Mathias Rauchmiller

Johann Mathias Rauchmiller (also Matthias Rauchmiller or Mathias Rauchmüller ; born January 11, 1645 in Radolfzell on Lake Constance , † February 15, 1686 in Vienna ) was a German sculptor , ivory carver , painter and architect .

Tomb for Karl von Metternich

Life

It is not known whose student Rauchmiller was. It can be traced for the first time in 1669/71 in Mainz , where he created a crucifix for the cathedral there . Around 1675 he was commissioned with the execution of a tomb for Karl von Metternich, which was erected in the Trier Liebfrauenkirche .

From 1676, Mathias Rauchmiller stayed mainly in Vienna. For the years 1677–1679 he is proven in Silesia . As a foundation, the Dowager Duchess Luise was smoke Millers design in Legnica John's Church a magnificent Baroque mausoleum for the last Liegnitzer Piastenfamilie built, for which he also created the four life-size statues of the ducal family. During these years he was probably also commissioned with the interior design of the former prince's hall ( now the knight's hall ) of the Ohlauer Schloss, which was expanded by the Dowager Duchess Luise. In 1677 he created an epitaph in the form of a sarcophagus for Adam von Arzat for the Magdalenenkirche in Breslau . The three-dimensional figures represent honor and hope , and the personification of fame is represented in the niche above the epitaph . The marble epitaph for Octavius Pestaluzzi, created for the same church a year later, is only partially preserved.

Nave ceiling fresco in the Dominican Church in Vienna (from 1675)

In 1681 Rauchmiller designed a small plaster model of the statue of Nepomuk donated by Matthias Gottfried Freiherrn von Wunschwitz for the Charles Bridge in Prague , which was made in wood by Johann Brokoff after the plaster model in Ronsperg in southwest Bohemia (at the castle of Freiherr von Wunschwitz) and cast by Wolf Hieronymus Herold. He made the nave fresco in Vienna's Dominican Church, and in 1682 he provided the overall design for the Vienna Plague Column , of which only three angels have survived. After the death of the painter Carpoforo Tencalla in 1685, Mathias Rauchmiller took over the frescoing of the aisles and two chapels in Passau Cathedral . This work was completed after Rauchmiller's death in 1686 by Tencalla's son-in-law Carlo Antonio Bussi .

In addition to large-scale sculptures, paintings and ivory carvings, Mathias Rauchmiller also created numerous drawings for theses , which were engraved by the Augsburg engravers Melchior Küsel and Philipp Kilian. The drawings Death of Sophonisbe and Death of Cleopatra were engraved by Jacob von Sandrart .

Ivory carvings

Vienna, Liechtenstein Museum : tankard with Bacchic representation (1670)
Vienna, Kunsthistorisches Museum (Imperial Court Museum): Bachanten group from Walruszahn (around 1680) as well as Apollo and Daphne
Munich, Bavarian National Museum : Christ on the cross , the statuettes Minerva and Juno as well as Christ on the pillar of torture and Nessus stealing Dejanira (around 1700)

literature

Ernst Badstübner (Ed.): Silesia (= Dehio-Handbuch der Kunstdenkmäler in Polen. Volume 1). Deutscher Kunstverlag, Berlin 2005, ISBN 3-422-03109-X , pp. 69, 526, 699 and 1062.
Veronika Birke: Mathias Rauchmiller. Life and work. Herder, Vienna 1981, ISBN 3-210-24641-6 .
Michael Brix (arrangement): Niederbayern (= Handbook of German Art Monuments , part: Bavaria. Volume 2). Deutscher Kunstverlag, Berlin 1988, ISBN 3-422-03007-7 , pp. 499 and 505.
Adolf Geßner : The epitaph of Philipp Erwin von Schönborn. A contribution to Rauchmüller research . In: Yearbook for the Diocese of Mainz , Volume 3 (1948), pp. 75–88.
Tilman Kossatz: Rauchmiller, Johann Mathias. In: New German Biography (NDB). Volume 21, Duncker & Humblot, Berlin 2003, ISBN 3-428-11202-4 , p. 200 f. ( Digitized version ).
Josef Ringler : Rauchmiller, Matthias . In: Hans Vollmer (Hrsg.): General lexicon of fine artists from antiquity to the present . Founded by Ulrich Thieme and Felix Becker . tape 28 : Ramsden-Rosa . EA Seemann, Leipzig 1934, p. 41 .
Barbara Simon: Rauchmiller, Matthias . In: General Artist Lexicon . The visual artists of all times and peoples (AKL). Volume 97, de Gruyter, Berlin 2018, ISBN 978-3-11-023264-6 , p. 537.

