Drawings of Josef Ceregetti: an insight into the practice of a local 18th century painter
Radka Nokkala Miltová
Czech Republic, Brno, Masaryk University, Faculty of Arts, Department of Art History
"Drawings of Josef Ceregetti: an insight into the practice of a local 18th century painter"
The paper examines drawings of an almost unknown provincial painter Josef Ceregetti (1722-1799) active in Eastern Bohemia in the second half of the 18th century asking about their significance and possible relationship to his murals in the broader context of contemporary production.
Ceregetti's legacy as a draughtsman is integrally linked to his literary activity, which provides an interesting micro-insight into the functioning of painting practice within early modern urban society. Ceregetti's literary oeuvre reveals a total of seven manuscripts to date, five of which are illustrated with his drawings. They all share a common calligraphic pattern, similar page layouts and a uniform linguistic character (elements of Eastern Bohemian dialect, word collocation, use of Germanisms). Three of the seven works are transcriptions of Czech prints, three are translations of foreign texts into Czech and one is to some extent an 'original' work (a chronicle of the town Chrudim). Among the extraordinary contributions belong the identified translations of foreign language texts into Czech, all of which represent the first known translations of works of classical literature into Czech: the first full translations of Ovid's Metamorphoses, the Roman History and the One Thousand and One Nights stories.
One of the problems surrounding Ceregetti's manuscripts remains the question of their function. It is not yet certain whether the painter worked on commission or whether his activity was motivated by study purposes (for his own professional needs and the needs of his sons – also painters). In the case of the translations, however, it is realistic to think about attempts to have the crucial texts in a language that was accessible not only for Ceregetti himself, but also for the whole of Chrudim society. His drawing and literary interests also permeated his murals, as evidenced by scenes from the church in Polná. Therefore, the paper will focus on the broadest possible context for grasping this seemingly local problem, which, however, reveals much more general principles of painterly practice.
Keywords: Joseph Ceregetti, drawings, mural painting
Czech Republic, Brno, Masaryk University, Faculty of Arts, Department of Art History
"Drawings of Josef Ceregetti: an insight into the practice of a local 18th century painter"
The paper examines drawings of an almost unknown provincial painter Josef Ceregetti (1722-1799) active in Eastern Bohemia in the second half of the 18th century asking about their significance and possible relationship to his murals in the broader context of contemporary production.
Ceregetti's legacy as a draughtsman is integrally linked to his literary activity, which provides an interesting micro-insight into the functioning of painting practice within early modern urban society. Ceregetti's literary oeuvre reveals a total of seven manuscripts to date, five of which are illustrated with his drawings. They all share a common calligraphic pattern, similar page layouts and a uniform linguistic character (elements of Eastern Bohemian dialect, word collocation, use of Germanisms). Three of the seven works are transcriptions of Czech prints, three are translations of foreign texts into Czech and one is to some extent an 'original' work (a chronicle of the town Chrudim). Among the extraordinary contributions belong the identified translations of foreign language texts into Czech, all of which represent the first known translations of works of classical literature into Czech: the first full translations of Ovid's Metamorphoses, the Roman History and the One Thousand and One Nights stories.
One of the problems surrounding Ceregetti's manuscripts remains the question of their function. It is not yet certain whether the painter worked on commission or whether his activity was motivated by study purposes (for his own professional needs and the needs of his sons – also painters). In the case of the translations, however, it is realistic to think about attempts to have the crucial texts in a language that was accessible not only for Ceregetti himself, but also for the whole of Chrudim society. His drawing and literary interests also permeated his murals, as evidenced by scenes from the church in Polná. Therefore, the paper will focus on the broadest possible context for grasping this seemingly local problem, which, however, reveals much more general principles of painterly practice.
