Ambras Castle Innsbruck (Art Museum)
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| State level | Federal level | ||
| legal form | KHM-Museumsverband, scientific institution under public law | ||
| At sight | Federal Ministry for Education, Arts and Culture | ||
| founding | from 1572 | ||
| Headquarters | Schlossstrasse 20, 6020 Innsbruck, Austria | ||
| management | Veronika Sandbichler | ||
| Website | www.schlossambras-innsbruck.at | ||
Ambras Castle Innsbruck is an art museum on the outskirts of the Tyrolean capital Innsbruck . It is the only federal museum of the Republic of Austria located outside the federal capital . Administratively it is assigned to the Kunsthistorisches Museum Wien (KHM) and belongs to the KHM Museum Association.
At its core, it contains the collections of one of the most important collectors of the Habsburg dynasty: Archduke Ferdinand II (1529–1595). The museum is housed in Ambras Castle, a three-part Renaissance castle complex, consisting of the Ambras Lower Castle , the Ambras High Castle and the Spanish Hall .
meaning
- The oldest museum in the world
. Archduke Ferdinand II was specifically for its famous in his own lifetime collections from 1570 the so called Lower Castle of Ambras Castle built: one designed as irregular pentagon independent system. At that time it was one of the earliest buildings ever to be explicitly intended for use as a museum. As early as Ferdinand II's lifetime, the term “museum” was used for this, as evidenced by a pen drawing by court painter Joris Hoefnagel .
There are older collections, such as the Capitoline Museums , donated by Pope Sixtus IV as early as 1471, or the Vatican Museums , presented from 1506 under Pope Julius II, for which no separate buildings were initially built. The first museum building north of the Alps is the Kunstkammer of the Vienna Hofburg , built by Ferdinand II's father, King Ferdinand I between 1558 and 1563 , of which only the foundations have been preserved. Initially, the Ambras Museum was not intended for the public, but for princely representation, but paid tours of the collections were offered during Ferdinand II's lifetime.
The Ambras Lower Castle is the only surviving Renaissance museum building in which part of Ferdinand II's collections have been preserved at their original destination and are still on display there: Ambras Castle Innsbruck is the oldest museum in the world in this regard and In this way, the lower castle has become an exhibit itself up to our time.
- The beginning of the modern museum system
Archduke Ferdinand II. The idea of a museum was completely new: he wanted to collect armor from famous personalities of his time that they had actually worn. He presented this armor “for the eternal memory” of the generals in the so-called heroes' armory . Associated with this was the so-called Armamentarium Heroicum : This magnificent book shows a representation of the respective "hero" on one side and lists his biography on the other. He also built an enormous collection of portraits in a wide variety of formats from miniature to life size. With this new museum idea of the Heroes' Armory , Ferdinand II can be regarded as the founder of the systematic collection system.
His Kunst- und Wunderkammer , a designation that goes back to the Kunstkammer of Ferdinand II, seems to have been arranged systematically. As the only art chamber from the Renaissance in the original museum complex, it is an incomparable cultural monument.
Collections and cultural and historical monuments from Schloss Ambras Innsbruck
Armories
The Heroes Armory formed the core of Archduke Ferdinand II's collections . Ferdinand II exhibited the armor and portraits of more than 120 generals to refer to their fame and honor. Eight of the tall wooden cabinets, in which the original armor still bears witness to history, have been preserved in their original form. The Archduke managed to get around 100 original armor from famous generals for his museum. Ferdinand himself was one of the "heroes" with a riding armor that he had worn in the 1566 campaign to Hungary to defend Christianity against the Ottoman Empire. Ferdinand II deepened the historiographical point of view by presenting armor and tournament weapons from the legacy of his ancestors Archduke Sigmund (1427–1496) and Emperor Maximilian I (1459–1519): With racing and lancing witnesses, he depicts the medieval form of the Knightly tournaments. Another focus of his armories are tournament armor for planking, the free tournament and the foot tournament, which were made for Ferdinand II and his court. Most of them come from the Innsbruck Plattnerei, which has been one of the most famous in Europe since the time of Emperor Maximilian I. From 1580 onwards, Archduke Ferdinand II had a large part of the armor driven by his Hofplattner Jakob Topf. A specialty is a 24-part series of harnesses, twenty of which are still completely intact; individual parts of the remaining four could be preserved. The exhibited nineteen foot tournament armor represents one of the largest ensembles of modern European armorer that has been preserved.
