice, dodnes zachované v grafickej kolekcii viedenskej Akadémie. V roku 1774 smeroval jeden z exkurzov vďaka prostriedkom Márie Terézie na Devín a jeho okolie. Z tejto cesty existujú dve Bandove kresby, neskôr realizované aj ako olejomaľby. Obe zachytávajú súdobú podobu Sandbergu. Neďaleký zámok Hof, novozískaný Máriou Teréziou, bol opäť marginalizovaný na záchytný krajinný bod, pomáhajúci identifikovať zachytenú lokalitu. Okrem Branda bol priekopníkom krajinárstva v Bratislave aj jeho žiak, Johann Jakob Meyer (1749 – 1828) z Zürichu. Za tri roky štúdia na viedenskej Akadémii sa Meyer zúčastnil oboch Brandových exkurzií za hranice Rakúska a vyprofiloval sa ako maliar ideálnych krajín a vedutista. Počas pobytu v strednej Európe sa dostal do kontaktu s uhorským inžinierom, Jozefom Kissom, pre ktorého kreslil krajinné prospekty. Okrem toho vytvoril tiež dve veduty s Bratislavským hradom, zakúpené Albertom Tešínskym a realizoval množstvo ideálnych krajinomalieb pre uhorskú šľachtu, vrátane Johanna Nepomuka Erdődyho. Podľa známych informácií mal byť Meyer činný aj ako autor nástenných malieb, pravdepodobne adresovaných barónovi Wolfgangovi Kempelenovi. Ani jedna zo zmieňovaných realizácií ideálnych krajín však nie je historikom umenia známa z konkrétnych zachovaných diel. To ale neplatí o skicách z zürišského Kunsthausu, vyobrazujúcich bratislavskú prírodu. Tieto práce už nie sú nositeľmi účelových reprezentatívnych kvalít, ale sú bezprostrednou reflexiou autorovho záujmu o krajinu. Napriek Meyerovej angažovanosti v strednej Európe sa jeho opätovný návrat do Švajčiarska nestretol s rovnakým ohlasom a jeho tvorba splynula s miestnym priemerom. Po Meyerovom pôsobení v Uhorsku sa ťažisko rozvoja krajinomaľby presunulo na východ krajiny, kde sa úspešne angažovali umelci ako Erazmus Schrött (1758 – 1804) – jeden z autorov predlôh pre sériu grafík Malebné pohľady z Uhorska. Vďaka Jánovi Jakubovi Müllerovi (1780 – 1824) bol ďalej tento námetový okruh rozvíjaný na Spiši, kde sa aj s jeho pričinením sformovala prvá krajinárska škola v Uhorsku.
Il Capitale Culturale - Studies on the Value of Cultural Heritage, 2023
The text deals with the variants and copies of the painting by the French Caravaggist Simon Vouet... more The text deals with the variants and copies of the painting by the French Caravaggist Simon Vouet (1590-1649) Martha Scolding Her Vain Sister Mary, kept in the Kunsthistorisches Museum in Vienna, and brings new information about the genesis of the individual copies. The newly discovered variant from the collection of the Sternberg family at the castle in Častolovice in the Czech Republic stands out for its high quality of artistic execution and is thus the closest to the original. Art-historical analysis and non-invasive research have yielded findings that suggest that the author of the Častolovice painting is a painter from the immediate circle of Vouet and that this painting became the model for the creation of a copy at the Smithsonian American Art Museum in Washington.
The article deals with the cabinet picture Vanitas from the Sternberg collection, exhibited at th... more The article deals with the cabinet picture Vanitas from the Sternberg collection, exhibited at the château in Častolovice in eastern Bohemia. This still life on copper plate was painted by Georg Bernard Verbeeck (†1673), a portraitist from the German town of Emmerich near the Dutch border. He moved to Prague with his nephew Jodokus Justus (1646–1700) and worked for the Lobkowitz family in Roudnice nad Labem and the Kolowrat family in Rychnov nad Kněžnou. The only painting attributed to Verbeeck that is not a portrait is an exploratory still life that has survived in relatively good condition. The work is signed and partially dated. The painting was in the possession of the Sternbergs at least from the time of Adolf Wratislaw of Sternberg (1627?–1703) and in the family asset inventories in Zásmuky and Častolovice it was designated “Ein Todtenkopf”. The painting demonstrates exceptional realism and attention to detail. It combines many artistic symbols typical of the 17th century, expressing the themes of the finiteness of life and profligacy. This study, which is an addendum to our knowledge of the work of the almost unknown author of this painting, may help art historians in the future in the attribution of other paintings by Verbeeck, or more exactly, his circle.
