Maria Effinger, Stephan Hoppe, Harald Klinke, Bernd Krysmanski (Hrsg.) Von analogen und digitalen Zugängen zur Kunst Festschrift für Hubertus Kohle zum 60. Geburtstag, 2019
Paper in German: The so-called Wolfegg Hausbuch is one of the most famous secular works of art in... more Paper in German: The so-called Wolfegg Hausbuch is one of the most famous secular works of art in Germany before Albrecht Dürer. It has often been seen as the expression of a new bourgeois profession, the gunsmith as a specialist for the new firearms. Against the background of recent research on the courtly and aristocratic pictorial cultures at the transition from the Middle Ages to the early modern period, this article comments on the character and the presumed circumstances of the richly illustrated manuscript.
Significant parallels to an older illustrious war book from the Roman-German Empire, the Bellifortis of Konrad Kyeser, compiled around 1402 for King Wenceslas IV, make the work, which until recently was in the possession of the eponymous House of Waldburg-Wolfegg, appear to be an equally high-ranking courtly illuminated manuscript.
Presumably, the manuscript was begun in one go around the court of the Archbishop of Mainz, Elector and Archchancellor of the Empire Berthold of Henneberg, but remained unfinished. It is speculated whether the election of the young Archduke Maximilian of Habsburg as Roman-German king in the spring of 1486 might not have been the occasion for this unusual and ambitious book project. The hypothesis presented here pursues the goal of discussing once again both the artistic conditions of origin and the political-social context of the manuscript in the light of recent research in various disciplines.
Das sogenannte Wolfegger Hausbuch gehört zu den bekanntesten profanen Werken der Kunst in Deutschland vor Albrecht Dürer. Oft wurde in ihm der Ausdruck eines neuen bürgerlichen Berufes, des Büchsenmeisters als Spezialisten für die neuen Feuerwaffen gesehen. Vor dem Hintergrund der jüngsten Forschung zu den höfischen und adeligen Bildkulturen am Übergang vom Mittelalter zur frühen Neuzeit nimmt der vorliegende Beitrag zum Charakter und den mutmaßlichen Entstehungsumständen der reich bebilderten Handschrift Stellung. Signifikante Parallelen zu einem älteren illust-rierten Kriegsbuch aus dem römisch-deutschen Reich, dem um 1402 für König Wenzel IV. zusammengestellten Bellifortis des Konrad Kyeser, lassen das bis vor kurzem im Besitz des namensgebenden Hauses Waldburg-Wolfegg befindliche Werk als eine ebenso hochran-gige höfische Bilderhandschrift erscheinen. Vermutlich wurde das Manuskript in einem Zuge im Umfeld des Hofes des Mainzer Erzbischofs, Kurfürsten und Erzkanzlers des Reiches Berthold von Henneberg begonnen, blieb aber unvollendet. Es wird gemutmaßt, ob nicht die Wahl des jungen Erzherzogs Maximilian von Habsburg zum römisch-deut-schen König im Frühjahr 1486 der Anlass für dieses ungewöhnliche und ambitionierte Buchprojekt gewesen sein könnte. Die hier vorgetragene Hypothese verfolgt das Ziel, sowohl die künstlerischen Entstehungsbedingungen als auch den politisch-gesellschaft-lichen Kontext der Handschrift erneut im Lichte der jüngsten Forschungen verschiedener Disziplinen zu diskutieren.
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Buildings with stylistic references to the Romanesque period can also be observed in a number of coeval north-Alpine paintings and drawings. Early as c.1435, Jan van Eyck and Rogier van der Weyden had already synthesised their own studies of Romanesque architectural details into an idealised style of painted architecture. From about the mid- fifteenth century onwards, more and more paintings from German-speaking countries referred to these Netherlandish notions and started to display architectural backdrops in a style that was not up to date Gothic but reminiscent of the Romanesque style. The intellectual background for the growing interest in an old-fashioned artistic style and its stylistic recognition in the North is presumably provided by a field that can be described as the dissemination of humanistic culture and its practical application. From the mid-fifteenth century also German princes and parts of their courtly elites developed a new urge to use references to antiquity for their arguments and thus to assign specific functions to humanist cultural innovation. The efforts to reform church and empire became an essential catalyst for the reception and adaptation of the ideas of Italian humanism.
Certain fundamental ideas of a new humanist culture circulating from the outset as elements of new political demands also carried great potential for an expanded role of the fine arts and of artistic innovation as a medium of self-representation. Architecture and its semantic potential were early on emphasized by Italian humanists such as Piccolomini and Leon Batista Alberti. For fifteenth-century Italy this development and its semantics have already been investigated and described many times for both sacred and profane architecture. In particular, the palace as princely residence and other secular roles taken on by these buildings together with the development of their magnificence gained in importance.
In the Holy Roman Empire, the Bavarian dukes of the House of Wittelsbach and the Saxon House of Wettin were among the first German princes to begin with the structural modernization of their residences and seats of government which can be understood as a demonstrative gesture and thus as acts of political architecture.
The article presents arguments that attribute the known manuscript of the Wolfegg Hausbuch, which was created around 1480/86, to the workshop of Erhard Reuwich. Reuwich, who immigrated from Utrecht around 1470 and came from a renowned family of painters there, could be recognised as the "Master of the Amsterdam Cabinet" (the traditional "Master of the Housebook", "Hausbuchmeister"), who has been the subject of lively debate among researchers since the 19th century. This is not a new thesis, but here new arguments are added according to the advancements of historical research.
