Místo, kde se "protnula všechna vlákna" : Vídeň jako tavicí kotlík kabinetní malby první poloviny 18. století
| Title in English | The place where "all threads converged" : Vienna as a melting pot of cabinet painting in the first half of the 18th century |
|---|---|
| Authors | |
| Year of publication | 2023 |
| Type | Article in Proceedings |
| Conference | Umělec a město : Sborník příspěvků z odborné konference. Kroměříž 13.-14. září 2023 |
| MU Faculty or unit | |
| Citation | |
| web | Informace o konferenci |
| Keywords | Cabinet Painting; Baroque Vienna; Artistic Network; Academy of Fine Arts in Vienna; Landscape Painting |
| Description | In 1666, Bishop Charles II of Liechtenstein-Castelcorn (1624–1695) of Olomouc sent a group of painters from Kroměříž to Vienna, where they created a series of copies of works stored in the imperial picture gallery. The more than 1,300 paintings in this collection, which was the result of the collecting zeal of Archduke Leopold William (1614–1662), governor of the Spanish Netherlands, was by no means an isolated case, as evidenced by a number of more recent examples. The interest in creating picture cabinets of Prince Eugene of Savoy (1663–1736) and members of the Harrach family made the Austrian capital one of the most suitable breeding grounds for training domestic artists focused on cabinet painting within the entire Habsburg Empire in the first half of the 18th century. Around 1720, an increasing number of painters from various parts of the monarchy began to settle in Vienna, where, with the prospect of improving their financial situation, they satisfied the growing demand for these detailed small-format canvases. This article aims to highlight the diversity of the relationships between these artists, which has been neglected in the specialist literature to date. Among them were Josef Orient (1677–1747), Christian Hilfgott Brand (1695–1756), Franz Christoph Janneck (1703–1761), and Olomouc native Karl Josef Aigen (1685–1762). Artistic collaboration manifested itself both in meetings at the Vienna Academy of Fine Arts and outside it, as evidenced by mutual participation in the creation of collective works. The budding Kleinmeisters, whose homes were often only a few streets apart, were trained in the workshops of their more experienced colleagues, and their mutual affection often grew into long-lasting friendships or new family ties. The main intention here is to use these examples to demonstrate that, in this context, "all threads converged" in Vienna. |