Planety v rocaillové architektuře ze zámku ve Lnářích a Johann Georg Hertel
| Title in English | The planets in rocaille architecture from the château at Lnáře and Johann Georg Hertel |
|---|---|
| Authors | |
| Year of publication | 2022 |
| Type | Article in Periodical |
| Magazine / Source | Opuscula Historiae Artium |
| MU Faculty or unit | |
| Citation | |
| Web | https://hdl.handle.net/11222.digilib/digilib.77467 |
| Doi | http://dx.doi.org/10.5817/OHA2022-1-2-15 |
| Keywords | Ancient mythology; Iconography; Baroque Painting; Planets |
| Description | On its walls and vaults, the château in Lnáře bears various wall and ceiling decorations linked in several chronological layers. After the middle of the 18th century, when the château was inhabited by a married couple formed of Count Johann Franz Christian Swéerts-Sporck (1729–1802) and his second wife Maria Teresia von Kaunitz (1742–1787), a more extensive rococo painting of the château was created, which also includes a fragment of the original compositions of the seven planets. Today, the rooms at Lnáře are decorated only with depictions of Luna, Venus, Jupiter and Mars, whose preservation status is also fragmentary; moreover, like a large part of the Lnáře paintings, these scenes also underwent relocations related to the reconstruction of the château in the 1970s and 1980s, which affected the northern wing of the building in particular. Venus can be seen today in the northern corridor of the castle and the remaining three preserved planets Luna (Diana), Jupiter and Mars in an adjacent room of the north wing. All the planetary deities in Lnáře are set in rocaille frames, which primarily directed the search for a possible graphic model that could be clearly identified. These were the hitherto little-known graphics of the famous Augsburg publisher Johann Georg Hertel (1700–1775). Analysis of these paintings proves that the Lnáře remnants of the cycle of planetary gods show a symbiosis of two principles. On the one hand, a long tradition, dating from late antiquity and maintained through late medieval and early modern graphic series; on the other hand, the impulses of progressive astronomical observations. The more or less receptive character of Hertel’s series thus shows above all the emphasis on the contemporary fashion Rococo mode in which the figural compositions are embedded. |