The second main artist of the Hausbuch, convincingly separated from the former by Hess in the 1990s, would then probably have been a staff member of Reuwich. There is new evidence for this as well. This "Master WB" was identified with the Nuremberg-born Wolfgang Beuerer.
In summary, the examination of the artistic output from Erhard Reuwich's Mainz workshop during the final third of the 15th century reveals an extensive network within both Dutch artistic circles (Utrecht, Brussels, Bruges, etc.) and the Franconian region. This depth and breadth of connections in the realm of painting was unprecedented in the Middle Rhine region. Further research is necessary to delve into these artistic and intellectual connections in more detail.
Written sources confirm that Reuwich was born into a prominent family of painters in Utrecht, embedded in a vibrant professional network, thus beginning his career within a rich artistic and social environment. This study aims to explore the artistic influences Reuwich may have experienced in his early years and what artistic skills and knowledge he might have brought to the Middle Rhine region.
Sadly, much of Utrecht's prolific 15th-century art production was lost by the subsequent century, especially during the 1566 iconoclasm, which particularly affected church decor including wall and panel paintings. Consequently, today's understanding of the period primarily comes from illuminations, offering a somewhat skewed perspective. However, this aligns well with Reuwich's known later endeavors.
At the heart of the vibrant Utrecht art tradition stands the "Master of Catherine of Cleves. His signature work is a meticulously crafted and content-rich Book of Hours commissioned by Catherine of Cleves, Duchess of Guelders near Utrecht This Book of Hours, produced between 1442 and 1444, is recognized for its intertwining of text and imagery, with the artistic style greatly benefiting from the detailed study of nature. Its atmospheric depth, particularly in landscapes and interior settings, stands out, as does its depiction of intricate lighting and day-to-day human activities. His influence would inspire generations of artists in his hometown. By the 1460s, even after his active period, there was a revival of his visual language, notably in the works of the "Master of Yolande of Lalaing."
Erhard Reuwich is an artist believed to have been influenced by this Utrecht tradition. It's probable that Reuwich was trained directly in the studios of the Master of Ewert Zoudenbalch or the Master of Yolande of Lalaing, suggesting a familial connection to the Utrecht artistic tradition. In summary, Erhard Reuwich's artistic foundations can be convincingly traced back to Utrecht's rich visual culture, with its emphasis on naturalistic depictions, atmospheric depth, and intertwining of text and imagery.
It seems prudent to explore traces of Utrecht's diverse and distinct artistic culture within the Middle Rhine region that could align with a hypothetical biography of Reuwich. In 1474, an illuminated manuscript of all three canonical texts of Vergil, commissioned as a wedding gift for the Electoral Court in Heidelberg, was completed. An intriguing detail in the manuscript points to a link between its illuminations and Utrecht art: A painted grove in the opening miniature of the shepherd dialogues distinctly showcases branch forks, a feature familiar to Utrecht illuminators from the work of the Master of Catherine of Cleves.
The Vergil manuscript's illustrations are further distinguished by meticulously crafted atmospheric landscapes. Notably, the depiction of a receding water surface in the miniature about Aeneas's shipwreck and a harbor piece before Troy. Their style, especially their attention to transitional states and water's light effects, strikingly resembles the innovative representation in the river landscape in the Hours of Catherine of Cleves.
It's suggested here that the more ambitious scenes might have involved Reuwich, implying he may have migrated to the Rhineland in the early 1470s.
The Palatinate Vergil's illumination is linked to a cohesive group of illuminators active in the Middle Rhine between 1470 and 1500. Their connections to Peter Schöffer's Mainz printing business have been detailed. Reuwich possibly first joined Schöffer's enterprise, benefiting from its vast network. It's conceivable that Schöffer, having an international network, might have facilitated Reuwich's move.
The 1470s also marked the emergence of an early humanistic culture in the Middle Rhine, predominantly within elite circles but beginning to shape visual culture. Key figures like Peter Schöffer, Antonio de Clapis, and Bernhard von Breydenbach played roles in bridging various cultural realms, reflecting the broader trend of European engagement with Italian humanism.
If further research supports the proposed extended biography of Erhard Reuwich, it would provide a richer understanding of his work and the social milieu of his time.
The present contribution attempts to interpret the profane living and representation rooms of the Wittenberg castle, which were created in the first construction phase, from a perspective of political semantics and to reconstruct their polyvalent integration into various frames of reference.
der generelle Umgang mit digitalen 3D-Rekonstruktionsmodellen
historischer Bauten als nachhaltigem Wissensspeicher und Kommunikationswerkzeug für die Kunstgeschichte und Architekturgeschichte erörtert. Ausgangspunkt und Beispiel ist die virtuelle 3D-Rekonstruktion des Barockschlosses Friedrichstein im ehemaligen Ostpreußen.
Im Folgenden soll die strukturelle und die Gestalt und die Funktion einer Residenz betreffende Transformation der zivilen Bereiche anhand vier ausgewählter Aspekte in den überregionalen Kontext der Architekturgeschichte der Frührenaissance eingeordnet werden. Ein Schwerpunkt liegt dabei auf dem Vergleich mit Bauten in dem Passau benachbarten süddeutschen, österreichischen und böhmischen Raum.