Keywords: Joseph Ceregetti, drawings, mural painting
The Abbreviations of a Virtuoso. Signature and Working Process of Maulbertsch’s Frescoes in the Cathedral of Vác
János Jernyei-Kiss
Hungary, Budapest, Pazmany Peter Catholic University, Department of Art History
"The Abbreviations of a Virtuoso. Signature and Working Process of Maulbertsch’s Frescoes in the Cathedral of Vác"
The complete restoration of the Baroque wall paintings in the Cathedral of Vác took place between 2021 and 2023. The restoration work revealed many important details about Maulbertsch’s technique and the working methods of his workshop on site. In the monumental dome painting, the sketch-like, light drawing of the figures can be seen in almost every phase of the painting. In addition to forms drawn in red paint, there are also lines incised into the fresh plaster. However, these do not indicate the use of printed cartoons, but rather represent fleeting painting instructions by the artist. As a mural painter, Maulbertsch was a virtuoso master of the buon fresco technique on fresh plaster, which is characterized by a richly modeled, plastic surface that resembles oil painting and reflects light in various ways. The presentation shows how he adapted the medium of underdrawing to this technique
Keywords: Franz Anton Maulbertsch, Cathedral of Vác, mural painting
[DE]
Die vollständige Restaurierung der barocken Wandgemälde der Kathedrale von Vác fand in den Jahren 2021–2023 statt. Die Restaurierungsarbeiten brachten viele wichtige Details zu Maulbertschs Technik und den hiesigen Arbeitsweisen seiner Werkstatt ans Licht. Auf dem monumentalen Kuppelgemälde ist die skizzenhafte, leichte Zeichnung der Figuren in fast jeder Phase des Gemäldes zu erkennen. Neben den mit roter Farbe gezeichneten Formen finden sich auch in den frischen Putz geritzte Linien, die jedoch nicht auf die Verwendung von bedrucktem Karton hinweisen, sondern eher flüchtige Malanweisungen des Künstlers darstellen. Als Wandmaler war Maulbertsch ein virtuoser Meister der Kalkfresko-Technik auf frischem Putz, die sich durch eine reich modellierte, plastische Oberfläche auszeichnet, die an Ölgemälde erinnert und das Licht auf vielfältige Weise reflektiert. In der Präsentation wird gezeigt, wie er das Medium der Unterzeichung an diese Technik anpasste.
Schlagwörter: Franz Anton Maulbertsch, Dom von Vác, Wandmalere
Hungary, Budapest, Pazmany Peter Catholic University, Department of Art History
"The Abbreviations of a Virtuoso. Signature and Working Process of Maulbertsch’s Frescoes in the Cathedral of Vác"
The complete restoration of the Baroque wall paintings in the Cathedral of Vác took place between 2021 and 2023. The restoration work revealed many important details about Maulbertsch’s technique and the working methods of his workshop on site. In the monumental dome painting, the sketch-like, light drawing of the figures can be seen in almost every phase of the painting. In addition to forms drawn in red paint, there are also lines incised into the fresh plaster. However, these do not indicate the use of printed cartoons, but rather represent fleeting painting instructions by the artist. As a mural painter, Maulbertsch was a virtuoso master of the buon fresco technique on fresh plaster, which is characterized by a richly modeled, plastic surface that resembles oil painting and reflects light in various ways. The presentation shows how he adapted the medium of underdrawing to this technique
Keywords: Franz Anton Maulbertsch, Cathedral of Vác, mural painting
[DE]
Die vollständige Restaurierung der barocken Wandgemälde der Kathedrale von Vác fand in den Jahren 2021–2023 statt. Die Restaurierungsarbeiten brachten viele wichtige Details zu Maulbertschs Technik und den hiesigen Arbeitsweisen seiner Werkstatt ans Licht. Auf dem monumentalen Kuppelgemälde ist die skizzenhafte, leichte Zeichnung der Figuren in fast jeder Phase des Gemäldes zu erkennen. Neben den mit roter Farbe gezeichneten Formen finden sich auch in den frischen Putz geritzte Linien, die jedoch nicht auf die Verwendung von bedrucktem Karton hinweisen, sondern eher flüchtige Malanweisungen des Künstlers darstellen. Als Wandmaler war Maulbertsch ein virtuoser Meister der Kalkfresko-Technik auf frischem Putz, die sich durch eine reich modellierte, plastische Oberfläche auszeichnet, die an Ölgemälde erinnert und das Licht auf vielfältige Weise reflektiert. In der Präsentation wird gezeigt, wie er das Medium der Unterzeichung an diese Technik anpasste.