The Hungarian specialist in still-life and animal painting, Jakob Bogdani, acquired throughout hi... more The Hungarian specialist in still-life and animal painting, Jakob Bogdani, acquired throughout his career as the royal court painter of England significant wealth. With his advanced age and serious illness, he decided to sell his paintings – however, without leaving any known list of items or their pricing. Bogdani died in the day of this sale, when his last will was already signed and sealed. The transcript of that document, originally processed in the Prerogative Court of Canterbury, is preserved to this day in The National Archives in London. The document clarifies that the major part of the author’s hereditaments should have been bequeathed by his daughter Elizabeth and his son-in-law Tobias Stranover (1684–1756). They were named heirs of the estates in Hitchin and Spalding, which included agricultural facilities and booth-stalls. This concludes, the painter aside from his career in art, took a part also in other gainful activities. Despite the implication of George Vertue (1684–1756), Jakob Bogdani did not die in poverty, as it was commonly thought, but even in the time of his death, he possessed a fortune in the form of his estates. A harsh investment of his son William (1699–1771) was one of the causes of his financial troubles, which was arguably the reason, why Bogdani chose to leave the major part of his properties to his daughter and his son-in-law. In the testament, there are also notes, directly concerning his oeuvre. In particular, the mention of the so-called ‘modelli’ might raise the questions. A half of those items, which were arguably Bogdani’s working instruments, should have been given to his daughter and son-in-law, and the other half was meant for William. However, it is not known whether they were accumulated supplies of sketches or stuffed animals. In this document, also the executors of the last will were named. They were John Smith – Bogdani’s frame-maker; and his colleague and friend, Edward Byng (ca. 1676–1753).
The Viennese Academy and its artists extensively shaped the fashion of the 18th-century Hungarian... more The Viennese Academy and its artists extensively shaped the fashion of the 18th-century Hungarian art. The landscape painting was no exception. The initially dismissive approach of the Royal and Imperial Academy to landscape as an autonomous pictorial theme was compensated with the constitution of J. M. Schmutzer's Academy of Engravers (1766), where lessons of landscape drawing were taught together with other disciplines. Soon after the establishment of such an innovative class, J. Ch. Brand engaged himself in working there as a teacher. As part of the tuition, students were also required to attend open-air drawing courses. Brand's teaching methods and oeuvre gained recognition in the history of Central-European art. The beginnings of the painter's professional career and some of his most important works are associated with the western part of today's Slovakia, where an excursion of Brand's students of landscape drawing took place.
Ján Jakub Stunder (1759 - 1811). Nikde cudzincom. , 2021
Ján Jakub Stunder (1759 - 1811), a painter of Danish origin, was one of the proponents of the new... more Ján Jakub Stunder (1759 - 1811), a painter of Danish origin, was one of the proponents of the new style of Classicism, which became part of the fine art and culture around 1800 in the area of the former Kingdom of Hungary. The artist was connected with his birthplace in Copenhagen; however, he is generally neglected in overviews of the history of Danish art. His work brought him to Vienna, Pest (now Budapest), Levoča, Košice and Banská Bystrica. The experts participating in this book contributed to new information and knowledge related to Stunder´s life and work in a wider sense of the period scene and artistic practice. Not only in terms of artistic genres but as well as contribution to the contacts among the Freemason community or Protestant church.
