Fine arts in South Tyrol

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This article deals with the visual arts in what is now South Tyrol , an autonomous province in Italy .

Pre-Romanesque

St. Peter in Altenburg , probably going back to the 6th century

The remnants of pre-Romanesque architecture preserved in what is now South Tyrol are probably related to late ancient traditions and are largely sacred monuments . These are often archaeologically excavated churches and chapels, which, thanks to their design, allow conclusions to be drawn about the political power relations in the Alpine region at the end of the migration period and the early Middle Ages . A church found on the Säbener Berg , which partly dates back to the early 5th century, and St. Peter in Altenburg , for example, represent a type of church influenced by Aquileia . Later buildings, such as the 8th century church of St. Benedict in Mals and the remodeling of the early Christian church near Schloss Tirol in the 10th or 11th century, however, make use of Carolingian elements.

Frescoes in St. Prokulus in Naturno , dates vary between the 7th and 10th centuries

The frescoes from the 8th or 9th century that can be viewed in St. Benedikt in Mals are among the outstanding examples of pre-Romanesque painting in today's South Tyrol and can be seen in connection with the painting of the St. Johann monastery church in the Münstertal and some other sacred buildings in northern Italy . The frescoes in St. Prokulus in Naturns are probably a bit more recent . The sparse evidence of pre-Romanesque stucco sculpture in the region comes from St. Benedikt and St. Peter near Gratsch .

Romanesque

The Romanesque architecture in today's South Tyrol goes back to the period between around the year 1000 and the end of the 13th century. Most of the sacred buildings originate from the late phase of this style and were built using details from the Lombard region . Outstanding Romanesque church buildings are for example the Brixner Münster , which was later redesigned in Baroque style, the collegiate church in Innichen or the “ Engelsburg ” (St. Michael's Chapel) at Neustift Monastery, which was realized as a central building . In addition, numerous village and mountain churches were built in the periphery, often rebuilt in later periods, which were mostly realized in very simple basic and elevation forms . The high medieval castle building , primarily reflecting aspects of power, was extremely productive in South Tyrol and is still shaping the landscape today. Important examples are Tyrol Castle , which is based on Salian Palatinate buildings , Hocheppan Castle , Churburg and Taufers Castle .

The high density of preserved remains of Romanesque wall paintings found in today's South Tyrol is beyond comparison in Europe. For the most part, it is stylistically linked to Byzantine models and ecclesiologically in its pictorial program . Among the multitude of possible examples are the qualitatively outstanding cycle in the Marienberg Abbey , the almost completely preserved paintings of the Hocheppan castle chapel , the bestiary in St. Jakob in Kastelaz near Tramin and the scholastic-mystical frescoing of the Johannes chapel on the cloister in Brixen. Of the secular frescoes of the Romanesque alone those have to lock Rodenegg obtained the Iwein of Hartmann von Aue illustrate.

The medieval sculpture clearly shows the different lines of tradition within today's South Tyrol: The Adige Valley was increasingly oriented towards the south and so the stone sculptures influenced by Lombardy can be found there more often, for example at the chapel and palace portal of Tyrol Castle; in the Eisack and Pustertal, however, the wood sculpture influenced by the northern centers of Salzburg and Regensburg was mainly widespread, which has been preserved, for example, in the crucifixion group of the collegiate church in Innichen.

Gothic

Gothic architecture did not find its way into today's South Tyrol until the 14th century. The sacred buildings of the epoch - predominantly small - are characterized by a relatively uniform style influenced by southern Germany. In particular, largely closed sections of the wall and the rare appearance of building plastic due to the material used are typical. The choir of the Dominican Church in Bozen is one of the earliest examples of Gothic architecture in Tyrol; the tower of the Bolzano parish church , completed in 1519 , is considered the main monument of the local late Gothic period. In the meantime, a particularly representative ensemble of Gothic architecture has been created in Merano with St. Nicholas and the Barbara Chapel . A prime example of late medieval castle construction is Sigmundskron Castle near Bolzano. The characteristic interior of the noble living quarters of the era can be seen in the Princely Castle in Merano, which is characterized by its high-quality wood - paneled rooms .

Gothic painting came to the Tyrolean region via Upper German and inner Austrian centers from the second half of the 13th century and was subsequently also extremely effective in the periphery. One of the main local works of the 14th century is the painting of the lordly chapel at Tyrol Castle. In the Bolzano area, during the Trecento , northern Italian influences increasingly appeared, which were particularly impressive in the St. John's Chapel in the Dominican Church. Around 1400 the international Gothic arrived, which manifested itself locally both from the masters active in Verona and Padua such as Altichiero da Zevio and Stefano da Verona , as well as influenced by Bohemia , and locally developed a style of its own, known in research as the “Bozen School” . The most important examples of art production from this period include the frescoes in the Brixen cathedral cloister and the profane cycles at Runkelstein Castle near Bozen. In general, wall painting lost its importance in the course of time in favor of panel painting , with carved and painted winged altars taking the place of wall painting in sacred buildings .