Die neuen baugeschichtlichen Erkenntnisse, die im Rahmen einer aktuellen Inwertsetzung der ehemals fürstbischöflichen Architektur der Veste Oberhaus möglich waren, lassen sich in vielversprechender Weise mit neueren Lesarten der Kunstgeschichte der frühen, transnationalen Renaissance als europäischem Phänomen in Verbindung bringen. Passau war hier nach aktuellem Kenntnisstand kunstgeschichtlich zwar kein Vorreiter; es war aber zeitlich nah dran an den vor allem im höfisch-fürstlichen Milieu wurzelnden Gründungsbauten wie Graz, Meißen, Burghausen, Salzburg oder Pürglitz in Böhmen.
Schlüssel für dieses erweiterte Verständnis einer prägenden Entwicklungsphase der Passauer Fürstenresidenz ist eine neue Aufmerksamkeit für interdisziplinäre Querverbindungen und eine engere und fruchtbare Kooperation zwischen einschlägigen Disziplinen wie Bauarchäologie, Kunstgeschichte, Geschichte und Geistesgeschichte. Damit tritt auch unerwartet die Person des Fürstbischofs Christoph Schachner in ein neues Licht als typische kulturelle „Brückenfigur“ zwischen Italien und Deutschland, der mit dem politisch eher einflusslosen Fürstbistum Passau offensichtlich eine doch nicht so unbedeutende kulturelle Relaisstelle im süddeutschen Raum besetzen konnte.
In diesem sich aktuell erst noch in allen Facetten entfaltenden kulturellen Kontext erhält die Architektur der Veste Oberhaus des späten 15. und frühen 16. Jahrhunderts einen grundlegend neuen Stellenwert als unerwartet frühe Vertreterin und gut erhaltenes und wertvolles Zeugnis der Rezeption der Bewegung der europäischen Renaissance in Bayern und in Deutschland. Damit fügt sich das Bauwerk ein in neuere Narrative einer Geschichte der vordürerzeitlichen nordalpinen Kunst als europäische Verflechtungsgeschichte, wie sie seit einiger Zeit mit den Arbeiten von Peter Burke, Marina Belozerskaya, Robert Suckale oder Ethan Matt Kavaler erfolgreich erprobt wird.
Significant parallels to an older illustrious war book from the Roman-German Empire, the Bellifortis of Konrad Kyeser, compiled around 1402 for King Wenceslas IV, make the work, which until recently was in the possession of the eponymous House of Waldburg-Wolfegg, appear to be an equally high-ranking courtly illuminated manuscript.
Presumably, the manuscript was begun in one go around the court of the Archbishop of Mainz, Elector and Archchancellor of the Empire Berthold of Henneberg, but remained unfinished. It is speculated whether the election of the young Archduke Maximilian of Habsburg as Roman-German king in the spring of 1486 might not have been the occasion for this unusual and ambitious book project. The hypothesis presented here pursues the goal of discussing once again both the artistic conditions of origin and the political-social context of the manuscript in the light of recent research in various disciplines.
Das sogenannte Wolfegger Hausbuch gehört zu den bekanntesten profanen Werken der Kunst in Deutschland vor Albrecht Dürer. Oft wurde in ihm der Ausdruck eines neuen bürgerlichen Berufes, des Büchsenmeisters als Spezialisten für die neuen Feuerwaffen gesehen. Vor dem Hintergrund der jüngsten Forschung zu den höfischen und adeligen Bildkulturen am Übergang vom Mittelalter zur frühen Neuzeit nimmt der vorliegende Beitrag zum Charakter und den mutmaßlichen Entstehungsumständen der reich bebilderten Handschrift Stellung. Signifikante Parallelen zu einem älteren illust-rierten Kriegsbuch aus dem römisch-deutschen Reich, dem um 1402 für König Wenzel IV. zusammengestellten Bellifortis des Konrad Kyeser, lassen das bis vor kurzem im Besitz des namensgebenden Hauses Waldburg-Wolfegg befindliche Werk als eine ebenso hochran-gige höfische Bilderhandschrift erscheinen. Vermutlich wurde das Manuskript in einem Zuge im Umfeld des Hofes des Mainzer Erzbischofs, Kurfürsten und Erzkanzlers des Reiches Berthold von Henneberg begonnen, blieb aber unvollendet. Es wird gemutmaßt, ob nicht die Wahl des jungen Erzherzogs Maximilian von Habsburg zum römisch-deut-schen König im Frühjahr 1486 der Anlass für dieses ungewöhnliche und ambitionierte Buchprojekt gewesen sein könnte. Die hier vorgetragene Hypothese verfolgt das Ziel, sowohl die künstlerischen Entstehungsbedingungen als auch den politisch-gesellschaft-lichen Kontext der Handschrift erneut im Lichte der jüngsten Forschungen verschiedener Disziplinen zu diskutieren.
In this essay, the functional structure of these new princely apartments is set in relation to the spatial structure of the Hofburg in Vienna, which was recently reconstructed in detail by research.
It can be shown to what extent the construction of the Munich Imperial Wings was oriented towards the (potential) imperial ceremonial in Vienna.