Napriek tomu, že krajina bola častým maliarskym motívom už v stredoveku, produkcia diel s ústredn... more Napriek tomu, že krajina bola častým maliarskym motívom už v stredoveku, produkcia diel s ústredným námetom prírodnej oblasti sa v Uhorsku začala až v 18. storočí, hoci ešte stále bez existencie domácej krajinárskej školy. Kľúčovú úlohu pri formovaní tohto maliarskeho námetového okruhu zohrala aristokracia, zamestnávajúca vedutistov. Začiatky maľovanej veduty na Slovensku, využívajúcej techniky maľby ideálnych krajín, sa spájajú s Johannom Christianom Brandom (1722 – 1795), pracujúcim medzi rokmi 1751 a 1756 v Bratislave, v službách Mikuláša VIII. Pálffyho (1710 –1774). Jediným zachovaným výsledkom tejto Brandovej činnosti je krajinomaľba, zachytávajúca sútok Moravy a Dunaja pri hrade Devín, nachádzajúca sa v zbierkach Národnej galérie v Prahe. Jej význam umocňuje aj skutočnosť, že ide o vôbec najstaršiu známu Brandovu prácu. Jej prevedenie vychádza z inšpirácie nizozemskou žánrovou štafážou a zrejme aj z analogických prác pôvodom burgenlandského maliara, Josefa Orienta (1677 – 1747). Vďaka dobovým prameňom je známe, že umelcov angažmán ocenil uhorský mecén štedrou sumou 400 florinov ročne. Brand pritom stíhal realizovať aj rakúske objednávky. Približne tri roky po Brandovom odchode z Uhorska začal v rovnakej lokalite pracovať Bernardo Bellotto, zvaný Canaletto (1721 – 1780), zamestnaný viedenským cisárskym dvorom. Na základe pozvania Márie Terézie a následnej objednávky vytvoril Bellotto sériu vedút z prostredia Viedne. Okrem nich namaľoval aj pohľady z pohraničia, zachytávajúce hrad Devín a zámok Hof. Zachytené krajinné výseky pritom vyjadrujú vzájomnú blízkosť Devína a Schloßhofu. V porovnaní s Johannom Christianom Brandom je Bellottova tvorba faktografickejšia, so zameraním na architektúru a urbánne štruktúry, spodobené čo najvernejšie realite. Vyhliadkové stanovište Branda je pritom volené so záujmom o spodobenie prírody, ktorá obklopuje architektúru, slúžiacu najmä pre identifikáciu konkrétneho krajinného rámca. Práve Brandov koncept maľovanej veduty sa stal v priebehu nasledujúcich desaťročí zásadným postupom v tvorbe rakúskych a uhorských krajinárov, a to najmä vďaka jeho neskoršiemu pedagogickému pôsobeniu. Od roku 1771 začal Brand vyučovať ako suplujúci učiteľ ryteckej akadémie Jakoba Matthiasa Schmutzera (1733 – 1811). O rok neskôr už získal pozíciu učiteľa krajinárskej kresby. Počas teplejších období boli so študentmi realizované exkurzie do prírody, ktorých výsledkom boli skice, dodnes zachované v grafickej kolekcii viedenskej Akadémie. V roku 1774 smeroval jeden z exkurzov vďaka prostriedkom Márie Terézie na Devín a jeho okolie. Z tejto cesty existujú dve Bandove kresby, neskôr realizované aj ako olejomaľby. Obe zachytávajú súdobú podobu Sandbergu. Neďaleký zámok Hof, novozískaný Máriou Teréziou, bol opäť marginalizovaný na záchytný krajinný bod, pomáhajúci identifikovať zachytenú lokalitu. Okrem Branda bol priekopníkom krajinárstva v Bratislave aj jeho žiak, Johann Jakob Meyer (1749 – 1828) z Zürichu. Za tri roky štúdia na viedenskej Akadémii sa Meyer zúčastnil oboch Brandových exkurzií za hranice Rakúska a vyprofiloval sa ako maliar ideálnych krajín a vedutista. Počas pobytu v strednej Európe sa dostal do kontaktu s uhorským inžinierom, Jozefom Kissom, pre ktorého kreslil krajinné prospekty. Okrem toho vytvoril tiež dve veduty s Bratislavským hradom, zakúpené Albertom Tešínskym a realizoval