The first examples of winged altars in the Tyrolean region go back to the late 14th century and Austrian or Bohemian influence. The carving and panel paintings by Michael Pacher , who worked in Bruneck in the 15th century, represent a milestone in European art history and represent the transition from the late Middle Ages to the early modern period . Pacher's environment includes a. the master of Uttenheim , Friedrich Pacher , Marx Reichlich and Simon von Taisten . Meanwhile, in the local art center Bressanone, master Leonhard and Hans Klocker, who were also very active as fresco painters, were leading artists in the field of altar production, in the Meran area Hans Schnatterpeck worked , in Vinschgau Jörg Lederer .

Renaissance

In the 16th century, the upheavals of the peasant wars and the Reformation resulted in a more sparse production of fine art in what is now South Tyrol than in previous epochs. The decline in sacred building activity contrasted with an increased number of aristocratic clients for secular buildings in Renaissance forms, in which old castles were often converted into stately homes with increased living comfort, such as Maretsch Castle near Bolzano. The mansions that were built in the Überetsch under Lombard influence ( Überetscher style ) are among the main works of local Renaissance architecture. The prince-bishops of Brixen also had two important representative buildings planned: Velthurns Palace and the Hofburg, which was later expanded in baroque style . In the church architecture, however, Renaissance forms can hardly be found.

A humanistically influenced choice of images became increasingly noticeable in painting . Stylistically, it was mainly a repetition of Flemish, German or Italian models. In the visual programs of the time, such as those realized by Bartlmä Dill Riemenschneider , crypto-Protestant ideas can often be proven. Various Mannerist works in the southern part of the country date from the end of the 16th century , including for example at Maretsch Castle. In keeping with the trend of the time, painting also focused on portraits .

The art of sculpture found new tasks in the Renaissance altars, which were typically designed as sculpted figure altars. In the period around 1600, the carved altar experienced a new boom with reference to Albrecht Dürer . The most important works of local late Renaissance sculpture include the terracotta figures by Hans Reichle in the Brixen Hofburg and the stucco figures by Joseph Proy in the ancestral hall on the Trostburg .

Baroque

Baroque architecture in today's South Tyrol is closely associated with the Delai family, who come from Lombardy and live in Bolzano. Members of the family, including the two brothers Andrea and Pietro Delai , created numerous secular and - often designed as central - sacred buildings in the 17th and early 18th centuries, including the Palais Mamming in Merano and the Holy Sepulcher Church in Bolzano. In general, new baroque church buildings remained exceptions, more typical were structural additions or redesigns of existing churches, such as the Brixen Cathedral in a particularly opulent manner. The initially lesser influence of southern German architecture in this phase only became more extensive in the 18th century due to the often imitated work of Franz Singer . In the area of ​​baroque secular buildings, in addition to the expansion of the Hofburg, the construction of Wolfsthurn Castle represents a local highlight.

Baroque panel painting found its main fields of activity in altar leaves, religious devotional pictures and portraits made primarily for representational purposes. Apart from a few Italian imports (including Guercino ) or the appointment of Martin Theophil Polak to Brixen, the clients hired mostly local artists, which was often reflected in mediocre quality. The most important locally active artists included u. a. Ulrich Glantschnigg , Johann Georg Dominikus Grasmair , Johann Georg Platzer , the brothers Franz Sebald and Michelangelo Unterberger and Carl Henrici . Baroque ceiling paintings can only be identified in today's South Tyrol from the middle of the 17th century. The most representative works of art using this painting technique in Tyrol include, for example, the Flemish-influenced works by Stephan Kessler in the Liebfrauenkirche at the Säben Monastery , which was founded a few years later , the striking paintings by Matthäus Günther from Augsburg and the Brixen cathedral frescoes by Paul Troger, who was trained in Italy . In the works of Martin Knoller and Joseph Schöpf a transition from late baroque or rococo to classicism manifested itself in the late 18th century .

Baroque sculptures from southern Tyrol in the 17th century were based heavily on Weilheimer models ( Adam Baldauf , for example, received his training there), but then in the 18th century were based on the art of Bernini and his successors. As in painting, most of the baroque altar production, which increasingly worked with marble , came from local workshops. Examples of locally successful stone and wood sculptors are Gregor Schwenzengast and Dominikus Moling . In the 17th century, flourishing sculptor workshops were established in Val Gardena , in which Christian Trebinger and Martin Vinazer , offspring of the Vinazer artist dynasty, were active.

