Monumental paintings on leather in Moritzburg Castle

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The monumental paintings on leather are in the Monstrous Hall and the Billiard Hall of Moritzburg Castle near Dresden and were mainly created by Louis de Silvestre , but also by other artists.

description

Time of origin

The exact time of creation is not known: Roger-Armand Weigert dates the creation to 1725, Fritz Löffler, however, to 1728. Walter Bachmann puts the creation time in 1731, while Dehio finally dates the work to 1730.

subjects

There are two completely different themes: scenes from the story of Diana in the monstrous hall and genre scenes from court life in the billiard hall. The representation Diana discovered the misstep of Callisto was based on a composition by Tizian . Ovid describes the subject in detail in his Metamorphoses.

Artistic origin

The artistic origin of the paintings is controversial in the history of art, so the origin "has been the subject of professional discussion for a long time" .

In the 18th century there was no clear naming of names. So lacking in Karl Wilhelm Daßdorfs description of Dresden (1782) any artist description. Daßdorf only mentions "some [...] good [...] masters []" :

“ This is called the audience hall, on whose wallpaper various mythological and historical representations, from which Ovid and Virgil, are painted by some good masters. "

Simultaneously with Daßdorf's description of Dresden, the description of the Berlin graphic artist and illustrator Daniel Chodowiecki appeared in his travel journal from 1789, in which he gives an "interesting evaluation" of an "even more occupying representation of Diana and Callisto" . At the same time, according to Marx, Chodowiecki makes some mistakes. So " [Chodowiecki] throws up the different themes of the two halls [Monstrous Hall and Billiards Hall ] and speaks only of one hall in which courtly scenes and mythological images are represented" :

“ One hall is completely covered with gilded leather and on the same with oil paint all kinds of figures and groups, etc. a. Diana sitting with her nymphs, all drawn and painted badly and without taste, but should now and again have a relationship with the stories of the hope of the time "

In the inventory of Saxon monuments and art monuments of the early 20th century, the monstrous hall and the billiard hall are described, but again the artistic origin is missing:

“ Above the doors baroque painted essays, the walls adorned with colossal paintings on leather, recently restored and provided with a new stucco ceiling. The billiard hall opposite on the north front with large gray-on-gray depictions of the four seasons above the doors and paintings like this "

In the 20th century, the artistic origin of the pictures was the subject of discussion; Lorenzo Rossi and Louis de Silvestre were considered : “The question of the artistic origin of the Moritzburg pictures only became an interesting problem in the 20th century. With regard to the attribution, there were always two artists named, the Venetian Lorenzo Rossi and the French Louis de Silvestre ” .

Lorenzo Rossi

Most editors attribute the paintings to the Venetian Lorenzo Rossi , who worked in Dresden until 1731 and who is mentioned in 1726 among the artists employed in Moritzburg. For the monstrous hall, the following art historians attribute the work to the Venetian Rossi: Walter Bachmann, Gertrud Rudloff-Hille , Helmut Fränzel Georg Dehio and others. The following art historians attribute the work for the billiard hall to the Venetian Rossi: Erwin Hensler , Walter Hentschel and Fritz Löffler.

Louis de Silvestre

Others attribute the works to the Frenchman Louis de Silvestre . The following art historians attribute the works to Silvestre for the Monstrous Hall: Georges Servières, Weigert Walter Henschel, Fritz Löffler and the Dehio

The following art historians attribute the work to Silvestre for the billiards hall: Weigert Walter Bachmann Gertrud Rudloff-Hille Helmut Fränzel and others

conclusion

Harald Marx assumes that Silvestre received the order and created the programs and designs: “The following is more likely: Silvestre was commissioned to design both halls, but did not do all the work itself, but only determined the programs and delivered designs that other artists and his students then used to create the paintings ” . In addition to Silvestre (management), Marx names various other artists who worked according to Silvestre's designs, such as his students, as well as Lorenzo Rossi and Giovanni Battista Groni:

