Symposium | Court Ceiling Painting around 1700

Posted in conferences (to attend) by Editor on June 30, 2018

Galeriegebäude Hannover-Herrenhausen, Decke im Frühlingszimmer
© Bildarchiv Foto Marburg/CbDD/C. Stein/ T. Scheidt

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rom H-ArtHist (with a conference flyer available as a PDF file here). . .

Connecting across Europe? Ceiling Painting and Interior Design at the Courts of Europe, ca. 1700
Eine gemeinsame europäische Sprache? Deckenmalerei und Raumkünste an den europäischen Höfen um 1700

Gallery Building, Herrenhausen Gardens (Galerie Herrenhausen), Hanover, 13–15 September 2018

Registration due by 10 August 2018

International Symposium organized by the Corpus of Baroque Ceiling Painting in Germany (CbDD) based at the Ludwig-Maximilians-Universität in Munich (LMU); the German Documentation Centre for Art History – Bildarchiv Foto Marburg (DDK); and the Bavarian Academy of Sciences and Humanities (BAdW)—in cooperation with the City of Hanover, Herrenhausen Gardens; the Institute of History for Art and Musicology – IKM of the Austrian Academy of Sciences (ÖAW); and the Research Group for Baroque Ceiling Painting in Central Europe (BCPCE).

Project directed by Stephan Hoppe (LMU, Munich), Heiko Laß (LMU, Munich), Herbert Karner (ÖAW, Vienna)

The Corpus of Baroque Ceiling Painting in Germany (Corpus der barocken Deckenmalerei in Deutschland) regards painting on walls and ceilings as a medium of pictorial representation. In a courtly context, mural painting would serve the sovereign to define his status within the court society, just as he did otherwise in the fields of architecture or interior design.

Around 1700, a formal and thematic change can be observed in the choice of these media of social distinction, especially at the courts north of the Alps. In the field of mural painting, it is striking in which way the ceiling was no longer divided into multiple fields, but preferably dominated by one single monumental painting. In this way, mural painting was able to define the room. Monumentality resided in scale, and a new form of illusionism became important. The inganno degli occhi, a highly sophisticated form of illusionism prevailed. Mural painting on ceilings gained autonomy, and as a medium, it followed its own logic. Furthermore, walls and ceiling could be integrated into one overarching decorative scheme. This change was not just a matter of form, but also a matter of content: glorifications and personifications were no longer represented in the old-established way and subject to dynastic formulas, but became more and more individualized and tailored for a specific patron.

Moreover, within the larger European context, mural painting should not be misunderstood as exclusively made in fresco or secco technique, or studied in isolation. The decision for oil painting on canvas or on walls or ceilings was for a longer period of time not only a question of quality or of the possibility to hire a specialist, but also a question of aesthetics. A large part of mural painting in Western, Central, and Northern Europe was painted on canvas and was adjusted onto ceilings and walls. Stucco did also play an important role and seems to have been applied especially in rooms of ‘higher rank’.

The symposium will link the described change to political, social, and cultural shifts in Europe around 1700. This artistic change occurred in parallel to a new position of power established by the monarchs, princes, and their states. The sovereigns were striving for an acknowledgment of their newly achieved status. Numerous territories and new princes within the Holy Roman Empire wanted to position their new rights of sovereignty, just as the kingdoms of England and Sweden or the court of the House of Orange in the Netherlands and, later, in England. Religious denomination played a marginal role in painting as opposed to politics. Despite their basically anti-Catholic orientation, motifs once established to mark protestant ideals, vanish, and patterns, before decidedly perceived as catholic, could be taken over generally. In this way, new forms of a supranational and trans-confessional culture of the courts and higher nobility developed in large parts of Europe.

Apparently, the rise of new dynasties and powers was responsible for the developments described above. The rise of the house of Bourbon and the house of Savoy and the descent of the Spanish Habsburgs in parallel are the most striking examples. An independent trend was the decline of artistic influence from the Netherlands in Northern Europe, giving way to a new influx of aesthetic ideas from France and Italy. This change turned out to be a cultural adjustment process that became apparent in almost all over Europe. Italy and France set the standard, and the Habsburgs did not succeed in gaining artistic dominance.