The redesign of the imperial apartments in Vienna in 1588/96, which has been completely lost today, could also have provided stylistic inspiration for the design of the Munich Imperial Apartments through a combination of figurative stucco with a complex painting programme on the mostly wooden ceilings.
Herzog Maximilian I. von Bayern (1573–1651) ergänzte ab 1611/12 die Münchener Residenz durch den sogenannten Kaisertrakt um eine regelmäßigen Innenhof.
Diese neuen fürstlichen Wohnräume werden in dem Aufsatz in ihrer funktionalen Struktur in Bezug zu der erst kürzlich von der Forschung im Detail rekonstruierten Raumstruktur der Hofburg in Wien gesetzt.
Es kann gezeigt werden, in wie weit man sich bei der Errichtung des Münchener Kaisertraktes am (potenziellen) kaiserlichen Zeremoniell in Wien orientierte.
Von der heute vollständig verlorenen Neugestaltung der kaiserlichen Wohnräume in Wien von 1588/96 könnten zudem stilistische Anregungen für die Ausgestaltung der Münchener Kaiserräume durch eine Kombination von umfangreichem figürlichen Stuck mit einem komplexen Malereiprogramm an den zumeist hölzernen Decken ausgegangen sein.
croisée) of early humanism and artistic developments in the late fifteenth century in Germany. In this way, the intellectual background between particular architectural innovations which can be labelled as a kind of Romanesque Renaissance may perhaps be better understood.
Buildings with stylistic references to the Romanesque period can also be observed in a number of coeval north-Alpine paintings and drawings. Early as c.1435, Jan van Eyck and Rogier van der Weyden had already synthesised their own studies of Romanesque architectural details into an idealised style of painted architecture. From about the mid- fifteenth century onwards, more and more paintings from German-speaking countries referred to these Netherlandish notions and started to display architectural backdrops in a style that was not up to date Gothic but reminiscent of the Romanesque style. The intellectual background for the growing interest in an old-fashioned artistic style and its stylistic recognition in the North is presumably provided by a field that can be described as the dissemination of humanistic culture and its practical application. From the mid-fifteenth century also German princes and parts of their courtly elites developed a new urge to use references to antiquity for their arguments and thus to assign specific functions to humanist cultural innovation. The efforts to reform church and empire became an essential catalyst for the reception and adaptation of the ideas of Italian humanism.
Certain fundamental ideas of a new humanist culture circulating from the outset as elements of new political demands also carried great potential for an expanded role of the fine arts and of artistic innovation as a medium of self-representation. Architecture and its semantic potential were early on emphasized by Italian humanists such as Piccolomini and Leon Batista Alberti. For fifteenth-century Italy this development and its semantics have already been investigated and described many times for both sacred and profane architecture. In particular, the palace as princely residence and other secular roles taken on by these buildings together with the development of their magnificence gained in importance.
In the Holy Roman Empire, the Bavarian dukes of the House of Wittelsbach and the Saxon House of Wettin were among the first German princes to begin with the structural modernization of their residences and seats of government which can be understood as a demonstrative gesture and thus as acts of political architecture.
The article presents arguments that attribute the known manuscript of the Wolfegg Hausbuch, which was created around 1480/86, to the workshop of Erhard Reuwich. Reuwich, who immigrated from Utrecht around 1470 and came from a renowned family of painters there, could be recognised as the "Master of the Amsterdam Cabinet" (the traditional "Master of the Housebook", "Hausbuchmeister"), who has been the subject of lively debate among researchers since the 19th century. This is not a new thesis, but here new arguments are added according to the advancements of historical research.
The second main artist of the Hausbuch, convincingly separated from the former by Hess in the 1990s, would then probably have been a staff member of Reuwich. There is new evidence for this as well. This "Master WB" was identified with the Nuremberg-born Wolfgang Beuerer.
In summary, the examination of the artistic output from Erhard Reuwich's Mainz workshop during the final third of the 15th century reveals an extensive network within both Dutch artistic circles (Utrecht, Brussels, Bruges, etc.) and the Franconian region. This depth and breadth of connections in the realm of painting was unprecedented in the Middle Rhine region. Further research is necessary to delve into these artistic and intellectual connections in more detail.
Written sources confirm that Reuwich was born into a prominent family of painters in Utrecht, embedded in a vibrant professional network, thus beginning his career within a rich artistic and social environment. This study aims to explore the artistic influences Reuwich may have experienced in his early years and what artistic skills and knowledge he might have brought to the Middle Rhine region.
Sadly, much of Utrecht's prolific 15th-century art production was lost by the subsequent century, especially during the 1566 iconoclasm, which particularly affected church decor including wall and panel paintings. Consequently, today's understanding of the period primarily comes from illuminations, offering a somewhat skewed perspective. However, this aligns well with Reuwich's known later endeavors.
At the heart of the vibrant Utrecht art tradition stands the "Master of Catherine of Cleves. His signature work is a meticulously crafted and content-rich Book of Hours commissioned by Catherine of Cleves, Duchess of Guelders near Utrecht This Book of Hours, produced between 1442 and 1444, is recognized for its intertwining of text and imagery, with the artistic style greatly benefiting from the detailed study of nature. Its atmospheric depth, particularly in landscapes and interior settings, stands out, as does its depiction of intricate lighting and day-to-day human activities. His influence would inspire generations of artists in his hometown. By the 1460s, even after his active period, there was a revival of his visual language, notably in the works of the "Master of Yolande of Lalaing."