Ferdinand's collection of armor is one of the most important of its kind, which is why many of his punk armor have found their way to Vienna today, where they are exhibited in another important collection of the Kunsthistorisches Museum: the court hunt and armory in the Neue Burg .
The unique collection of around a thousand miniature portraits of princes from the 15th and 16th centuries, painted oil on paper and mounted on thin spruce tablets, is now in the coin cabinet of the Kunsthistorisches Museum in Vienna.
Turkish Chamber
At the end of the room of today's Second Armory was the so-called Turkish Chamber , originally separated by a high wooden wall . The collection of “Turcica” that Archduke Ferdinand II brought together corresponded to “Turkish fashion” that was popular in the 16th century. It was the interplay of fear and admiration that moved European princes to collect oriental or orientalizing objects. The objects in the form of Ottoman equipment and luxury items such as saddles, bows and arrows, sabers, shields and helmets are loot from the battlefield. At the same time, however, these trophies were also memories of the armed conflicts with the then feared Ottomans, who expanded their empire to the Habsburg borders.
In 1556 Ferdinand II himself even carried out military expansion against the Turks in Hungary. Under his command it was possible to supply the fortress Szigetvár with the necessary provisions and to drive back the besiegers. The fascination for oriental art and culture was also evident in the courtly festivals and tournaments. The embossed, colored iron masks trimmed with hair from the time of Ferdinand II's governorship in Bohemia (1547–1564) bear the features of hussars and moors. They were used together with the wooden and painted shields (tartschen) in the propaganda "Hussar tournaments". The hussars embodied the western world as Christian knights and fought against the "Moors", who symbolized the defeated party of the Ottomans and thus the east.
The Turkish Chamber of Ambras contains one of the largest collections of “Turcica” of the time.
Chamber of Art and Curiosities
Archduke Ferdinand II. Chamber of Art and Curiosities consisted of a room in the middle of which there were two rows of 20 cupboards that reached up to the five meter high ceiling and turned towards the window sides except for the corner boxes, of which only the two corner boxes have survived . The inventory of the estate from 1596 shows that Ferdinand's collection consisted of a wealth of well over 3,300 items on record. In the Kunst- und Wunderkammer these were precious works of art ( Artificialia ), rare natural objects ( Naturalia ), scientific instruments ( Scientifica ), objects from foreign worlds ( Exotica ) and wonders of nature ( Mirabilia ). Paintings crowded the walls, and prepared animals hung from the ceiling.
Objects made of crystal, silver and gold, bronze, glass, woodworking, armor and weapons, paintings, the latest scientific instruments and musical instruments, slot machines, rare, exotic and extraordinary objects made of natural materials, luxury items from the newly discovered countries from overseas and much more, as well as portraits of people or animals that were considered "miracles of nature". The objects were taken out of the respective box for individual viewing as required. As a result, the Kunst- und Wunderkammer was not a place of museum presentation, as Ferdinand's Heroes' Armory was, and as it has become today through the showcases.
According to Samuel Quiccheberg , the famous museum theorist of the time, the Kunstkammer was conceived as a place where "a unique, new knowledge of things and admirable cleverness can be achieved easily and safely."
The Ambras collection contains one of the most important European collections of "Exotica", of which the "Ryukyu Bowl" or the only silk scarves from the 16th century that have survived outside of Japan should be emphasized. The highlights of the Ferdinandeische Kunst- und Wunderkammer are the late medieval sculpture made of pear wood, the “Tödlein”, the Ambras “Schüttelkasten”, the portrait of the disabled man, the family of hair people, the portrait of the huge Ambras pig, the only contemporary portrait by Graf Dracula or the Ambras fishing chair with the drinking books and the two drinking vessels of the Ambras welcome .