Schlagwörter: Franz Anton Maulbertsch, Dom von Vác, Wandmalere
Preparatory sketches by Gaspare Diziani for the ceiling painting of the Apotheosis of the Widmann Family in Venice
Martina Frank
Italy, Venezia, Università Ca` Foscari Venezia. Dipartimento di Filosofia e Beni culturali
"Preparatory sketches by Gaspare Diziani for the ceiling painting of the Apotheosis of the Widmann Family in Venice"
The ceiling fresco in the Palazzo Widmann in Venice chronicles the remarkable social ascension of the family of Augsburg origin. During the 16th century, the Fuggers employed them, utilising their expertise in trade with Venice from Villach in Carinthia, and entrusting them with the management of the Fuggerei near Arnoldstein. In 1586, Johann Widmann relocated to Venice, thereby establishing the Venetian branch of the family. The family's ascent to the upper echelons of society reached its zenith in 1646 with their formal induction into the Venetian nobility.
A number of preliminary sketches by Gaspare Diziani (Belluno, 1689-1767, Venice) for the ceiling fresco, dating from the mid-18th century, are preserved in various collections, including those of the Metropolitan Museum in New York and the Statens Museum for Kunst in Copenhagen. In comparison to the painted ceiling, the drawings exhibit a more pronounced narrative quality and illustrate the individual stages of the family history in a spatial sequence, with each stage delineated from the next. The purpose of this presentation is to analyse the aforementioned differences in the context of the patron's expectations.
Keywords: Gaspare Diziani, ceiling painting, sketches, Palazzo Widmann
Italy, Venezia, Università Ca` Foscari Venezia. Dipartimento di Filosofia e Beni culturali
"Preparatory sketches by Gaspare Diziani for the ceiling painting of the Apotheosis of the Widmann Family in Venice"
The ceiling fresco in the Palazzo Widmann in Venice chronicles the remarkable social ascension of the family of Augsburg origin. During the 16th century, the Fuggers employed them, utilising their expertise in trade with Venice from Villach in Carinthia, and entrusting them with the management of the Fuggerei near Arnoldstein. In 1586, Johann Widmann relocated to Venice, thereby establishing the Venetian branch of the family. The family's ascent to the upper echelons of society reached its zenith in 1646 with their formal induction into the Venetian nobility.
A number of preliminary sketches by Gaspare Diziani (Belluno, 1689-1767, Venice) for the ceiling fresco, dating from the mid-18th century, are preserved in various collections, including those of the Metropolitan Museum in New York and the Statens Museum for Kunst in Copenhagen. In comparison to the painted ceiling, the drawings exhibit a more pronounced narrative quality and illustrate the individual stages of the family history in a spatial sequence, with each stage delineated from the next. The purpose of this presentation is to analyse the aforementioned differences in the context of the patron's expectations.
Keywords: Gaspare Diziani, ceiling painting, sketches, Palazzo Widmann
The Marat Icones Sketchbook – A Curious Case
Michaela Šeferisová Loudová
Czech Republic, Brno, Masaryk University, Faculty of Arts, Department of Art History
"The Marat Icones Sketchbook – A Curious Case"
Several sketchbooks from the Baroque period have been preserved, belonging to painters of wall paintings – for example, the sketchbooks of Franz Martin Kuen, Josef Ferdinand Fromiller, Martin and Bartolomeo Altomonte, or a sketchbook containing drawings from the circle of Paul Troger. One such album, Marat Icones, was originally owned by Dionysius Strauss (1660–1720), a Premonstratensian painter and author of iconographic concepts, active in the former Premonstratensian canonry of Hradisko near Olomouc. The album contains drawings by various draughtsmen, Strauss's own iconographic concepts and notes of an iconological nature, as well as his own drawings and later-inserted graphic prints. Interpreting this exceptional convoluted collection – which also includes drawings by Johann Georg Etgens for frescoes in the monastic church in Rajhrad near Brno – is challenging and raises a number of questions. These concern not only the relationship between drawings and their final execution, but also workshop practices, the use of visual models, and the development of iconographic programs.