In addition to general overviews, the symposium will discuss examples from Austria, the Czech Republic, Denmark, England, France, Germany, Italy, the Netherlands, Poland, Spain, and Sweden. In this way, an attempt will be made to highlight connections and comparisons across Europe for the first time. The focus is exclusively on sovereigns and their courts. Sovereigns are understood as the monarchs and princes of Europe and the rulers over imperially immediate territories of the Holy Roman Empire. The States General of the Netherlands and the Republic of Venice were also sovereigns.

Numerous artists were active around 1700 and will be considered during the symposium. These include Jacques Foucquet, Luca Giordano, Daniel Marot, Sebastiano Ricci, Giuseppe Roli, Jerzy Eleuter Szymonowicz-Siemiginowski, Carpoforo Tencalla, Matthäus Terwesten, and Antonio Verrio. The aspect of cultural transfer and the import of artists initiated by clerical and secular clients will also be of interest. Mural painting is intended to be embedded into the development of the spatial arts in general.

The symposium will take place at the so-called Galeriegebäude in Hannover-Herrenhausen. This festive building of the Electors of Hannover is an outstanding example for the change in court culture around 1700. It was erected 1694/98 in the course of a rise in status of the patron and decorated with mural paintings by Tommaso Giusti.

The CbDD has reserved a room contingent for the conference participants until 31 July 2018, because two fairs and an additional conference are going to take place during our symposium. You can use this website for your booking.

The conference languages are German and English. Please keep in mind that it is not common practice in Germany to pay by credit card; take cash with you. The symposium fee is 20€ and will be paid in cash at the venue before the beginning of the symposium. Coffee/Tea and the visit to the Great Garden are included.

Please register until 10/08/2018 at
Corpus der barocken Deckenmalerei in Deutschland
Dr. Heiko Laß
Institut für Kunstgeschichte
Ludwig-Maximilians-Universität München
Zentnerstr. 31
D-80798 München

Symposium participants have the opportunity to purchase up to two tickets of the reduced price of 10€ each for the International Fireworks Competition, which will take place in the Great Garten at the night of 15 September, the final day of the symposium. The tickets must be reserved with the registration and paid in cash together with the conference fee.

T H U R S D A Y ,  1 3  S E P T E M B E R  2 0 1 8

14:00  Opening of the Galeriegebäude

15:00  Introduction and Welcome

15:30  Session 1
• Steffi Roettgen (Munich), Götterhimmel und Theatrum sacrum – zur Erfolgsgeschichte der Deckenmalerei im barocken Italien
• Thomas Wilke (Stuttgart), Französisch – die gemeinsame europäische Sprache!? – Innendekoration und Deckenmalerei am französischen Hof um 1700

16:45  Coffee/Tea

17:15  Session 2
• Ulrike Seeger (Stuttgart), „weil es dauerhaffter ist und lufftiger aussiehet“. Die gänzlich freskierte Zimmerdecke um 1700 – Modus oder Medium?
• Heiko Laß (Munich), Das Galeriegebäude in Herrenhausen, die Stellung des Hannoverschen Hofs um 1700 und seine Wand- und Deckenmalerei

19:30  Dinner

F R I D A Y ,  1 4  S E P T E M B E R  2 0 1 8

8:00  Opening of the Galeriegebäude

9:00  Session 3
• Sara Fuentes (Madrid), The Works of Luca Giordano to the Service of Charles II around 1700
• Herbert Karner (Vienna), Austria vor Jupiter: Deckenbildnerei in Schloss Schönbrunn um 1700

10:15  Coffee/Tea

10:45  Session 4
• Werner Telesko (Vienna), Thematische Multiperspektivität. Die Grazer Katharinenkirche und das Haus Habsburg um 1700
• Martin Mádl (Prague), The Palace of Prince Bishop Carl II of Lichtenstein-Castelcorn in Olomouc and its Decoration
• Andrzej Kozieł (Wrocław), A Jesuit Academy as a Symbol of Habsburgian Power: The Building of the University of Wrocław and its Fresco Decoration

12:40  Lunch

14:00  Session 5
• Ute Engel (Munich), Deckenmalerei und ‘Schönbornscher Reichsstil’? Lothar Franz von Schönborn als Auftraggeber in Bamberg, Mainz und Pommersfelden
• Konrad Pyzel (Warsaw-Wilanów), King Jan III Sobieski’s Wilanów Residence: Universal Patterns, Universal Stories — Unique Iconographical Message?