19th century

Architectural classicism left only a few traces in South Tyrol; Church construction in the first decades of the 19th century in southern Tyrol was still largely in the late Baroque style. The historicism held in the 1830s feeder and stayed in his stylistic pluralism into more powerful until the early 20th century; the responsible builders came mostly from Austria and realized their works in accordance with the ideas of the kk central commission . Exemplary examples of neo-Romanesque and neo-Gothic architecture are the Sacred Heart Church in Bozen and the mausoleum of Archduke Johann in Schenna . An urban historical ensemble can be found in the town houses on Bozen's Sparkassenstrasse . At the end of the 19th century, Art Nouveau buildings were also built - mainly in the spa town of Merano and usually designed by Viennese or Munich architects, such as the Merano City Theater by Martin Dülfer .

One of the consequences of the Tyrolean uprising was a general decline in public art orders. Large sacred ceiling paintings did not appear again until the middle of the 19th century, such as the classicist frescoes by Josef Arnold in the parish church of St. Peter near Laion or the work of the Nazarene Georg Mader in the parish church of Bruneck . In the meantime, numerous painters turned to bourgeois portraiture or landscape painting , which was represented in its classicist variety by several artists in the succession of Joseph Anton Koch , in its romantic form, for example, by Friedrich Wasmann . Franz Hellweger plays a central role in the local history of the Nazarene style . The Biedermeier pictures by Gottfried Seelos move in the field of tension between romanticism and realism . Franz Defregger's realistic painting art popularized historical and peasant genre pictures from the Tyrolean region, which u. a. were maintained by the academically trained Josef Moroder-Lusenberg and Karl Anrather .

The classical sculpture of the 19th century fulfilled - in addition to the usual sacred subject areas - various tasks that were not previously performed by South Tyrolean sculpture, including tomb sculpture , memorials and medal art. In the second half of the century, the historicizing altar buildings, which were based on the neo-Gothic style inventory, fall. During this time, workshops in Val Gardena met the need for cheap church furnishings in large parts of Central Europe with large numbers of quality leveled work . The most important example of the public monument building, which gained in importance towards the end of the century, is the marble Walther monument by Heinrich Natter in Bolzano.

20th and 21st centuries

In South Tyrol, the modern age expressed itself in the field of architecture, initially in the residential buildings and hotel buildings that Lois Welzenbacher , Clemens Holzmeister and Hubert Lanzinger built in the interwar period. In the 1920s and 1930s, the fascist regime promoted rationalist architecture , which culminated in the urban development project between Bolzano's old town and Gries , which was monumental by South Tyrolean standards, but also produced many functional buildings such as power stations and industrial plants. The most powerful movement of the post-war decades was alpine homeland security architecture of anachronistic style. It was not until the 1960s that architects like Othmar Barth succeeded in opening up the traditional canon of forms. Towards the end of the 20th and the beginning of the 21st century, a qualitative upswing in the field of private housing and wine architecture ensured. a. Werner Tscholl and Walter Angonese . In the 2000s, the South Tyrolean provincial administration was responsible for numerous projects with high-quality contemporary architecture for public buildings.

In painting and graphics include the Art Nouveau and Impressionist -influenced works by Leo Putz , the woodcuts of Carl Moser , nature pictures of Alexander Koester and the tension between Symbolism and Expressionism be resettled oil paintings by Albin Egger-Lienz to signifikantesten works Tyrolean or early 20th century artist working in South Tyrol. The often committed brothers Albert , Ignaz and Rudolf Stolz had a strong influence on the local art world . The most popular painters and graphic artists of the second half of the 20th century include a. Heiner Gschwendt , Peter Fellin , Paul Flora , Karl Plattner , Robert Scherer and Markus Vallazza . In the field of art photography work protrude Walter Niedermayr out.

The work of Hans Piffrader , who in 1939/42 realized a monumental relief in the spirit of the fascist dictatorship at the Casa Littoria in Bolzano, is of central importance for South Tyrolean sculpture in the first half of the early 20th century . Among the best-known works of this period are the sculptures by Franz Ehrenhöfer and Franz Santifaller's expressionist sculptures . Numerous artists put themselves in the service of the fascist and national socialist dictatorship, such as Albert Stolz , Eduard Thöny , Othmar Winkler and Hans Plangger . Examples of South Tyrolean sculptors from the second half of the 20th century and the 21st century are Friedrich Gurschler , Franz Kehrer and Wilhelm Senoner .