Erhard Reuwich is an artist believed to have been influenced by this Utrecht tradition. It's probable that Reuwich was trained directly in the studios of the Master of Ewert Zoudenbalch or the Master of Yolande of Lalaing, suggesting a familial connection to the Utrecht artistic tradition. In summary, Erhard Reuwich's artistic foundations can be convincingly traced back to Utrecht's rich visual culture, with its emphasis on naturalistic depictions, atmospheric depth, and intertwining of text and imagery.
It seems prudent to explore traces of Utrecht's diverse and distinct artistic culture within the Middle Rhine region that could align with a hypothetical biography of Reuwich. In 1474, an illuminated manuscript of all three canonical texts of Vergil, commissioned as a wedding gift for the Electoral Court in Heidelberg, was completed. An intriguing detail in the manuscript points to a link between its illuminations and Utrecht art: A painted grove in the opening miniature of the shepherd dialogues distinctly showcases branch forks, a feature familiar to Utrecht illuminators from the work of the Master of Catherine of Cleves.
The Vergil manuscript's illustrations are further distinguished by meticulously crafted atmospheric landscapes. Notably, the depiction of a receding water surface in the miniature about Aeneas's shipwreck and a harbor piece before Troy. Their style, especially their attention to transitional states and water's light effects, strikingly resembles the innovative representation in the river landscape in the Hours of Catherine of Cleves.
It's suggested here that the more ambitious scenes might have involved Reuwich, implying he may have migrated to the Rhineland in the early 1470s.
The Palatinate Vergil's illumination is linked to a cohesive group of illuminators active in the Middle Rhine between 1470 and 1500. Their connections to Peter Schöffer's Mainz printing business have been detailed. Reuwich possibly first joined Schöffer's enterprise, benefiting from its vast network. It's conceivable that Schöffer, having an international network, might have facilitated Reuwich's move.
The 1470s also marked the emergence of an early humanistic culture in the Middle Rhine, predominantly within elite circles but beginning to shape visual culture. Key figures like Peter Schöffer, Antonio de Clapis, and Bernhard von Breydenbach played roles in bridging various cultural realms, reflecting the broader trend of European engagement with Italian humanism.
If further research supports the proposed extended biography of Erhard Reuwich, it would provide a richer understanding of his work and the social milieu of his time.
The present contribution attempts to interpret the profane living and representation rooms of the Wittenberg castle, which were created in the first construction phase, from a perspective of political semantics and to reconstruct their polyvalent integration into various frames of reference.
der generelle Umgang mit digitalen 3D-Rekonstruktionsmodellen
historischer Bauten als nachhaltigem Wissensspeicher und Kommunikationswerkzeug für die Kunstgeschichte und Architekturgeschichte erörtert. Ausgangspunkt und Beispiel ist die virtuelle 3D-Rekonstruktion des Barockschlosses Friedrichstein im ehemaligen Ostpreußen.
Im Folgenden soll die strukturelle und die Gestalt und die Funktion einer Residenz betreffende Transformation der zivilen Bereiche anhand vier ausgewählter Aspekte in den überregionalen Kontext der Architekturgeschichte der Frührenaissance eingeordnet werden. Ein Schwerpunkt liegt dabei auf dem Vergleich mit Bauten in dem Passau benachbarten süddeutschen, österreichischen und böhmischen Raum.
Die neuen baugeschichtlichen Erkenntnisse, die im Rahmen einer aktuellen Inwertsetzung der ehemals fürstbischöflichen Architektur der Veste Oberhaus möglich waren, lassen sich in vielversprechender Weise mit neueren Lesarten der Kunstgeschichte der frühen, transnationalen Renaissance als europäischem Phänomen in Verbindung bringen. Passau war hier nach aktuellem Kenntnisstand kunstgeschichtlich zwar kein Vorreiter; es war aber zeitlich nah dran an den vor allem im höfisch-fürstlichen Milieu wurzelnden Gründungsbauten wie Graz, Meißen, Burghausen, Salzburg oder Pürglitz in Böhmen.
Schlüssel für dieses erweiterte Verständnis einer prägenden Entwicklungsphase der Passauer Fürstenresidenz ist eine neue Aufmerksamkeit für interdisziplinäre Querverbindungen und eine engere und fruchtbare Kooperation zwischen einschlägigen Disziplinen wie Bauarchäologie, Kunstgeschichte, Geschichte und Geistesgeschichte. Damit tritt auch unerwartet die Person des Fürstbischofs Christoph Schachner in ein neues Licht als typische kulturelle „Brückenfigur“ zwischen Italien und Deutschland, der mit dem politisch eher einflusslosen Fürstbistum Passau offensichtlich eine doch nicht so unbedeutende kulturelle Relaisstelle im süddeutschen Raum besetzen konnte.