The current installation of the Kunst- und Wunderkammer dates back to 1977 and, for climatic reasons, is located in the “Kornschütt” building, the place where the library was located at the time of Ferdinand II. The list takes into account old inventories, which describe the objects and their arrangement. The oldest of these was made in 1596 after the death of Ferdinand II.
At the original location of the Chamber of Art and Curiosities , the room height was raised in the 19th century and the ceiling painting of the "Starry Sky" ( Giovanni Battista Fontana , around 1586) was installed. Today the museum has been showing armaments and weapons from the Thirty Years' War (1618–1648) since 1981 , most of which come from the holdings of the former Vienna armory . They make the difference between splendid one-offs made in the Renaissance and standard war tools of the Baroque era. At the same time they show the appearance of a baroque armory display.
terminology
The authentic designation Kunst- und Wunderkammer goes back to the Kunstkammer of Ferdinand II and has become a technical term. In terms of terminology, however, the misleading expression “ cabinet of curiosities ” has become established over the centuries for “ cabinet of curiosities ”, as it is used in the translations “Chamber of Art and Curiosities”, “Cabinet d'art et de curiosités”, “Camera d'arte e delle curiosità "," Cámara de Arte y Curiosidades "comes to the expression. As a result, the term “miracle” was robbed of its original meaning in the sense of “miracle of nature” as a valuable rarity and special expression of the diversity of nature - that is, of rare, unique and excellent things - and in the direction of astonishment at the grotesque and bizarre or reinterpreted bizarre. It would therefore be much more appropriate to correct this historical tradition of speaking of curiosities and to translate it splendidly in the sense of the 16th century with “Chamber of Art and Wonders”, “Cabinet d'art et de merveilles”, “Camera d 'arte e delle meraviglie ”,“ Cámara de Arte y de maravillas ”.
Spanish hall
The representation hall is one of the most beautiful free-standing hall buildings of the Renaissance. It was built 1569–1572 according to Archduke Ferdinand II's ideas. Originally referred to as the “Great Hall”, the name Spanish Hall has been used since the 19th century . The main determinants of the festive overall impression of the hall are the doors made from various types of wood by Conrad Gottlieb, Ferdinand's court carpenter, and the partly gilded and also inlaid wooden coffered ceiling.
The scenic design of the 43 m long hall is determined in Tyrolean sovereigns, ranging from Count of the 27 full-length portraits of Albert I of Tyrol on the counts of Gorizia-Tyrol and Margarethe Maultasch to the Habsburgs deal with Archduke Ferdinand II. To end . These paintings by Giovanni Battista Fontana were reconstructed in the course of a first comprehensive restoration in the years 1878–1880, which had become necessary due to great moisture damage, using the copperplate engravings by Dominicus Custos , which were made from the originals in the 16th century were made. The portraits are set against a landscape background, which makes the room seem open on both sides. On the plinths of the east and west walls the virtues and liberal arts are depicted, on the plinths of the south wall scenes from the story of Romulus and Remus and on the north wall the Hercules myth, which was not added until the 19th century. The grotesque painting on the window side, however, has been restored to its original state from the 16th century.
Access to the hall is via the Kaiserzimmer to the east , whose stucco work is part of the original design. They represent the first twelve Roman emperors - from Caesar to Domitian. The painting can be dated to the year 1719 and continues the theme of the Spanish Hall. It shows ten portraits of the successors of Ferdinand II as Prince of Tyrol, starting with Emperor Rudolf II and ending with Emperor Karl VI.
patio
The inner courtyard is designed with grisaille al fresco painting, which creates the impression of a relief through the use of various shades of gray. It is one of the best and largest preserved examples of fresco painting from the 16th century. The painting also takes on the architectural task of unifying the irregular courtyard with the help of the uniform decoration system and compensating for the narrowness of the courtyard. The client was Archduke Ferdinand II, whose concern, in the spirit of the Renaissance, was to emphasize the virtues of the prince by depicting the muses, female and male heroes and heroic deeds, and to honor the prince's status in an exemplary manner. It is not known which painter carried out the order. The last major restoration of the frescoes took place between 1984 and 1991.