Keywords: Baroque sketchbooks, Dionysius Strauss, wall painting, artistic practice, iconology
Czech Republic, Brno, Masaryk University, Faculty of Arts, Department of Art History
"The Marat Icones Sketchbook – A Curious Case"
Several sketchbooks from the Baroque period have been preserved, belonging to painters of wall paintings – for example, the sketchbooks of Franz Martin Kuen, Josef Ferdinand Fromiller, Martin and Bartolomeo Altomonte, or a sketchbook containing drawings from the circle of Paul Troger. One such album, Marat Icones, was originally owned by Dionysius Strauss (1660–1720), a Premonstratensian painter and author of iconographic concepts, active in the former Premonstratensian canonry of Hradisko near Olomouc. The album contains drawings by various draughtsmen, Strauss's own iconographic concepts and notes of an iconological nature, as well as his own drawings and later-inserted graphic prints. Interpreting this exceptional convoluted collection – which also includes drawings by Johann Georg Etgens for frescoes in the monastic church in Rajhrad near Brno – is challenging and raises a number of questions. These concern not only the relationship between drawings and their final execution, but also workshop practices, the use of visual models, and the development of iconographic programs.
Keywords: Baroque sketchbooks, Dionysius Strauss, wall painting, artistic practice, iconology
Cyrillo´s collection of drawings for the ceiling paintings in the Palace of Mafra (1796-1806)
Sofia Braga
Portugal, Lisbon, Art History Institute, Universidade NOVA de Lisboa – School of Social Sciences and Humanities / IN2PAST – Associate Laboratory for Research and Innovation in Heritage, Arts, Sustainability and Territory
"Cyrillo's collection of drawings for the ceiling paintings in the Palace of Mafra (1796-1806)"
Cyrillo (1748–1823) arrived in Mafra in 1796 to paint the vast ceilings of the Royal Palace of Mafra, hired by Prince Regent John (the future king John VI), who decided to turn the Palace of Mafra into one of his royal palaces.
The entrepreneur Cyrillo had a lot of work to do, due to size of the various rooms and because he did not have many collaboraters to help him in the cycle painting of the Palace of Mafra. During his time in Mafra, Cyrillo produced a considerable collection of drawings, fortunally, have survived to the present day. His drawings shows various aspects that helps us to understand how he worked, but also remind us to the power of the Intendencia.
Through Cyrillo`s collection of drawings it is possible to analyse some very important aspects of his artistic conception: drawing has a means of introducing a theme to the Intendencia with notes of figures to help identify them; the drawing with guide-lines for his fellow sculptors, with references to making plaster models to understand the modelling of alegorical caracters; “quick” drawing just to catch the first idea; model drawing with colleagues, and the almost finished drawing – or the guide-drawing –, to help him to “create” the painting.
In this paper, we will have the opportunity to analyse one of the most important drawing collection in Portugal, that of Cyrillo Volkmar Machado`s cycle of paintings in the Palace of Mafra.
Keywords: Cyrillo Volkmar Machado, drawings, Palace of Mafra, ceiling paintings
Portugal, Lisbon, Art History Institute, Universidade NOVA de Lisboa – School of Social Sciences and Humanities / IN2PAST – Associate Laboratory for Research and Innovation in Heritage, Arts, Sustainability and Territory
"Cyrillo's collection of drawings for the ceiling paintings in the Palace of Mafra (1796-1806)"
Cyrillo (1748–1823) arrived in Mafra in 1796 to paint the vast ceilings of the Royal Palace of Mafra, hired by Prince Regent John (the future king John VI), who decided to turn the Palace of Mafra into one of his royal palaces.