In diesem sich aktuell erst noch in allen Facetten entfaltenden kulturellen Kontext erhält die Architektur der Veste Oberhaus des späten 15. und frühen 16. Jahrhunderts einen grundlegend neuen Stellenwert als unerwartet frühe Vertreterin und gut erhaltenes und wertvolles Zeugnis der Rezeption der Bewegung der europäischen Renaissance in Bayern und in Deutschland. Damit fügt sich das Bauwerk ein in neuere Narrative einer Geschichte der vordürerzeitlichen nordalpinen Kunst als europäische Verflechtungsgeschichte, wie sie seit einiger Zeit mit den Arbeiten von Peter Burke, Marina Belozerskaya, Robert Suckale oder Ethan Matt Kavaler erfolgreich erprobt wird.
Significant parallels to an older illustrious war book from the Roman-German Empire, the Bellifortis of Konrad Kyeser, compiled around 1402 for King Wenceslas IV, make the work, which until recently was in the possession of the eponymous House of Waldburg-Wolfegg, appear to be an equally high-ranking courtly illuminated manuscript.
Presumably, the manuscript was begun in one go around the court of the Archbishop of Mainz, Elector and Archchancellor of the Empire Berthold of Henneberg, but remained unfinished. It is speculated whether the election of the young Archduke Maximilian of Habsburg as Roman-German king in the spring of 1486 might not have been the occasion for this unusual and ambitious book project. The hypothesis presented here pursues the goal of discussing once again both the artistic conditions of origin and the political-social context of the manuscript in the light of recent research in various disciplines.
Das sogenannte Wolfegger Hausbuch gehört zu den bekanntesten profanen Werken der Kunst in Deutschland vor Albrecht Dürer. Oft wurde in ihm der Ausdruck eines neuen bürgerlichen Berufes, des Büchsenmeisters als Spezialisten für die neuen Feuerwaffen gesehen. Vor dem Hintergrund der jüngsten Forschung zu den höfischen und adeligen Bildkulturen am Übergang vom Mittelalter zur frühen Neuzeit nimmt der vorliegende Beitrag zum Charakter und den mutmaßlichen Entstehungsumständen der reich bebilderten Handschrift Stellung. Signifikante Parallelen zu einem älteren illust-rierten Kriegsbuch aus dem römisch-deutschen Reich, dem um 1402 für König Wenzel IV. zusammengestellten Bellifortis des Konrad Kyeser, lassen das bis vor kurzem im Besitz des namensgebenden Hauses Waldburg-Wolfegg befindliche Werk als eine ebenso hochran-gige höfische Bilderhandschrift erscheinen. Vermutlich wurde das Manuskript in einem Zuge im Umfeld des Hofes des Mainzer Erzbischofs, Kurfürsten und Erzkanzlers des Reiches Berthold von Henneberg begonnen, blieb aber unvollendet. Es wird gemutmaßt, ob nicht die Wahl des jungen Erzherzogs Maximilian von Habsburg zum römisch-deut-schen König im Frühjahr 1486 der Anlass für dieses ungewöhnliche und ambitionierte Buchprojekt gewesen sein könnte. Die hier vorgetragene Hypothese verfolgt das Ziel, sowohl die künstlerischen Entstehungsbedingungen als auch den politisch-gesellschaft-lichen Kontext der Handschrift erneut im Lichte der jüngsten Forschungen verschiedener Disziplinen zu diskutieren.
In this essay, the functional structure of these new princely apartments is set in relation to the spatial structure of the Hofburg in Vienna, which was recently reconstructed in detail by research.
It can be shown to what extent the construction of the Munich Imperial Wings was oriented towards the (potential) imperial ceremonial in Vienna.
The redesign of the imperial apartments in Vienna in 1588/96, which has been completely lost today, could also have provided stylistic inspiration for the design of the Munich Imperial Apartments through a combination of figurative stucco with a complex painting programme on the mostly wooden ceilings.
Herzog Maximilian I. von Bayern (1573–1651) ergänzte ab 1611/12 die Münchener Residenz durch den sogenannten Kaisertrakt um eine regelmäßigen Innenhof.
Diese neuen fürstlichen Wohnräume werden in dem Aufsatz in ihrer funktionalen Struktur in Bezug zu der erst kürzlich von der Forschung im Detail rekonstruierten Raumstruktur der Hofburg in Wien gesetzt.
Es kann gezeigt werden, in wie weit man sich bei der Errichtung des Münchener Kaisertraktes am (potenziellen) kaiserlichen Zeremoniell in Wien orientierte.
Von der heute vollständig verlorenen Neugestaltung der kaiserlichen Wohnräume in Wien von 1588/96 könnten zudem stilistische Anregungen für die Ausgestaltung der Münchener Kaiserräume durch eine Kombination von umfangreichem figürlichen Stuck mit einem komplexen Malereiprogramm an den zumeist hölzernen Decken ausgegangen sein.
croisée) of early humanism and artistic developments in the late fifteenth century in Germany. In this way, the intellectual background between particular architectural innovations which can be labelled as a kind of Romanesque Renaissance may perhaps be better understood.
Mittelalter und früher Neuzeit als auch ein bedeutendes Zeugnis der damaligen gesellschaftlichen und kulturellen Prozesse in vollständiger Reproduktion und mit interdisziplinären Erläuterungen. Viele der Bilder der im letzten Viertel des 15. Jahrhunderts entstandenen Pergamenthandschrift haben inzwischen ein Eigenleben im kulturellen Gedächtnis entwickelt und illustrieren auch in internationalen Zusammenhängen mannigfaltige Aspekte dieser Zeit.
