Collecting of Neapolitan Paintings in Bohemia and Moravia
The result's identifiers
Result code in IS VaVaI
<a href="https://www.isvavai.cz/riv?ss=detail&h=RIV%2F00216208%3A11410%2F20%3A10416236" target="_blank" >RIV/00216208:11410/20:10416236 - isvavai.cz</a>
Result on the web
<a href="https://doi.org/10.1515/9783110707144-007" target="_blank" >https://doi.org/10.1515/9783110707144-007</a>
DOI - Digital Object Identifier
<a href="http://dx.doi.org/10.1515/9783110707144-007" target="_blank" >10.1515/9783110707144-007</a>
Alternative languages
Result language
angličtina
Original language name
Collecting of Neapolitan Paintings in Bohemia and Moravia
Original language description
Neapolitan paintings from before 1656 entered Bohemian and Moravian collections only after this epoch ended. A deeper knowledge of the Baroque collections of Neapolitan paintings in Bohemia and Moravia has only recently started in the Czech history of art. Thus, no exhaustive survey of this phenomenon can thus be presented. The inventory of the Prague Castle collections from 1685 (copy of the 1663 inventory, which registers the collection of Archduke Leopold Wilhelm, who revived the Prague Castle collection by new purchases made for the Emperor Ferdinand III, in 1655-1656, with the aim of remedying the consequences of the war disasters. The 1685 (or 1663) inventory only registers the two pictures by transalpine painters working in Naples, Johann Heinrich Schönfeld and Matthias Stomer. Evidence concerning Neapolitan acquisitions is more frequently drawn from surprisingly, by the inventories of the Prince- Bishop of Olomouc, Karl of Lichtenstein-Castelcorno. The European standard of the bishop's collection was achieved by his acquisition, between 1673 and 1680, of a superb collection from the brothers Franz and Bernhard of Imstenraedt, which was had mostly been derived from the holdings of the executed Stuart King Charles I and of his courtier Thomas Howard, Count of Arundel. Thus the collection was enriched with an alleged "Dürer" panel, Three Marys at the Christ's Tomb, in fact a fake by Luca Giordano, or with David meditating on the Head of Goliath by Artemisia Gentileschi copying her father's work. Later bishops of Olomouc, for instance Cardinal Wolfgang Hannibal Count Schrattenbach, Viceroy of Naples from 1719 to 1721, added to the Olomouc collection for example two paintings by Giambattista Canziani. Archbishop Theodor Kohn (1893-1904) acquired in Rome much later the a canvas by Mariano Rossi, Joshua Stops the Sun in the Battle with the Amorites. Noblemen travelling to Italy, for intance Count Humprecht Jan Czernin, František Antonín Berka of Dubá, the Sternbergs, the Princes Liechtensteins and mainly the Colloredo-Mansfelds enriched also their collections by Neapolitan works by Jusepe de Ribera, Luca Giordano, Filippo Vitale, Tanzio da Varallo, Bartolomeo Bassante, Pacecco De Rosa, Andrea Vaccaro, Abraham Brueghel, Francesco Solimena, Paolo de Matteis, Giacomo del Po. Some Neapolitan works were acquired by private owners later, like paintings by Bernardo Cavallino (Olomouc) or Artemisia Gentileschi (Brno), now in public museums.
Czech name
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Czech description
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Classification
Type
C - Chapter in a specialist book
CEP classification
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OECD FORD branch
50301 - Education, general; including training, pedagogy, didactics [and education systems]
Result continuities
Project
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Continuities
I - Institucionalni podpora na dlouhodoby koncepcni rozvoj vyzkumne organizace
Others
Publication year
2020
Confidentiality
S - Úplné a pravdivé údaje o projektu nepodléhají ochraně podle zvláštních právních předpisů
Data specific for result type
Book/collection name
Fortunata Neapolis : Kunst- und Kulturtransfer zwischen Neapel, Wien und Mitteleuropa.
ISBN
978-3-11-070449-5
Number of pages of the result
18
Pages from-to
91-108
Number of pages of the book
243
Publisher name
De Gruyter
Place of publication
Berlín - Boston
UT code for WoS chapter
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