The entrepreneur Cyrillo had a lot of work to do, due to size of the various rooms and because he did not have many collaboraters to help him in the cycle painting of the Palace of Mafra. During his time in Mafra, Cyrillo produced a considerable collection of drawings, fortunally, have survived to the present day. His drawings shows various aspects that helps us to understand how he worked, but also remind us to the power of the Intendencia.
Through Cyrillo`s collection of drawings it is possible to analyse some very important aspects of his artistic conception: drawing has a means of introducing a theme to the Intendencia with notes of figures to help identify them; the drawing with guide-lines for his fellow sculptors, with references to making plaster models to understand the modelling of alegorical caracters; “quick” drawing just to catch the first idea; model drawing with colleagues, and the almost finished drawing – or the guide-drawing –, to help him to “create” the painting.
In this paper, we will have the opportunity to analyse one of the most important drawing collection in Portugal, that of Cyrillo Volkmar Machado`s cycle of paintings in the Palace of Mafra.
Keywords: Cyrillo Volkmar Machado, drawings, Palace of Mafra, ceiling paintings
Maulbertsch’s Thistle (Part 1)
Veronika Nagy
Hungary, Veszprém, Archdiocesan Museum
"Maulbertsch’s Thistle (Part 1)"
An enigmatic part of Franz Anton Maulbertsch's Sümeg fresco cycle is the Adoration of the Shepherds altarpiece, in which the infant Jesus appears twice. A similarly themed drawing by Maulbertsch and two oil sketches of Hungarian provenance may bring us closer to reconstructing the fresco's genesis. To understand another, similarly important Sümeg motif — the figure of Mary Magdalene and, at the same time, Maulbertsch's mysterious thistle — an engraving kept in the Archdiocesan Collection in Veszprém, which may have belonged to the patron bishop Márton Padányi Biró, can provide further insight.
Keywords: Sümeg, Maulbertsch, drawing, fresco, thistle
Hungary, Veszprém, Archdiocesan Museum
"Maulbertsch’s Thistle (Part 1)"
An enigmatic part of Franz Anton Maulbertsch's Sümeg fresco cycle is the Adoration of the Shepherds altarpiece, in which the infant Jesus appears twice. A similarly themed drawing by Maulbertsch and two oil sketches of Hungarian provenance may bring us closer to reconstructing the fresco's genesis. To understand another, similarly important Sümeg motif — the figure of Mary Magdalene and, at the same time, Maulbertsch's mysterious thistle — an engraving kept in the Archdiocesan Collection in Veszprém, which may have belonged to the patron bishop Márton Padányi Biró, can provide further insight.
Keywords: Sümeg, Maulbertsch, drawing, fresco, thistle
Maulbertsch’s Thistle (Part 2)
Gábor Gaylhoffer-Kovács
Hungary, Veszprém, Archdiocesan Museum, Museologist
"Maulbertsch’s Thistle (Part 2)"
The thistle that appears alongside Franz Anton Maulbertsch's signatures has long been a source of intrigue for researchers. One of the most notable and early examples of its still-life-like depiction can be found in Sümeg. We will attempt to decipher the symbolic meaning of Maulbertsch's thistle, which may explain its emblem-like usage.
Keywords: Franz Anton Maulbertsch, thistle, signature, Sümeg
Hungary, Veszprém, Archdiocesan Museum, Museologist
"Maulbertsch’s Thistle (Part 2)"
The thistle that appears alongside Franz Anton Maulbertsch's signatures has long been a source of intrigue for researchers. One of the most notable and early examples of its still-life-like depiction can be found in Sümeg. We will attempt to decipher the symbolic meaning of Maulbertsch's thistle, which may explain its emblem-like usage.