Über den allgemeinen Kontext wie auch die intellektuellen und künstlerischen Qualitäten des Wolfegger Hausbuches versuchen die hier versammelten
Beiträge Aufklärung zu bieten.
Die Kunstgeschichte debattiert seit über hundert Jahren die speziellen Fragen der Zuschreibung, der Auftraggeberschaft, des Besitzes und des Entstehungsdatums bzw. eines entsprechenden Zeitraumes. Einigkeit wurde nur darüber erzielt, dass ein Teil der Zeichnungen des Hausbuches von demselben Künstler angefertigt wurde, der auch eine Serie von bemerkenswerten Kaltnadelradierungen schuf, deren umfangreichst erhaltene Serie zu den Schätzen des Rijksmuseums in Amsterdam gehört. Darüber hinaus zeichnet sich in der Wissenschaft ein gewisser Konsens ab, dass die Bilder der Handschrift in den Jahren um 1480 in der künstlerischen Welt des Mittelrheins entstanden sind.
At this event, speakers and over one hundred guests from ten European countries met to exchange their ideas. It was the first time ever that international researchers came together to study the phenomenon of Baroque ceiling painting in Europe. In accordance with Module I of the Academy Project »Corpus der barocken Deckenmalerei in Deutschland,« the conference’s sole focus was on residential castles. To ensure comparability, only examples from the years around 1700 were considered. Over the course of three days, 20 scholars presented their papers.
This volume is dedicated to the study of the in- and outside of princely residences and of their setup as the stage for a developing European early modern court culture.
At a time of increasing aristocratization (1400-1700) and with many new nascent princely courts, both the princely person and the performance of princely power required an appropriate type of elaborate backdrop as its setting. Even though such an interest in the palace interior and its functions is not entirely new, interior architecture and court culture have only recently come to be seen as two sides of the same medal: embodiment and expression of the princely presence.
Therefore, the essays included focus in particular on diverse types of functions that palaces and apartments, state rooms and privy chambers had to fulfil at certain periods and in certain residential contexts between the ages of feudalism and absolutism at courts in London, Edinburgh, Neuburg am Inn, Karlstein and Prague, Červený Kameň and Ludwigsburg. They compare and contrast specific local examples with international trends such as, for example, the palace and court ceremonial developed at or adapted to diverse circumstances in Burgundy, Spain or Lithuania. Consequently, the aim of this volume consists of the combination of personal and dynastic ambitions with fashionable trends and court etiquette followed by royalty and minor princes alike during a period of calculated magnificence. It considers processional routes towards the presence of the ruler or towards its image. Thereby, it helps to define the complementary roles of residential interiors and of the courtly personnel at the same time.
The ten papers collected in this volume were first presented at the PALATIUM colloquium The Interior as an Embodiment of Power―The Image of the Prince and its Spatial Setting (1400–1700), organized by Stephan Hoppe, Krista De Jonge and Stefan Breitling and held in Bamberg in October 2013.
This volume deals with digital reconstructions and visualizations of palaces, castles, and other kinds of residential architecture of the early modern period. It focuses not so much on the digital modelling of extant buildings, but rather on the virtual reconstruction of ‘lost’ buildings – in particular of palaces destroyed or drastically altered, or which were never actually built in the first place.
These diverse case studies presented here explore a range of approaches and methods of using virtual reconstructions as tools for both scientific research and dissemination to a wider public. They address problems such as the visualization of uncertainties, the dynamic modelling of a building’s evolution through time, and the use of digital reconstructions as repositories of data and knowledge.
The numerous digital models and associated images discussed in this volume display an enormous variety in terms of the underlying technology, data conceptualization and visual style. Such adaptability means that this new medium finds considerable application in architectural history and related disciplines. It also means that digital reconstructions ought to be regarded as cultural products and therefore become objects of scholarly research in their own right.
The thirteen papers collected in this volume were first presented at the PALATIUM workshop Virtual Palaces, Part II held in Munich in April 2012.
Contributors: Stefan Breitling, Martin Buba, Tom Chandler, Krista De Jonge, Jan Fuhrmann, Alexandra Gago da Câmara, Marc Grellert, Franziska Haas, Sven Havemann, Stephan Hoppe, Peter Heinrich Jahn, Thomas Köhler, Dominik Lengyel, Piet Lombaerde, Ana Catarina G. Lopes, Heike Messemer, Sander Münster, Helena Murteira, Marc Muylle, Martin Polkinghorne, Paulo Rodrigues, Michael Rykl, Christian Seitz, Catherine Toulouse, Markus Wacker, Olaf Wagener, Dirk Welich.
https://www.zikg.eu/veranstaltungen/2018/studientag-nord-sued-kunst-um-1500-in-bewegung
14.00 Uhr Einführung
Ulrich Pfisterer
14.15 Uhr / Moderation: Andrew John Martin
Stephan Hoppe (München): Ein Pictor Doctus vor Dürer. Erhard Reuwich in Mainz und die Entdeckung der Geschichte der Architektur
Thomas Eser (Nürnberg): Pestflucht und Sprachbarriere. Gibt es ein nichtkünstlerisches Movens in Dürers (italienischem) Reiseverhalten?