množstvo ideálnych krajinomalieb pre uhorskú šľachtu, vrátane Johanna Nepomuka Erdődyho. Podľa známych informácií mal byť Meyer činný aj ako autor nástenných malieb, pravdepodobne adresovaných barónovi Wolfgangovi Kempelenovi. Ani jedna zo zmieňovaných realizácií ideálnych krajín však nie je historikom umenia známa z konkrétnych zachovaných diel. To ale neplatí o skicách z zürišského Kunsthausu, vyobrazujúcich bratislavskú prírodu. Tieto práce už nie sú nositeľmi účelových reprezentatívnych kvalít, ale sú bezprostrednou reflexiou autorovho záujmu o krajinu. Napriek Meyerovej angažovanosti v strednej Európe sa jeho opätovný návrat do Švajčiarska nestretol s rovnakým ohlasom a jeho tvorba splynula s miestnym priemerom. Po Meyerovom pôsobení v Uhorsku sa ťažisko rozvoja krajinomaľby presunulo na východ krajiny, kde sa úspešne angažovali umelci ako Erazmus Schrött (1758 – 1804) – jeden z autorov predlôh pre sériu grafík Malebné pohľady z Uhorska. Vďaka Jánovi Jakubovi Müllerovi (1780 – 1824) bol ďalej tento námetový okruh rozvíjaný na Spiši, kde sa aj s jeho pričinením sformovala prvá krajinárska škola v Uhorsku.
Il Capitale Culturale - Studies on the Value of Cultural Heritage, 2023
The text deals with the variants and copies of the painting by the French Caravaggist Simon Vouet... more The text deals with the variants and copies of the painting by the French Caravaggist Simon Vouet (1590-1649) Martha Scolding Her Vain Sister Mary, kept in the Kunsthistorisches Museum in Vienna, and brings new information about the genesis of the individual copies. The newly discovered variant from the collection of the Sternberg family at the castle in Častolovice in the Czech Republic stands out for its high quality of artistic execution and is thus the closest to the original. Art-historical analysis and non-invasive research have yielded findings that suggest that the author of the Častolovice painting is a painter from the immediate circle of Vouet and that this painting became the model for the creation of a copy at the Smithsonian American Art Museum in Washington.
The article deals with the cabinet picture Vanitas from the Sternberg collection, exhibited at th... more The article deals with the cabinet picture Vanitas from the Sternberg collection, exhibited at the château in Častolovice in eastern Bohemia. This still life on copper plate was painted by Georg Bernard Verbeeck (†1673), a portraitist from the German town of Emmerich near the Dutch border. He moved to Prague with his nephew Jodokus Justus (1646–1700) and worked for the Lobkowitz family in Roudnice nad Labem and the Kolowrat family in Rychnov nad Kněžnou. The only painting attributed to Verbeeck that is not a portrait is an exploratory still life that has survived in relatively good condition. The work is signed and partially dated. The painting was in the possession of the Sternbergs at least from the time of Adolf Wratislaw of Sternberg (1627?–1703) and in the family asset inventories in Zásmuky and Častolovice it was designated “Ein Todtenkopf”. The painting demonstrates exceptional realism and attention to detail. It combines many artistic symbols typical of the 17th century, expressing the themes of the finiteness of life and profligacy. This study, which is an addendum to our knowledge of the work of the almost unknown author of this painting, may help art historians in the future in the attribution of other paintings by Verbeeck, or more exactly, his circle.