Web links

Commons : Matthias Rauchmüller - Collection of images, videos and audio files

Individual evidence

↑ The statement in Christian Kundmann: Promptuarium vratislavense , he was a Tyrolean, probably goes back to a mix-up with his assistants Jakob Auer and Johann Pichler, who came from Tyrol.
↑ Isabel Heitjan: The "miracle" Johann von Nepomuk 1744 in Prague. In: Börsenblatt for the German book trade - Frankfurt edition. No. 89, November 5, 1968 (= Archive for the History of Books. Volume 62), pp. 2863–2868, here: p. 2867.
↑ Christian Scherer: II. The ivory sculpture of the baroque period . In: Jean Louis Sponsel (ed.): Ivory sculpture since the Renaissance (= monographs of the arts and crafts . Volume 8 ). Hermann Seemann successor, Leipzig 1903, p. 75 ( Textarchiv - Internet Archive ): "[...] who has the full name 'Mathias Rauchmiller fecit' and the year 1670 [...]"
↑ Christian Scherer: II. The ivory sculpture of the baroque period . In: Jean Louis Sponsel (ed.): Ivory sculpture since the Renaissance (= monographs of the arts and crafts . Volume 8 ). Hermann Seemann successor, Leipzig 1903, p. 14 ( Text Archive - Internet Archive - Bacchus Group).
↑ Christian Scherer: II. The ivory sculpture of the baroque period . In: Jean Louis Sponsel (ed.): Ivory sculpture since the Renaissance (= monographs of the arts and crafts . Volume 8 ). Hermann Seemann successor, Leipzig 1903, p. 75 , Figure 62. Apollo and Daphne ( Textarchiv - Internet Archive ).
^ Bavarian National Museum, University of Michigan: Guide through the Bavarian National Museum in Munich . Self-published, Munich 1908, p. 162 ( Textarchiv - Internet Archive ).
↑ Christian Scherer: II. The ivory sculpture of the baroque period . In: Jean Louis Sponsel (ed.): Ivory sculpture since the Renaissance (= monographs of the arts and crafts . Volume 8 ). Hermann Seemann successor, Leipzig 1903, p. 74 and 76 , figure 61. Nessus, consuming the Dejanira and figure 63. Christ at the pillar of torture ( Textarchiv - Internet Archive ).

personal data
SURNAME	Rauchmiller, Mathias
ALTERNATIVE NAMES	Rauchmiller, Johann Mathias (full name); Rauchmüller, Mathias
BRIEF DESCRIPTION	German sculptor, fresco artist, ivory carver and master builder
DATE OF BIRTH	January 11, 1645
PLACE OF BIRTH	Radolfzell on Lake Constance
DATE OF DEATH	February 15, 1686
Place of death	Vienna

[1] The statement in Christian Kundmann: Promptuarium vratislavense , he was a Tyrolean, probably goes back to a mix-up with his assistants Jakob Auer and Johann Pichler, who came from Tyrol.

[2] Isabel Heitjan: The "miracle" Johann von Nepomuk 1744 in Prague. In: Börsenblatt for the German book trade - Frankfurt edition. No. 89, November 5, 1968 (= Archive for the History of Books. Volume 62), pp. 2863–2868, here: p. 2867.

[3] Christian Scherer: II. The ivory sculpture of the baroque period . In: Jean Louis Sponsel (ed.): Ivory sculpture since the Renaissance (= monographs of the arts and crafts . Volume 8 ). Hermann Seemann successor, Leipzig 1903, p. 75 ( Textarchiv - Internet Archive ): "[...] who has the full name 'Mathias Rauchmiller fecit' and the year 1670 [...]"

[4] Christian Scherer: II. The ivory sculpture of the baroque period . In: Jean Louis Sponsel (ed.): Ivory sculpture since the Renaissance (= monographs of the arts and crafts . Volume 8 ). Hermann Seemann successor, Leipzig 1903, p. 14 ( Text Archive - Internet Archive - Bacchus Group).

[5] Christian Scherer: II. The ivory sculpture of the baroque period . In: Jean Louis Sponsel (ed.): Ivory sculpture since the Renaissance (= monographs of the arts and crafts . Volume 8 ). Hermann Seemann successor, Leipzig 1903, p. 75 , Figure 62. Apollo and Daphne ( Textarchiv - Internet Archive ).

[6] Bavarian National Museum, University of Michigan: Guide through the Bavarian National Museum in Munich . Self-published, Munich 1908, p. 162 ( Textarchiv - Internet Archive ).

[7] Christian Scherer: II. The ivory sculpture of the baroque period . In: Jean Louis Sponsel (ed.): Ivory sculpture since the Renaissance (= monographs of the arts and crafts . Volume 8 ). Hermann Seemann successor, Leipzig 1903, p. 74 and 76 , figure 61. Nessus, consuming the Dejanira and figure 63. Christ at the pillar of torture ( Textarchiv - Internet Archive ).