Christof Metzger (Wien): Vergessene Erinnerungen: Albrecht Dürers verlorene Landschaften. Mit einem Neufund aus Italien
15.45 Uhr - Kaffeepause -
16.15 Uhr / Moderation: Bernard Aikema
Jürgen Müller (Dresden): Der Gaukler und der Philosoph. Die Gaukler-Bilder des Hieronymus Bosch
Birgit Münch (Bonn): Anatomien der Grausamkeit. Nord und Süd in Dürers 10.000-Märtyrer-Versionen
Holger Jacob-Friesen (Karlsruhe): Exemplarisch schön, exemplarisch leidend - Der Heilige Sebastian bei Dürer und Baldung
17.45 Uhr - Kaffeepause -
18.15 Uhr / Moderation: Matteo Burioni
Matthias Müller (Mainz): Arabeske und nordalpine Renaissance: Überlegungen zu mäandernden Linien bei Dürer und Altdorfer
Hanns-Paul Ties (München): Die Sprachgrenze als ‚Kunstgrenze‘? Zur Renaissance-Rezeption im südlichen Tirol in der ersten Hälfte des 16. Jahrhunderts
Dagmar Eichberger (Heidelberg/Gießen): Drehscheibe Südliche Niederlande (1500-1530): Italienische Einflüsse als eine Facette des Stilpluralismus
auf dem:
Frühjahrsworkshop des Rudolstädter Arbeitskreises zur Residenzkultur
(12. - 13. 04. 2019 in Heidelberg)
Das Corpus der barocken Deckenmalerei möchte den beschriebenen Wandel mit den politischen Änderungen in Europa um 1700 verknüpfen. Dieser Wandel erfolgt zeitgleich mit einer neuen Machtstellung vieler Monarchen und ihrer Staaten. Die Herrscher sind um die Anerkennung ihrer neuen Stellung bestrebt.
13.09.-15.09.2018,
Galeriegebäude, Herrenhäuser Str. 3a, 30419 Hannover-Herrenhausen
Eine internationale Tagung des Corpus der barocken Deckenmalerei in Deutschland (CbDD), ein Projekt der Bayerischen Akademie der Wissenschaften mit Arbeitsstellen an der Ludwig-Maximilians-Universität München (LMU) und dem Deutschem Dokumentationszentrum für Kunstgeschichte – Bildarchiv Foto Marburg (DDK) in Kooperation mit der Landeshauptstadt Hannover, Herrenhäuser Gärten, dem Institut für kunst- und musikhistorische Forschungen (IKM), Abteilung Kunstgeschichte, der Österreichischen Akademie der Wissenschaften (ÖAW), der Research Group for Baroque Ceiling Painting in Central Europe (BCPCE).
Wissenschaftliche Leitung: Stephan Hoppe (LMU München), Heiko Laß (LMU München), Herbert Karner (ÖAW Wien)
The Corpus of Baroque Ceiling Painting in Germany (Corpus der barocken Deckenmalerei in Deutschland, CbDD) conducts research on the interior decoration of walls and ceilings created between 1550 and 1800 within the territory of the Federal Republic of Germany.
For the first time, a corpus of more than 5000 monuments, including preserved, destroyed and restored examples, is comprehensively documented, analysed, and presented: by texts as well as new and historical photographs and drawings, in its art historical, architectural and historical contexts, in an online database via innovative digital technology.
The Corpus of Baroque Ceiling Painting in Germany (CbDD) is a research project within the academies’ programme of the Union of the German Academies of Sciences and the Humanities (Union der Deutschen Akademien der Wissenschaften), directed by Stephan Hoppe (LMU Munich). It is supervised by the Bavarian Academy of Sciences and Humanities (Bayerische Akademie der Wissenschaften) in Munich. It makes a significant contribution to the documentation, safeguarding and visualisation of our cultural heritage.
Two research-teams at the Institut für Kunstgeschichte of the Ludwig-Maximilians-Universität in Munich and the Deutsches Dokumentationszentrum für Kunstgeschichte – Bildarchiv Foto Marburg of the Philipps-Universität in Marburg cooperate closely, granting in-depth research and a high quality of photographic reproduction of the objects. The project was approved in October 2014 and started April 1, 2015. The duration of the research project is 25 years.
The current research networking program wants to unite scholars from different disciplines in order to map out the various strategies used in the period c.1400–1700 to construct an appropriate past in art, architecture and literature, and to examine how this past was used in the creation of ‘national’ or local identities in Europe.
Titel: „Architektur und Frühhumanismus nördlich der Alpen. Neue Perspektiven einer interdisziplinär ausgerichteten Forschung.“
A rather new element in this context constitutes the analytical integration of the different roles taken on by learned and mobile “Brückenfiguren” (bridging figures), a number of German and Italien humanist writers, councillors, politicians and courtiers, within transregional networks like Martin Mair, Heinrich Steinhöwel, Hartmann Schedel or Conrad Celtes.
Therefore, this essay attempts to sketch out first outlines of an entangled history (histoire croisée) between early humanism and architectural developments of the late fifteenth centuryin Germany. In this way, the intellectual background between particular artistic innovations of the period may perhaps be better understood. In addition, some so far little-regarded connections between contemporaneous approaches to historiography and the search for an appropriate language of architecture can be opened up to an interdisciplinary debate.