On the west wall between the first and second floors is a Bacchus procession with carriages, satyrs and bacchants. Orpheus can be seen between the second and third floors, making music in front of the animals, including a dodo and the lama from whom a painting as a miracle of nature came to the chamber of art and curiosities (Inv.-No. GG 8245) because it was mistakenly viewed as a "doe bastard". On the north wall between the windows of the first floor are the allegories of the liberal arts of music , geometry, arithmetic, astronomy, grammar, dialectics and rhetoric, above which the Bacchus procession continues. At the height of the second floor, an interruption in the painting marks a place where a loggia had been located in the Ferdinandean times, which was removed in the 19th century. To the west of the approach to the loggia, remains of the original, colored painting can be seen on an older layer of plaster. On the east wall on the ground floor there is a false window with a stag, above it Old Testament heroines such as Judith , Esther and Jael , above the procession of Bacchus between the first and second floors unidentified female figures are depicted, also Judith with the head of Holofernes, a battle scene and knights in fantastic armor. On the south wall between the windows of the first floor you can find the virtues Fides (faith), Spes (hope), Caritas (charity), Justitia (justice), Prudentia (wisdom), Fortitudo (steadfastness), Temperantia (temperance) and Sapientia ( Wisdom), above it again the Bacchus procession, above this probably eight of the nine Muses , ancient heroes and a battle, at the top the "New Heroes" Alexander the Great , Godfrey of Bouillon , David , Arthur , Charlemagne , Judas Maccabäus , Joshua and Hector .
In the northern part of the inner courtyard, in the vestibule to the entrance to the castle, there is a detailed, partially gilded ornamental grille. This special masterpiece of wrought iron was created around 1567 by the Innsbruck court master Hans Peck.
Facade with sgraffito in the courtyard of the palace
Large view Grisailles painting al fresco
Large view 3 Grisailles painting al fresco
Habsburg portrait gallery
The Habsburg portrait gallery is located on three floors of the high castle . It includes paintings from the period from the 14th to the 18th century, a time in which the Habsburgs, like hardly any other European ruling dynasty, co-determined the fate of Europe and were related to or related by marriage to the most important ruling houses. Portraits of the Habsburgs such as Emperor Maximilian I , Emperor Charles V , King Philip II of Spain and the young Maria Theresa , but also of members of other ruling families such as Queen Elisabeth I of England, the Wittelsbacher, Medici, Valois, and many others are exhibited The tour of the gallery on three floors of the high castle is designed as a journey through European history. The portraits reflect not only the marriage and alliance policy of the ruling houses, but also the art and cultural history of the epoch of their creation. A specific feature are the many portraits of children, such as the picture of three-year-old Eleonora Gonzaga ascribed to Peter Paul Rubens. Famous painters were in the service of the ruling families; Ambras Castle presents masterpieces by Hans Burgkmair , Lucas Cranach the Elder. J. , Giuseppe Arcimboldo , Jakob Seisenegger , Hans von Aachen , Peter Paul Rubens , Anthonis van Dyck , Diego Velázquez and others.
In its scope of around 200 pictures and its artistic quality, the Habsburg portrait gallery is on a par with the portrait collection at Versailles Palace or the National Portrait Gallery in London.
In 1980, wall paintings from 1565/66 with ornamental depictions, grotesque depictions of animals and fruit wreaths, including tournament depictions and a full-length, less than life-size portrait of Ferdinand II, which can be traced back to the painter Hans Polhammer, were uncovered on the second floor of the Hoschschloss.
Collection of Gothic sculptures
The Ambras collection of Gothic sculptures comes from the time of Emperor Maximilian I (1459–1519), the great-grandfather of Archduke Ferdinand II. In the 19th century, the figures, some of which were set, some of which were left raw, were collected and exhibited at Ambras Castle from 1880 onwards. The Tyrolean works influenced by the southern German art space are juxtaposed with sculptures from Lower Austria.
The main work is the imposing George Altar , which was made by Sebold Bocksdorfer on behalf of Maximilian . This winged altar with free-standing figures was made from all angles, which indicates the spatial arrangement of the Renaissance. The wings of the altar show the saints Christophorus, Katharina, Barbara and Florian.
