Gallery work
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A gallery work is a collection of reproductions of paintings, in individual cases also of drawings or sculptures from an art collection, in bound form. The gallery works primarily served to represent the art collection and thus to disseminate the collecting work of their owner, later also to publish art-historical knowledge from art connoisseurs, to prepare for gallery visits or simply as souvenirs and souvenirs after their visit. The publishers' commercial interests were also often the driving force behind the creation of a gallery work.
Exemplary gallery works
Theatrum Pictorium
The first gallery work was created by David Teniers the Younger (1610–1690) for the art collection of Archduke Leopold Wilhelm of Austria (1614–1662), the Spanish governor for the southern Netherlands. This epoch-making work served as a model for many later works. After the successful campaign of 1647, Archduke Leopold Wilhelm visited Antoon Triest (1577–1657), Bishop of Ghent, who was famous for his art collection, and was enthusiastic about the paintings by David Teniers seen there. A short time later he bought and ordered paintings and took the artist into his service. In 1651 he was appointed court painter and in 1655 at the latest Teniers became the archduke's valet.
In his capacity as court painter, Teniers was also entrusted with the administration of the archduke's art collection. He recognized the possibilities of printmaking, which was flourishing in Antwerp at the time, for the publication of his master's excellent art collection and had the business acumen to organize the production and distribution of the graphics. The Archduke promoted the company as he recognized the potential of publishing his collecting work. Teniers acquired a printing privilege and commissioned Stecher to create prints based on the small-format painting copies he had made, the so-called pasticci (oil sketches). Individual engravings and etchings were also sold through his brother, the painter and art dealer Abraham Teniers.
In 1660 the first edition of the Theatrum Pictorium appeared in Brussels , which was the first gallery work to combine these graphics in bound form. Further editions followed, the most complete edition of 1684 contained 243 etchings after Italian paintings from the Archduke's collection, which were created by 13 engravers. The Archduke's collection recorded 517 Italian paintings alone in 1657 and today forms the core of the Italian section of the Kunsthistorisches Museum in Vienna. Most of the preserved pasticci are now in Anglo-Saxon collections.
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The selection of the gallery pictures was not designed to be complete, but works that were considered important were specifically selected in order to appreciate the Archduke's sense of art and the collecting success. Teniers placed the emphasis of the faithful reproduction on the correct reproduction of the scales, the right-sided reproduction, however, played no role. He was not alone in this view, and Rubens also rarely paid attention to the right-sided rendering of his works in the reproductions.
Tableaux du Cabinet du Roy
At the court of the French Sun King Louis XIV, too , the decision was made to publish the ruler's scientific and artistic achievements by means of an engraving. The driving force behind this was Jean-Baptiste Colbert , who as Minister of Finance had also made many contributions to the promotion of art and science. The engravings he planned, Cabinet du Roy , presented an overview of the cultural and political achievements of his king in about fifty volumes. It was arranged according to works of art, royal buildings, gardens, festivals and scientific topics. As part of this series of engravings, the gallery work Tableaux du Cabinet du Roy appeared in 1677 , which only represented a small excerpt from the collection of Louis XIV at 22 and later with 38 painting reproductions, but was exemplary for later gallery works thanks to the art-historical accompanying texts by André Félibien should. For the first time, captions were arranged in large text blocks under the picture, which contained the title of the painting, information about the artist, engraver and picture size as well as ownership information in Latin and French.
Recueil d'Estampes. . . de la Galerie Royale de Dresden
The Dresden gallery is a highlight of the genre due to the quality of its texts and images.
The Recueil d'Estampes d'après les plus célèbres Tableaux de la Galerie Royale de Dresde , the full title, was published by Carl Heinrich von Heineken in two volumes in 1753 and 1757 at his own expense. The cost estimate of 66,000 thalers submitted by court engraver Lorenzo Zucchi on behalf of Elector Friedrich August II in preparation for a gallery work made it impossible to realize it at state expense and prove the quality demands that the ruler placed on the gallery work. The third volume, published in 1870, summarizes the copperplate engravings made between 1780 and 1870. This volume can only be found very rarely, as it was created under completely different conditions.
The first two volumes are identical in form, with 101 copper engravings they contain the masterpieces of the Dresden picture gallery. The juxtaposition is by no means coincidental and follows a fixed mode, which is owed to the then view of the importance of the individual artists. It starts with the great masters of Italian painting, of which Correggio , Tizian and Veronese are the best known, followed by other Italian schools, finishing with works by Flemish, Dutch and German masters. The texts in French and Italian were written by Heineken and go beyond what was previously offered in gallery works. Heineken endeavored to fully enlighten the effect of the painting
- ethical and moral improvement of man
- Cultivating the common good and
- for educational use as a public school
to represent.
For the copper engravings, preliminary drawings were made, which Heineken then sent to experienced engravers in France, Holland, Italy and Denmark. The elector supported the making of the drawings, but in return had the drawings and engravings presented to him for assessment. So it came about that some leaves had to be engraved two or three times before they met the high demands of the monarch. This is how Heineken known at the end of his tenure for the creation of the gallery work:
“It is well known that the promised monarch not only had a particularly thorough knowledge of the fine arts, but was also particularly fond of signage and copperplate engravings, and therefore to increase both these and that as much as possible, and thereby a monument of his glorious inclination for posterity endeavored to leave behind to the arts and sciences. But nobody knows such things better than those who had the grace to be used by HIM in these two parts. I must publicly confess that you are. Your Majesty knew more than any of her Inspectores; and as I already said with truth in the attribution of the great work published by me by the Dresden Royal Gallery; that Se. Majesty had more share in the description than I had, just as I say here with truth that the order and arrangement of the copperplate engraving room can only be ascribed to it. "
literature
- Astrid Bähr: Representing, preserving, teaching: gallery works (1660–1800). Olms, Hildesheim 2009, ISBN .978-3-487-13977-7.
- Dresden gallery work
- Martin Schuster: Das Dresdener Galeriewerk The publication for the new picture gallery in the converted stable building. In: Dresdner Kunstblätter 53, 2009, issue 1, pp. 65–78.
- Virginie Spenlé: Les recueils de gravures d'après les collections d'art de Dresde et la représentation princière au XVIIIe siècle. In: La gravure. Bordeaux 2009, pp. 115-122.
Web links
- El teatro de pinturas de David Teniers. Retrieved April 10, 2020 (Spanish).
Individual evidence
- ^ Margarethe Klinge, Dietmar Lüdke (ed.): David Teniers the Younger (1610–1690). Everyday life and fun in Flanders. Exhibition catalog, Karlsruhe 2005.
- ^ A b Teniers, David, II . In: Hans Vollmer (Hrsg.): General lexicon of fine artists from antiquity to the present . Founded by Ulrich Thieme and Felix Becker . tape 32 : Stephens – Theodotos . EA Seemann, Leipzig 1938, p. 527-529 .
- ↑ Ernst van Vegelin Claerbergen (ed.): David Teniers at the Theater of Painting. Exhibition catalog, London 2006.
- ↑ a b c d e Astrid Bähr: Representing, preserving, teaching: Gallery works (1660–1800). Hildesheim 2009.
- ^ Karin Kolb, Gilbert Lupfer, Martin Roth (eds.): Future since 1560. The exhibition. Exhibition catalog, Dresden 2010.
- ↑ Martin Schuster: The Dresden gallery work. In: Dresdner Kunstblätter. Issue 1, 2009.