The Hungarian specialist in still-life and animal painting, Jakob Bogdani, acquired throughout hi... more The Hungarian specialist in still-life and animal painting, Jakob Bogdani, acquired throughout his career as the royal court painter of England significant wealth. With his advanced age and serious illness, he decided to sell his paintings – however, without leaving any known list of items or their pricing. Bogdani died in the day of this sale, when his last will was already signed and sealed. The transcript of that document, originally processed in the Prerogative Court of Canterbury, is preserved to this day in The National Archives in London. The document clarifies that the major part of the author’s hereditaments should have been bequeathed by his daughter Elizabeth and his son-in-law Tobias Stranover (1684–1756). They were named heirs of the estates in Hitchin and Spalding, which included agricultural facilities and booth-stalls. This concludes, the painter aside from his career in art, took a part also in other gainful activities. Despite the implication of George Vertue (1684–1756), Jakob Bogdani did not die in poverty, as it was commonly thought, but even in the time of his death, he possessed a fortune in the form of his estates. A harsh investment of his son William (1699–1771) was one of the causes of his financial troubles, which was arguably the reason, why Bogdani chose to leave the major part of his properties to his daughter and his son-in-law. In the testament, there are also notes, directly concerning his oeuvre. In particular, the mention of the so-called ‘modelli’ might raise the questions. A half of those items, which were arguably Bogdani’s working instruments, should have been given to his daughter and son-in-law, and the other half was meant for William. However, it is not known whether they were accumulated supplies of sketches or stuffed animals. In this document, also the executors of the last will were named. They were John Smith – Bogdani’s frame-maker; and his colleague and friend, Edward Byng (ca. 1676–1753).
The Viennese Academy and its artists extensively shaped the fashion of the 18th-century Hungarian... more The Viennese Academy and its artists extensively shaped the fashion of the 18th-century Hungarian art. The landscape painting was no exception. The initially dismissive approach of the Royal and Imperial Academy to landscape as an autonomous pictorial theme was compensated with the constitution of J. M. Schmutzer's Academy of Engravers (1766), where lessons of landscape drawing were taught together with other disciplines. Soon after the establishment of such an innovative class, J. Ch. Brand engaged himself in working there as a teacher. As part of the tuition, students were also required to attend open-air drawing courses. Brand's teaching methods and oeuvre gained recognition in the history of Central-European art. The beginnings of the painter's professional career and some of his most important works are associated with the western part of today's Slovakia, where an excursion of Brand's students of landscape drawing took place.
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Museum in Washington.
and Častolovice it was designated “Ein Todtenkopf”. The painting demonstrates exceptional realism and attention to detail. It combines many artistic symbols typical of the 17th century, expressing the themes of the finiteness of life and profligacy. This study, which is an addendum to our
knowledge of the work of the almost unknown author of this painting, may help art historians in the future in the attribution of other paintings by Verbeeck, or more exactly, his circle.
poverty, as it was commonly thought, but even in the time of his death, he possessed a fortune in the form of his estates. A harsh investment of his son William (1699–1771) was one of the causes of his financial troubles, which was arguably the reason, why Bogdani chose to leave the major part of his properties to his daughter and his son-in-law. In the testament, there are
also notes, directly concerning his oeuvre. In particular, the mention of the so-called ‘modelli’ might raise the questions. A half of those items, which were arguably Bogdani’s working instruments, should have been given to his daughter and son-in-law, and the other half was meant for William. However, it is not known whether they were accumulated supplies of sketches or stuffed animals. In this document, also the executors of the last will were named. They were John Smith – Bogdani’s frame-maker; and his colleague and friend, Edward Byng (ca. 1676–1753).
Museum in Washington.
and Častolovice it was designated “Ein Todtenkopf”. The painting demonstrates exceptional realism and attention to detail. It combines many artistic symbols typical of the 17th century, expressing the themes of the finiteness of life and profligacy. This study, which is an addendum to our
knowledge of the work of the almost unknown author of this painting, may help art historians in the future in the attribution of other paintings by Verbeeck, or more exactly, his circle.
poverty, as it was commonly thought, but even in the time of his death, he possessed a fortune in the form of his estates. A harsh investment of his son William (1699–1771) was one of the causes of his financial troubles, which was arguably the reason, why Bogdani chose to leave the major part of his properties to his daughter and his son-in-law. In the testament, there are
also notes, directly concerning his oeuvre. In particular, the mention of the so-called ‘modelli’ might raise the questions. A half of those items, which were arguably Bogdani’s working instruments, should have been given to his daughter and son-in-law, and the other half was meant for William. However, it is not known whether they were accumulated supplies of sketches or stuffed animals. In this document, also the executors of the last will were named. They were John Smith – Bogdani’s frame-maker; and his colleague and friend, Edward Byng (ca. 1676–1753).