The collection is housed on the ground floor of the keep, which was built at the end of the 13th century. Together with parts of the north wing and the chapel, the keep is part of the medieval construction phase of the castle.
Bath of the Philippine Welser
The bath of Philippine Welser , lady of the castle of Ambras Castle and first wife of Archduke Ferdinand II, is a cultural and historical rarity. It is the only completely preserved bathing facility from the 16th century with its tub, sweat room, boiler room and relaxation room.
Sweat baths were used both to cleanse and after the cleansing bath to take care of the body. Bathing at that time can be imagined in terms of “wellness”. The bathtub itself, which is reached through the relaxation room, is set 1.6 m deep into the floor directly in front of a window and clad with tin-plated copper sheet. The stone stool with a wooden seat that is still preserved today is likely to have belonged to the original inventory. The two steps that led into the tub and also served as seating are no longer preserved. Hot stones were placed on the ground to additionally heat the water. In order to increase the health-promoting effect of the bath, various herbs were sometimes added to the water.
The changing room, the so-called "Abziehstube", has a rich wooden coffered ceiling, the walls have wood paneling up to a height of approx. 1.60 meters, dated 1567. Above the paneling there is a surrounding frieze in fresco painting, which was probably created by Hanns Polhammer between 1563 and 1567. The rather poorly preserved frescoes show scenes of a party in an arbor, a fountain of youth or the motif Diana in the bath.
St. Nicholas Chapel
The changeful history of the St. Nicholas Chapel goes back to the 14th century. Its current appearance goes back to the 19th century, when the governor of Tyrol, Archduke Karl Ludwig , had the damaged wall paintings of the 16th century knocked down and commissioned August Wörndle to redesign it .
With its artistically successful design from 1862, the chapel in the castle represents an important link from the Middle Ages through the Renaissance to the more recent past. Today, the chapel is home to its important treasures.
Strasser glass collection
The Strasser Glass Collection is one of the most important glass collections in the world. Precious glasses from the most important European glass production areas offer an insight into the history of glass art from the Renaissance to the Baroque.
Paradise and Medicinal Garden
The way from the Spanish Hall up a spiral staircase to the high castle leads past a garden for medicinal herbs facing east. Since the Middle Ages, it has been customary, especially in monasteries, to grow plants for medicinal purposes. Archduke Ferdinand II had a particular interest in medicine, which is documented by his considerable collection of classical and contemporary medical literature in the Ambras library. Today's selection of medicinal plants is based on the Philippine Welser's medical book from 1560/1570, which is preserved in the Ambras collection. Anna Welser, the mother of Philippine, the lady of the castle of Ambras and Archduke Ferdinand's first wife, had it made for her daughter.
Since 2007, this little piece of earth has been gradually transformed into a “garden of paradise”. The garden is closed and enclosed as a hortus conclusus , a "garden of paradise" of an intimate character. The term “paradise”, which is widespread in European languages, goes back to the Avestian (old Iranian language, 1200–400 BC) pairi.daeza . It originally referred to the fenced in, the garden. Through the Greek translation of the Old Testament, the Greek paradeisos was related to the biblical Garden of Eden as a translation of the Hebrew gan . As a result, European garden art is always a source of food, medicines and natural beauty as well as of religious and symbolic importance.
A walled paradise garden reserved for the lady of the house is typical of early Renaissance gardens as giardino segreto : It is not far from the ladies' living quarters on the second floor of the high castle and near a small kitchen for the personal use of the lady of the castle.
In the middle of the 16th century, the European flora changed with the addition of plants from the Orient and the New World. These new plants were cultivated in the garden as creations of nature through human art. Comprehensive abundance, rarity and exotic character suggest a comparison with the Kunst- und Wunderkammer: If it was an integral part of court culture to collect art and "wonders of nature" in the Kunstkammer, then Archduke Ferdinand became - in addition to exotic animals in menageries II. Afforded himself the luxury of three zoos in his residence city Innsbruck - the creations of the garden are also significant.
