literature
- Paul Beck : Maulbertsch, Franz Anton . In: Allgemeine Deutsche Biographie (ADB). Volume 20, Duncker & Humblot, Leipzig 1884, pp. 689-691.
- Hannes Etzlstorfer: In: New German Biography (NDB). Volume 16, Duncker & Humblot, Berlin 1990, ISBN 3-428-00197-4 , p. 429 f. ( ).
- Ingeborg Dorchenas: Maulbertsch, Franz Anton. In: Biographisch-Bibliographisches Kirchenlexikon (BBKL). Volume 5, Bautz, Herzberg 1993, ISBN 3-88309-043-3 , Sp. 1044-1051.
- Klára Garas: Franz Anton Maulbertsch (1724–1796). Preface by Oskar Kokoschka. Amalthea-Verlag, Vienna 1960.
- Friedrich Gerke : The frescoes of Franz Anton Maulbertsch in the parish church to Sümeg (= treatises of the Academy of Sciences and Literature. Humanities and social science class. Born 1950, Volume 21). Verlag der Wissenschaft und der Literatur in Mainz (commissioned by Franz Steiner Verlag, Wiesbaden).
- Franz Martin Haberditzl : Franz Anton Maulbertsch 1724–1796. Edited by Gerbert Frodl u. Michael Krapf. Brandstätter Verlag, Vienna 2006, ISBN 3-902510-37-4 .
- Eduard Hindelang (Ed.): Franz Anton Maulbertsch and his Swabian circle . Museum Langenargen, Langenargen / Thorbecke, Sigmaringen 1996, ISBN 3-7995-3165-3 .
Произведение искусства
Его искусство вдохновлено различными итальянскими художники (такие , как в венецианской школе в Piazzetta ), но и Рембрандт , которого он знал по его гравюрам.
В 1750-1751 годах он написал « Триумф истины над временем» , большую картину маслом для большого салона замка Кирштеттен. В 1752 году он написал свой первый шедевр: фреску на куполе пиаристской церкви Марии Треу в Вене.
От около 1752 до 1767, он работал главным образом в восточной части Австро-Венгрии, где он произвел внушительные фрески ( Благовещения Богородицы , и Триумф Троицы ) в Vác соборе (Waizen), 35 км к северу от Будапешта.
В 1767 году он вернулся к работе в Вене. Его последней крупной придворной работой в 1772 году станет потолочная фреска в Зале гигантов в Хофбурге в Инсбруке, которая представляет собой воссоединение домов Габсбургов и Лотарингии.
- Апостол Филипп крестит евнуха (около 1750 г.), бумага, масло, 50 × 34 см , Эрмитаж , Санкт-Петербург
- Победа Сантьяго-де-Компостела (около 1764 г.), бумага, масло, 32 × 48 см , дворец Бельведер (Вена) . Проект потолка хора церкви в Швехате недалеко от Вены, разрушенной в 1944 году. По заказу Иоганса Якоба Вольфа, лорда Эренбрунна.
- Автопортрет (около 1767 г.), дворец Бельведер (Вена)
- Юпитер и Антиопа (около 1780 г.), холст, масло, 44 × 44 см , дворец Бельведер (Вена)
Место в истории живописи
За пределами стран германской культуры Франц Антон Маульберт, как правило, мало известен, и мы не признаем его место в живописи. Во многом это связано с характером его работ: составленные из больших полотен или фресок, украшающие великие памятники стран, где он работал ( Австрия , Венгрия , Богемия , Моравия …), очень мало или совсем не представлены в собраниях картин других стран, а потому в значительной степени игнорируется публикой.
Однако его стиль в значительной степени заслуживает интереса своей выразительной силой и воображением, своими декоративными качествами, легкостью, с которой он легко переходит из одного жанра в другой.
Его виртуозная обработка цветов и световых эффектов в определенной степени даже провозглашает импрессионизм; в любом случае он был вдохновителем современных австрийских художников, и Оскар Кокошка считал его одной из своих моделей.
Works (selection)
- Early self-portrait, oil on canvas, around 1750, Belvedere , Vienna.
- The Academy with its attributes at Minerva’s feet, oil on canvas, 1750, Belvedere, Vienna.
