Collecting of Neapolitan Paintings in Bohemia and Moravia

Kód výsledku v 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>

Výsledek na webu

<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>

Jazyk výsledku

angličtina

Název v původním jazyce

Collecting of Neapolitan Paintings in Bohemia and Moravia

Popis výsledku v původním jazyce

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&apos;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 &quot;Dürer&quot; panel, Three Marys at the Christ&apos;s Tomb, in fact a fake by Luca Giordano, or with David meditating on the Head of Goliath by Artemisia Gentileschi copying her father&apos;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.

Název v anglickém jazyce

Collecting of Neapolitan Paintings in Bohemia and Moravia

Popis výsledku anglicky

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&apos;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 &quot;Dürer&quot; panel, Three Marys at the Christ&apos;s Tomb, in fact a fake by Luca Giordano, or with David meditating on the Head of Goliath by Artemisia Gentileschi copying her father&apos;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.

Druh

C - Kapitola v odborné knize

CEP obor

—

OECD FORD obor

50301 - Education, general; including training, pedagogy, didactics [and education systems]

Projekt

—

Návaznosti

I - Institucionalni podpora na dlouhodoby koncepcni rozvoj vyzkumne organizace

Rok uplatnění

2020

Kód důvěrnosti údajů

S - Úplné a pravdivé údaje o projektu nepodléhají ochraně podle zvláštních právních předpisů

Název knihy nebo sborníku

Fortunata Neapolis : Kunst- und Kulturtransfer zwischen Neapel, Wien und Mitteleuropa.

ISBN

978-3-11-070449-5

Počet stran výsledku

18

Strana od-do

91-108

Počet stran knihy

243

Název nakladatele

De Gruyter

Místo vydání

Berlín - Boston

Kód UT WoS kapitoly

—