Erotica & sapientia. Rudolf II’s Early Years at Prague Castle

Kód výsledku v IS VaVaI

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Výsledek na webu

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DOI - Digital Object Identifier

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Jazyk výsledku

angličtina

Název v původním jazyce

Erotica & sapientia. Rudolf II’s Early Years at Prague Castle

Popis výsledku v původním jazyce

In 1579 Rudolf II envisaged the construction of a grand royal palace at Prague Castle, with an extensive sculptural programme that he undoubtedly planned to commission from Giambologna’s pupil Hans Mont. However, Rudolf shelved the project and Mont left the Prague court in exasperation. In the early years of his reign, Rudolf was clearly looking for a style, and also the painter Bartholomeus Spranger, who waited for several years in Vienna for the emperor’s commission, fell victim to this search. His biographer Karel van Mander even wrote that Rudolf had little interest in art at that time. Thanks to a valuable report by Hans Ulrich Krafft in 1584, however, we know that the emperor already possessed a collection of art, but which had a distinctly erotic content. This was the reason why Rudolf concealed it from his wider society. It was not until 1588 that envoys at the Prague court began to report Rudolf ’s preference for ‘lascivious’ art. It was also at the same time that the emperor decided to build a large picture gallery at the castle, called the Spanish Hall, the present Rudolf Gallery and established his magnificence and his reputation as one of the greatest patrons of art in Europe. On his way to it, he built the Summer House near his palace at the castle in about 1579–1582, and this became the home of his ‘erotic Kunstkammer’. Around 1586 he also had a studiolo created on the second floor of the White Tower, which shows that Rudolf was inspired by the towers of Neugebäude, but unlike this model, he kept the decoration in Prague modest, like in the summer palace in the Imperial Mill, which was completed in 1594. While in the older Habsburg architecture there was a contrast between the austere palaces and richly decorated leisure structures, Rudolf seems to have come up with a new concept: buildings with a representational function were to be elaborately articulated, whereas private structures, including summer houses, were to be of modest form. Spranger’s fresco of Hermathena in the vault of the studiolo, inspired by the studiolo in the Palazzo Farnese in Caprarola, was intended to symbolise to symbolise the abode of a wise monarch, as were other planned frescos. It was thus erotica & sapientia that defined Rudolf ’s programme in his early years at Prague Castle, and later also played a crucial role in his subsequent magnificent period.

Název v anglickém jazyce

Erotica & sapientia. Rudolf II’s Early Years at Prague Castle

Popis výsledku anglicky

In 1579 Rudolf II envisaged the construction of a grand royal palace at Prague Castle, with an extensive sculptural programme that he undoubtedly planned to commission from Giambologna’s pupil Hans Mont. However, Rudolf shelved the project and Mont left the Prague court in exasperation. In the early years of his reign, Rudolf was clearly looking for a style, and also the painter Bartholomeus Spranger, who waited for several years in Vienna for the emperor’s commission, fell victim to this search. His biographer Karel van Mander even wrote that Rudolf had little interest in art at that time. Thanks to a valuable report by Hans Ulrich Krafft in 1584, however, we know that the emperor already possessed a collection of art, but which had a distinctly erotic content. This was the reason why Rudolf concealed it from his wider society. It was not until 1588 that envoys at the Prague court began to report Rudolf ’s preference for ‘lascivious’ art. It was also at the same time that the emperor decided to build a large picture gallery at the castle, called the Spanish Hall, the present Rudolf Gallery and established his magnificence and his reputation as one of the greatest patrons of art in Europe. On his way to it, he built the Summer House near his palace at the castle in about 1579–1582, and this became the home of his ‘erotic Kunstkammer’. Around 1586 he also had a studiolo created on the second floor of the White Tower, which shows that Rudolf was inspired by the towers of Neugebäude, but unlike this model, he kept the decoration in Prague modest, like in the summer palace in the Imperial Mill, which was completed in 1594. While in the older Habsburg architecture there was a contrast between the austere palaces and richly decorated leisure structures, Rudolf seems to have come up with a new concept: buildings with a representational function were to be elaborately articulated, whereas private structures, including summer houses, were to be of modest form. Spranger’s fresco of Hermathena in the vault of the studiolo, inspired by the studiolo in the Palazzo Farnese in Caprarola, was intended to symbolise to symbolise the abode of a wise monarch, as were other planned frescos. It was thus erotica & sapientia that defined Rudolf ’s programme in his early years at Prague Castle, and later also played a crucial role in his subsequent magnificent period.

Druh

J_imp - Článek v periodiku v databázi Web of Science

CEP obor

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OECD FORD obor

60401 - Arts, Art history

Projekt

<a href="/cs/project/GA20-15927S" target="_blank" >GA20-15927S: Umění na odiv: obrazová sbírka císaře Rudolfa II. v kontextu uměleckého sběratelství kolem roku 1600</a><br>

Návaznosti

P - Projekt vyzkumu a vyvoje financovany z verejnych zdroju (s odkazem do CEP)

Rok uplatnění

2021

Kód důvěrnosti údajů

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

Název periodika

Umění

ISSN

0049-5123

e-ISSN

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Svazek periodika

69

Číslo periodika v rámci svazku

4

Stát vydavatele periodika

CZ - Česká republika

Počet stran výsledku

26

Strana od-do

390-415

Kód UT WoS článku

000830148400001

EID výsledku v databázi Scopus

2-s2.0-85135471832