Keywords: Franz Anton Maulbertsch, thistle, signature, Sümeg
The use of stucco in ceiling paintings by Abbondio Stazio and Carpoforo Mazzetti Tencalla
Paolo Sanvito
Austrian, Wien, Institut für Architektur und Kunstgeschichte, Bauforschung und Denkmalpflege, Technische Universität Wien
"The use of stucco in ceiling paintings by Abbondio Stazio and Carpoforo Mazzetti Tencalla"
My research into the artistic practice of Abbondio Stazio and Carpoforo Mazzetti Tencalla, which I began last year with a view to the study on di Villa Ca' Rezzonico, has led me to delve further into this genre in north-east Italy. I have already collected sources and images.
An important turning point, however, was the stimulating discussion of Palazzo Bonomo Albrizzi at the last congress in Venice. The palace contains stucco work by Abbondio Stazio and Carpoforo Mazzetti Tencalla, initially highly refined in the entrance portego - but just as well there as in all the rooms, dated 1699 - 1710. Other stucco works by the Albrizzi's artistic clients (or network) (Castel d'Enna) should also be reconsidered in order to contextualise the cooperative working methods of Stazio and Tencalla, among other actors. As is well known, this work is close to the works in the entire Bassanian villa mentioned above, recently presented. Other exemplary works, such as the Camera dell'oselleria in Palazzo Sagredo, would thus no longer be considered special (or even isolated) events.
Keywords: Abbondio Stazio, Carpoforo Mazetti Tencalla, stucco, working methods
Austrian, Wien, Institut für Architektur und Kunstgeschichte, Bauforschung und Denkmalpflege, Technische Universität Wien
"The use of stucco in ceiling paintings by Abbondio Stazio and Carpoforo Mazzetti Tencalla"
My research into the artistic practice of Abbondio Stazio and Carpoforo Mazzetti Tencalla, which I began last year with a view to the study on di Villa Ca' Rezzonico, has led me to delve further into this genre in north-east Italy. I have already collected sources and images.
An important turning point, however, was the stimulating discussion of Palazzo Bonomo Albrizzi at the last congress in Venice. The palace contains stucco work by Abbondio Stazio and Carpoforo Mazzetti Tencalla, initially highly refined in the entrance portego - but just as well there as in all the rooms, dated 1699 - 1710. Other stucco works by the Albrizzi's artistic clients (or network) (Castel d'Enna) should also be reconsidered in order to contextualise the cooperative working methods of Stazio and Tencalla, among other actors. As is well known, this work is close to the works in the entire Bassanian villa mentioned above, recently presented. Other exemplary works, such as the Camera dell'oselleria in Palazzo Sagredo, would thus no longer be considered special (or even isolated) events.
Keywords: Abbondio Stazio, Carpoforo Mazetti Tencalla, stucco, working methods
New Drawings by Johann Christoph Lischka: A Reattribution and a Reassessment of the Painter’s Creative Practice
Tadeáš Kadlec
Czech Republic, Czech Academy of Sciences
"New Drawings by Johann Christoph Lischka: A Reattribution and a Reassessment of the Painter’s Creative Practice"
The number of ceiling paintings by the otherwise prolific painter Johann Christoph Lischka (ca 1650–1712) – stepson of the much-celebrated Silesian artist Michael Leopold Willmann (1630–1706) – is relatively small. The recent discovery of his hitherto unknown frescoes in the Prelature of the former Cistercian monastery in Plasy (Western Bohemia) can therefore be regarded as a substantial addition to his oeuvre. Moreover, the uncovering of these previously unknown compositions has allowed for the reattribution of several preparatory drawings from the Kupferstichkabinett in Berlin: though formerly considered to be the work of Lischka’s nephew, Georg Wilhelm Neunhertz (1689–1749), they can now confidently be regarded as Lischka’s own studies for the Plasy frescoes. Until now, his entire body of drawings was thought to consist solely of a set of five highly finished models for engraved book illustrations – that is, drawings produced specifically to be closely followed by another artist. The recognition of preparatory studies for his own paintings now prompts a reassessment of Lischka’s draughtsmanship and offers fresh insight into the role of drawing in his creative process, in which the conceptual aspect was previously believed to be confined solely to painted bozzetti. In a compelling reversal of assumptions, some of the bozzetti previously attributed to Lischka now appear to be the work of his assumed pupil Neunhertz.