- Dome frescoes in the Piarist Church Maria Treu , Vienna, 1752/53.
- Ceiling fresco in the chapel, Ebenfurth Castle , 1754.
- Holy Kinship, oil on canvas, around 1755, Belvedere, Vienna.
- Ceiling frescoes in the pilgrimage church Heiligenkreuz-Gutenbrunn , 1756/57.
- Ceiling frescoes in the parish church of the Ascension of Christ in Sümeg , Hungary, 1756/77.
- Erecting the Cross, oil on canvas, 1757/58, Belvedere, Vienna.
- Ceiling fresco in the ballroom, Halbturn Palace , Burgenland, 1765/66.
- Ceiling fresco in the giant hall of the Hofburg , Innsbruck, 1772.
- Altar fresco in the Augustinian Church , Korneuburg , 1773.
- Glorification of Emperor Joseph II, oil on canvas, before 1777, Belvedere, Vienna.
- Ceiling fresco in the library of the Strahov Monastery , Prague, 1794.
Life and work
Franz Anton Maulbertsch was the son of the painter Anton Maulbertsch.
Franz Anton studied from 1739 to 1741 at the academy in Vienna under Jacob van shed.
In 1750 he won the first prize in the painting competition of the Academy.
He was inspired by various Italian painters, but also by Rembrandt, whose work he knew by engravings.
In 1757 he was proposed as a professor, however, rejected as » too bold spirit «.
It was not until 1770 he was appointed to the Board of the Academy.
1750 to 1751 he painted Triumph of Truth over time, a large oil painting for the ceiling of the castle ballroom Kirchstetten.
His first fresco commissioned in 1752 is considered one of his major works: the 1753 completed five dome frescoes of Piaristenkirche Maria Treu in Vienna’s Josefstadt.
In the center is a representation of the Assumption of Mary into heaven, while the edge form scenes from the Old and New Testaments.
All figures are intertwined, like a surging river;
in the composition dominates the color of the contour.
The construction, which is about to Daniel Gran, the early Paul Troger and later with the classicism in the foreground, resigns in favor of the play of light and color.
In the 1750s and 1760s Maulbertsch worked mainly in Hungary and the eastern parts of Austria, where he made the imposing frescoes ( Visitatio Mariae et Triumphus Trinity ) Cathedral to Waizen: as a fresco painter in the castles Ebenfurth and half turn, in the Sanctuary of the Holy Cross Gutenbrunn, the Hundsturmer chapel and in the parish churches of Schwechat and Sümeg.
For the Abbey Altmünster (Mainz) in 1758, he made the altarpiece of the Assumption of the Virgin Mary hanging in St. Quintin (Mainz) today.
1767 got Maulbertsch again in Vienna orders where he increasingly approached to the classical spirit.
Its ceiling fresco in John Hall of the Austrian Academy of Sciences (formerly New Hall, University of Vienna ) shows Christ in baptism in a mountain standing, which is also shown with a masterful hue as raging water.
His last large order of court in 1772 was the ceiling fresco in the big hall of the Imperial Palace in Innsbruck, which is the union of the houses of Habsburg and Lorraine to the House of Habsburg -Lorraine.
In this large fresco the classical moments are in the foreground, which probably has something to do with the fact that Joseph of Sperges ( the editor of Winkelmann ) program author was.
The jobs created in his last years, frescoes and stucco work of the Cathedral of Szombathely was destroyed in the Second World War.
In contrast, Stephen ceiling frescoes are perfectly preserved in the 1795 consecrated St. Stephen’s Church in Papa.
The virtuoso color treatment and anti-classical train at Maulbertsch are also evident in his oil paintings, as in the Holy Kinship, or in the earlier regarded as self-portrait painting, both in the Belvedere in Vienna.
The latter represents a not yet clearly identified fellow artists with typical accessories dar.
The virtuoso handling of color and light effects anticipated in many respects already Impressionism, whose progeny of the late Baroque art comes to light here.
Even if Maulbertsch his own radicalism not quite kept and at the end of his life, even assuming classical tendencies, he was a major inspirer of the art of Austrian modernism.
Oskar Kokoschka complaining him as a model.