“ The picturesque decorations of the billiard hall and the monstrous hall in Moritzburg Castle seem to have been created under the direction and largely according to the designs of Louis de Silvestre. In addition to himself and his students, other artists were apparently involved in the execution. Lorenzo Rossi and Giovanni Battista Groni are traditionally named . "

photos

  • A hunting party with a stag that has been shot

  • Diana and the sleeping Endymion

  • Diana and Apollo kill the children of Niobe

  • Diana discovers Callisto's pregnancy

Individual evidence

  1. ^ Roger-Armand Weigert: Documents inédits sur Louis de Silvestre, suivis du catalog de son oeuvre , in: Archives de l'art français 18, 1932, pp. 409f. No. -6, No. 7-12.
  2. ^ A b Fritz Löffler: The old Dresden . Dresden 1958, p. 405.
  3. ^ Walter Bachmann, Moritzburg 1939 (unpublished manuscript in the Institute for the Preservation of Monuments in Dresden), p. 118.
  4. ↑ cf. Marx, pp. 82-83.
  5. ↑ Ovid, Metamorphosen II, 434-438, 457-462.
  6. ↑ Marx, p. 80.
  7. ^ Karl Wilhelm Daßdorf: Description of the most excellent peculiarities of the electoral residence city of Dresden , Dresden 1782, p. 747.
  8. ↑ a b c Marx, p. 81.
  9. ^ Daniel Chodowiecki: Journal, held on a Lustreyse from Berlin to Dresden 1789 , Berlin 1961, p. 4.
  10. ↑ Cornelius Gurlitt : Descriptive representation of the older architectural and art monuments of the Kingdom of Saxony . Issue 26: Amtshauptmannschaft Dresden-Neustadt (Land). Dresden 1904, p. 113f. Plates III – IV ( digitized SLUB Dresden ).
  11. ↑ Marx, p. 82.
  12. ^ Walter Bachmann: Moritzburg (= Große Baudenkmäler 10), Berlin 1947, p. 12.
  13. ^ Gertrud Rudloff-Hille: Das Barockmuseum Schloß Moritzburg, Dresden 1953 , p. 20.
  14. ^ Helmut Fränzel: Moritzburg , Dresden 1962, p. 18.
  15. ↑ Georg Dehio: History of German Art , 3rd edition Berlin / Leipzig 1923, p. 283.
  16. ↑ Moritzburg Castle Baroque Museum . 1963, p. 5.
  17. ↑ Erwin Hensler: Rossi, Lorenzo . In: Hans Vollmer (Hrsg.): General lexicon of fine artists from antiquity to the present . Founded by Ulrich Thieme and Felix Becker . tape 29 : Rosa – Scheffauer . EA Seemann, Leipzig 1935, p. 66 .
  18. ^ Walter Henschel: Moritzburg Castle , In: Deutsche Kunst und Denkmalpflege 1934, H. 1–2, S. 22 (with reference to Erwin Hensler's investigations).
  19. ^ Fritz Löffler: Das Alte Dresden , Dresden 1958, p. 403.
  20. ^ Georges Servières: Les artiste francais à la cour de Saxe au XVIIIe siècle. In: Gazette des Beaux-Arts , August 1911.
  21. ^ Roger-Armand Weigert: Documents inédits sur Louis de Silvestre, suivis du catalog de son oeuvre , In: Archives de l'art français 18, 1932, p. 409 No. 3–6; Roger-Armand Weigert: Silvestre, Louis de . In: Hans Vollmer (Hrsg.): General lexicon of fine artists from antiquity to the present . Founded by Ulrich Thieme and Felix Becker . tape 31 : Siemering – Stephens . EA Seemann, Leipzig 1937, p. 35 .
  22. ↑ Walter Henschel, Moritzburg Castle , In: Deutsche Kunst und Denkmalpflege 1934, H. 1–2, S. 22.
  23. ^ Dehio manual: Art monuments of the districts of Dresden, Karl-Marx-Stadt, Leipzig . Illustrated book. Berlin 1968, ill.271.
  24. ↑ Roger-Armand Weigert: Documents inédits sur Louis de Silvestre, suivis du catalog de son oeuvre , in: Archives de l'art français 18, 1932, p. 410 No. 7-12; Roger-Armand Weigert: Silvestre, Louis de . In: Hans Vollmer (Hrsg.): General lexicon of fine artists from antiquity to the present . Founded by Ulrich Thieme and Felix Becker . tape 31 : Siemering – Stephens . EA Seemann, Leipzig 1937, p. 35 . .
  25. ^ Walter Bachmann, Moritzburg (= large architectural monuments 10). Berlin 1947, p. 12.
  26. ^ Gertrud Rudloff-Hille: Das Barockmuseum Schloß Moritzburg, Dresden 1953 , p. 36.
  27. ^ Helmut Fränzel: Moritzburg , Dresden 1962, p. 17f.
  28. ↑ Moritzburg Castle Baroque Museum (without author) p. 14
  29. ↑ Marx, pp. 83-84.
  30. ^ Marx, p. 87.

Web links

literature

  • Harald Marx: On decorative painting in the 18th century in Saxony , dissertation University Halle / Saale 1971, pp. 80-87 (Chapter: On the monumental paintings on leather in Moritzburg Castle ).