Keywords: Johann Christoph Lischka – Georg Wilhelm Neunhertz – Plasy
Czech Republic, Czech Academy of Sciences
"New Drawings by Johann Christoph Lischka: A Reattribution and a Reassessment of the Painter’s Creative Practice"
The number of ceiling paintings by the otherwise prolific painter Johann Christoph Lischka (ca 1650–1712) – stepson of the much-celebrated Silesian artist Michael Leopold Willmann (1630–1706) – is relatively small. The recent discovery of his hitherto unknown frescoes in the Prelature of the former Cistercian monastery in Plasy (Western Bohemia) can therefore be regarded as a substantial addition to his oeuvre. Moreover, the uncovering of these previously unknown compositions has allowed for the reattribution of several preparatory drawings from the Kupferstichkabinett in Berlin: though formerly considered to be the work of Lischka’s nephew, Georg Wilhelm Neunhertz (1689–1749), they can now confidently be regarded as Lischka’s own studies for the Plasy frescoes. Until now, his entire body of drawings was thought to consist solely of a set of five highly finished models for engraved book illustrations – that is, drawings produced specifically to be closely followed by another artist. The recognition of preparatory studies for his own paintings now prompts a reassessment of Lischka’s draughtsmanship and offers fresh insight into the role of drawing in his creative process, in which the conceptual aspect was previously believed to be confined solely to painted bozzetti. In a compelling reversal of assumptions, some of the bozzetti previously attributed to Lischka now appear to be the work of his assumed pupil Neunhertz.
Keywords: Johann Christoph Lischka – Georg Wilhelm Neunhertz – Plasy
„ein vortreflicher Künstler in der Malerey auf frischen Kalk … muß ein guter Zeichner seyn“: Drawing in Baroque Ceiling PaintinG
Martin Mádl
Institute of Art History, Czech Academy of Sciences
„ein vortreflicher Künstler in der Malerey auf frischen Kalk … muß ein guter Zeichner seyn“: Drawing in Baroque Ceiling Painting
Drawing enters mural painting in various ways during its creation. “Disegno” can be understood – in the spirit of early modern art theory – as the idea underlying the concept of a work of art. It can be identified with the preparatory drawing. However, once this is created, a complex process follows in which different types, forms and techniques of drawings and graphic methods are employed to transfer smaller compositions onto large surfaces of walls, ceilings, and curved vaults. In our contribution, we aim to summarize certain insights concerning sinopias, cartoons, incised drawings, underdrawings, and drawn retouching, as discussed in historical treatises and encountered in art historical, restoration, and technical examinations of monumental paintings from the 17th and 18th centuries in Central Europe. Our knowledge of drawings in mural painting can also be refined through practical experiments conducted during workshops at restoration schools.
Institute of Art History, Czech Academy of Sciences
„ein vortreflicher Künstler in der Malerey auf frischen Kalk … muß ein guter Zeichner seyn“: Drawing in Baroque Ceiling Painting
Drawing enters mural painting in various ways during its creation. “Disegno” can be understood – in the spirit of early modern art theory – as the idea underlying the concept of a work of art. It can be identified with the preparatory drawing. However, once this is created, a complex process follows in which different types, forms and techniques of drawings and graphic methods are employed to transfer smaller compositions onto large surfaces of walls, ceilings, and curved vaults. In our contribution, we aim to summarize certain insights concerning sinopias, cartoons, incised drawings, underdrawings, and drawn retouching, as discussed in historical treatises and encountered in art historical, restoration, and technical examinations of monumental paintings from the 17th and 18th centuries in Central Europe. Our knowledge of drawings in mural painting can also be refined through practical experiments conducted during workshops at restoration schools.
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