See also

literature

Individual evidence

  1. ↑ Karl Gruber , Hans Nothdurfter: Pre-Romanesque in South Tyrol: Art and Architecture from the Migration Period to 1150. Bozen: Athesia 2017, ISBN 978-88-68392093 .
  2. ^ A b Leo Andergassen: Kunstraum Südtirol. Fine arts as reflected in European eras . Athesia, Bozen 2007, ISBN 978-88-8266-231-8 , pp. 8-17.
  3. ^ Elisabeth Rüber: St. Benedict in Mals. Bolzano: Athesia 1992, ISBN 978-88-70146868 .
  4. ^ Leo Andergassen: Kunstraum Südtirol. Fine arts as reflected in European eras . Athesia, Bozen 2007, ISBN 978-88-8266-231-8 , pp. 18-29.
  5. ^ Leo Andergassen: Kunstraum Südtirol. Fine arts as reflected in European eras . Athesia, Bozen 2007, ISBN 978-88-8266-231-8 , pp. 42-55.
  6. ^ Leo Andergassen: Kunstraum Südtirol. Fine arts as reflected in European eras . Athesia, Bozen 2007, ISBN 978-88-8266-231-8 , pp. 30-41.
  7. ^ Leo Andergassen: Kunstraum Südtirol. Fine arts as reflected in European eras . Athesia, Bozen 2007, ISBN 978-88-8266-231-8 , pp. 94-107.
  8. ↑ Sigrid Popp: The frescoes of St. Vigil and St. Zyprian. Studies of wall painting in Bozen around 1400. Tectum Verlag: Marburg 2003, ISBN 3-8288-5169-X .
  9. ^ Leo Andergassen: Kunstraum Südtirol. Fine arts as reflected in European eras . Athesia, Bozen 2007, ISBN 978-88-8266-231-8 , pp. 56-83.
  10. ^ Leo Andergassen: Kunstraum Südtirol. Fine arts as reflected in European eras . Athesia, Bozen 2007, ISBN 978-88-8266-231-8 , pp. 84-88 and 106-133
  11. ^ Leo Andergassen: Kunstraum Südtirol. Fine arts as reflected in European eras . Athesia, Bozen 2007, ISBN 978-88-8266-231-8 , pp. 134-135.
  12. ^ Leo Andergassen: Kunstraum Südtirol. Fine arts as reflected in European eras . Athesia, Bozen 2007, ISBN 978-88-8266-231-8 , pp. 134-145.
  13. ^ Leo Andergassen: Kunstraum Südtirol. Fine arts as reflected in European eras . Athesia, Bozen 2007, ISBN 978-88-8266-231-8 , p. 145.
  14. ^ Leo Andergassen: Kunstraum Südtirol. Fine arts as reflected in European eras . Athesia, Bozen 2007, ISBN 978-88-8266-231-8 , pp. 146–157.
  15. ^ Leo Andergassen: Kunstraum Südtirol. Fine arts as reflected in European eras . Athesia, Bozen 2007, ISBN 978-88-8266-231-8 , pp. 158-185 and 196-203
  16. ^ Leo Andergassen: Kunstraum Südtirol. Fine arts as reflected in European eras . Athesia, Bozen 2007, ISBN 978-88-8266-231-8 , pp. 184-195.
  17. ^ Leo Andergassen: Kunstraum Südtirol. Fine arts as reflected in European eras . Athesia, Bozen 2007, ISBN 978-88-8266-231-8 , pp. 196-199, 216-219 and 232
  18. ^ Leo Andergassen: Kunstraum Südtirol. Fine arts as reflected in European eras . Athesia, Bozen 2007, ISBN 978-88-8266-231-8 , pp. 199-206, 208-215 and 219-225
  19. ^ Leo Andergassen: Kunstraum Südtirol. Fine arts as reflected in European eras . Athesia, Bozen 2007, ISBN 978-88-8266-231-8 , pp. 206-207 and 225-231
  20. ^ Leo Andergassen: Kunstraum Südtirol. Fine arts as reflected in European eras . Athesia, Bozen 2007, ISBN 978-88-8266-231-8 , pp. 240-243.
  21. ^ Andreas Gottlieb Hempel: Architecture in South Tyrol: current buildings - an architecture guide. Callwey Verlag, Munich 2008, ISBN 978-3-7667-1765-8 .
  22. ^ Leo Andergassen: Kunstraum Südtirol. Fine arts as reflected in European eras . Athesia, Bozen 2007, ISBN 978-88-8266-231-8 , pp. 232-239 and 245-249
  23. ↑ Sabrina Michielli, Hannes Obermair (Red.): BZ '18 –'45: one monument, one city, two dictatorships. Accompanying volume for the documentation exhibition in the Bolzano Victory Monument. Vienna-Bozen: Folio Verlag 2016. ISBN 978-3-85256-713-6 , pp. 66–67.
  24. ↑ Carl Kraus, Hannes Obermair (ed.): Myths of dictatorships. Art in Fascism and National Socialism - Miti delle dittature. Art nel fascismo e nazionalsocialismo . South Tyrolean State Museum for Cultural and State History, Dorf Tirol 2019, ISBN 978-88-95523-16-3 .
  25. ^ Leo Andergassen: Kunstraum Südtirol. Fine arts as reflected in European eras . Athesia, Bozen 2007, ISBN 978-88-8266-231-8 , pp. 243-245.