15:15  Coffee/Tea

15:45  Session 6
• Doris Gerstl (Erlangen/Regensburg), Aristokratie versus Monarchie? Zu Klöcker von Ehrenstrahls Deckenbild im Stockholmer Riddarhuset
• Martin Olin (Stockholm), War and Peace: Jacques Foucquet’s Paintings in the State Apartment of the Royal Palace in Stockholm

17:00  Coffee/Tea

17:20  Session 7
• Thomas Lyngby (Hillerød), The Audience Chamber of Frederiksborg Palace

S A T U R D A Y ,  1 5  S E P T E M B E R  2 0 1 8

8:30  Opening of the Galeriegebäude

9:00  Session 8
• Margriet van Eikema Hommes (Delft), The Oranjezaal in Huis ten Bosch
• Alexander Dencher (Leiden), Daniel Marot as a Designer of Wall and Ceiling-Painting in the Age of William and Mary

10:15  Coffee/Tea

10:45  Session 9
• Lydia Hamlett (Cambridge), Mural Cycles of the Later Stuart Courts: Continental Influences and British Reception
• Christina Strunck (Erlangen), Flammende Liebe, höfische Intrigen und internationale Politik. Antonio Verrios Ausmalung des Queen’s Audience Chamber in Windsor Castle

13:00  Lunch

14:00  Session 10
• Elisabeth Wünsche-Werdehausen (Munich), Genealogie versus Mythologie: Die Galleria di Daniele im Palazzo Reale und die Tradition savoyischer Raumausstattung in Turin
• Martina Frank (Venice), Neue Decken für neue Räume. Der Wandel im venezianischen Palast- und Villenbau

15:15  Heiko Laß (Munich), Summary and final comments

18:00  Opportunity to visit the International Fireworks Competition in the Great Garden

Exhibition | Cozens and Cozens

Posted in exhibitions by Editor on June 30, 2018

The exhibition closed earlier this month:

Cozens and Cozens
The Whitworth, University of Manchester, 16 June 2017 — 24 June 2018

Father and son, Alexander and John Robert Cozens, were influential watercolour painters of the 18th century. Alexander was a drawing master who dedicated his career to teaching young men and the aristocracy how to create landscapes without needing to attend the Royal Academy. This resulted in the publication of multiple guides demonstrating how to create the ideal landscape from a catalogue of features, such as clouds, mountains and trees. Consequently, many of Alexander’s surviving works are fictional landscapes. Alexander argued that landscape images could evoke particular states of mind or moral feelings in the viewer. He became known as the ‘blot master’ for creating improvised compositions from random markings, an idea first suggested by Leonardo da Vinci. His theories elevated the status of landscape painting in the 18th century and helped propel art practice towards the freedom that resulted in Abstract Expressionism.

Visually John Robert inherited the skill of his father, but by contrast his works were honest accounts of his travels. The Romantic painter John Constable declared that John Robert ‘was the greatest genius that ever touched landscape’ as his work ‘was all poetry’. Painting a landscape with watercolours was traditionally for topography, mapping landscapes. Watercolour was ideal as it was portable and could be used to ‘tint’ or ‘stain’ a map within the lines without distorting it. John Robert revolutionized landscapes by painting with watercolour to create mystery and emotion in the places he depicted.

The Whitworth owns nineteen watercolours and a rare oil by Alexander, one of only five known to exist. The gallery owns seventeen watercolors and thirteen soft-ground etchings by John Robert. Seven sketchbooks from his Grand Tours of Europe in 1782–83 have been digitized allowing visitors to see every page for the first time. They are unique in the world and were copied by JMW Turner and Thomas Girtin in the 1790s. This exhibition showcases the Whitworth’s collection of works by father and son, the largest outside of London. By drawing on their uniting elements of trees and European exploration, visitors will gain a rare insight into the practices of 18th-century artists.

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