In 1961 in Vienna Dobling ( 19th district ) was named the Maulbertsch alley after him.
life and work
Franz Anton Maulbertsch was the son of the painter Anton Maulbertsch . Franz Anton studied from 1739 to 1741 at the Academy in Vienna under Jacob van Schuppen . In 1750 he won first prize in the academy’s painting competition. He was inspired by various Italian painters, but also by Rembrandt , whose work he knew from copper engravings . In 1757 he was proposed as a professor, but rejected as «too bold a spirit». It was not until 1770 that he was appointed to the council of the academy.
From 1750 to 1751 he painted Triumph of Truth Over Time , a large oil painting for the ballroom ceiling of Kirchstetten Castle . His first fresco commission in 1752 is considered one of his main works: the five dome frescoes of the Piarist Church Maria Treu in Vienna’s Josefstadt, completed in 1753 . In the center is a depiction of the Assumption of Mary into heaven, while the edge depicts scenes from the Old and New Testaments. All figures are intertwined, like in a surging river; in the composition the color dominates over the contour. The construction, which is in the foreground with Daniel Gran , the early Paul Troger and later with Classicism , takes a back seat in favor of the play of light and color.
In the 1750s and 1760s Maulbertsch worked mainly in Hungary and the eastern parts of Austria, producing the imposing frescoes (Visitatio Mariae et Triumphus Trinitatis) of the : as a fresco in the castles of Ebenfurth and Halbturn , in the pilgrimage church of Heiligenkreuz-Gutenbrunn , the Hundsturm chapel and in the parish churches of Schwechat and Sümeg . In 1758 he made the altarpiece with the Assumption of Mary for the Abbey of Altmünster (Mainz) , which hangs today in St. Quintin (Mainz) .
In 1767 Maulbertsch received orders again in Vienna, whereby he increasingly approached the classicist zeitgeist. His ceiling fresco in the Johannessaal of the Austrian Academy of Sciences (formerly the University of Vienna) shows Christ standing in a mountain stream at baptism, which is also depicted as rushing water with masterful nuances of color. His last major court commission in 1772 was the ceiling fresco in the giant hall of the Hofburg in Innsbruck , which depicts the union of the Houses of Habsburg and Lorraine to form the House of Habsburg-Lothringen . In this large fresco, the classical elements are in the foreground, which probably has to do with the fact that Joseph von Sperges (the editor of Winckelmann ) was the author of the program.
The frescoes and stucco work of the Cathedral of Steinamanger , created in the last years of his life, were destroyed in the Second World War. In contrast, the Stephanus ceiling frescoes in the St. Stephen’s Church in Pápa , consecrated in 1795, have been completely preserved.
Maulbertsch’s virtuoso color treatment and the anticlassical trait are also evident in his oil paintings, for example in the case of the Holy Tribe or in the painting that was formerly regarded as a self-portrait , both in the Belvedere in Vienna. The latter represents a so far not clearly identified artist colleague with typical accessories.
The virtuoso handling of color and light effects anticipates in many respects already Impressionism , whose descendants of late baroque art come to light here. Even if Maulbertsch did not quite maintain his own radicalism and even adopted classical tendencies at the end of his life, he was an important inspirer of the art of Austrian modernism. Oskar Kokoschka claimed that he was a role model.
In 1961 Maulbertschgasse in Vienna- Döbling (19th district) was named after him.
Works (selection)
- Early self-portrait, 1750, oil on canvas, Belvedere, Vienna
- The Academy with their attributes at the feet of Minerva, 1750, oil on canvas, Belvedere, Vienna
- Dome frescoes in the Piaristenkirche Maria Treu, 1752/53, Fresco painting, Piaristenkirche Maria Treu, Vienna
- Ceiling fresco in the chapel of the castle Ebenfurth, 1754, Fresco painting castle Ebenfurth
- The Holy Family, circa 1755, oil on canvas, Belvedere, Vienna
- Ceiling frescoes in the pilgrimage church of the Holy Cross Good Brunn, 1756/57, fresco, Holy Cross Gutenbrunn
- The cross, 1757/58, oil on canvas, Belvedere, Vienna
- Ceiling fresco in the ballroom of the estate, 1765/66, Fresco painting, Halbturn
- Ceiling fresco in the Hall of Giants of the Hofburg (Innsbruck ), 1772, fresco painting, Innsbruck