Library
Archduke Ferdinand II's library was one of the most remarkable and extensive book collections of its time and represents an extraordinary source of early modern cultural history in Central Europe. It was one of the most extensive book collections of its time. In the inventory of Ferdinand II's estate from 1596, a total of 3,711 titles were recorded, with the number of books being much higher. The study and collector's library was traditionally divided into five thematic groups: Theology, Juridica, Medicine, Historiography and Cosmography. Weapons and armor, sculptures, paintings, but also minerals were part of the renaissance library. At the time of Ferdinand II, the library was located in the "Kornschütt" building. The original library cabinets were used to make the showcases for the Chamber of Art and Curiosities when it was installed in the premises of the former library in 1977.
Archduke Ferdinand II's great interest in historical works emerges from the compilation of the library, in particular the history of the Austrian and Italian lands as well as the entire Mediterranean region. As a result, the Ambras library was not only an encyclopedic source of knowledge, but also had a representative function to highlight the prestige and tradition of the House of Austria.
The history of the Ambras library after the death of Ferdinand II was quite eventful. From 1665, under Emperor Leopold I, the outstanding items in the Ambras library were brought from Innsbruck to Vienna for the imperial court library. A further dissolution of the Ambras library took place on the orders of Empress Maria Theresia in 1745 in order to enrich the library of the Innsbruck University, which was then newly established. In the course of the Napoleonic Wars, the rest of the Ambras library came to Vienna in 1806. Today's book inventory is limited to a few selected fine specimens from the Kunst- und Wunderkammer .
The Philippine Welser's cookbook (inv. No. PA 1473), the “Philippine Welser's pharmaceutical book” (inv. No. PA 1474) and the Ambras drinking books (inv. No. KK 5251 ) are of particular cultural and historical importance ) or the prayer book of the Philippine Welser, which was written shortly after 1557 (Inv-Nr. KK 3232). A highlight of the collection is the five-volume, copper-engraved, splendid historiographical work Imagines gentis Austriacae by Francesco Terzio (Inv.No. KK 6614), which contains 74 portraits of members of the House of Habsburg, their real and legendary ancestors and their individual volumes Emperor Maximilian II. , Archdukes Ferdinand II. And Charles , King Philip II of Spain and Empress Maria .
The copperplate engraving Armamentarium Heroicum (Inv.No. KK 6613), which shows 121 depictions of personalities from the 15th and 16th centuries with their armor and weapons, almost all of which can actually be found in the collection of Ferdinand II at Ambras Castle, is significant in terms of collection theory were. The printing was created under the direction of Ferdinand II's secretary Jakob Schrencks von Notzing , who was also commissioned to purchase the collection items. The members of this "heroic society" are represented in full figures in a niche framed by columns; The representations of the actual presentation in the so-called Helderüstkammer, which was specially built in 1589 (demolished in 1882; can be seen today in the so-called First Armory) are ajar in upright rectangular showcases. The copperplate engravings are by Domenicus Custos based on drawings by Giovanni Battista Fontana . The Armamentarium , which was only completed after the death of Ferdinand II , was first published in Latin in 1601 and in 1603 by Daniel Baur in Innsbruck in a German translation by Johann Engelbert Noyse von Campenhout, which Emperor Rudolf II and King Philip III. of Spain was dedicated. The work is repeatedly cited in the literature as "the earliest museum catalog in history"; in fact, it's more of a concept tape.
The manuscripts of the Ambras collection
Archduke Ferdinand II's library is characterized by an extraordinarily high proportion of manuscripts of almost 800 titles. A number of these were created at Ferdinand II's direct commission; some even require a certain amount of personal involvement. In addition, the manuscripts pass on the oldest core inventory of the Habsburg book collection, dating back to the 14th century. Today these manuscripts are mainly in the Austrian National Library, but also in the collections of the Kunsthistorisches Museum Vienna. The most important manuscripts in art history include the Ambraser Heldenbuch (Austrian National Library), the prayer book of Philippine Welser (Ambras Castle, Innsbruck) or the tournament book of Freydal Emperor Maximilian I and the tournament books of Archduke Ferdinand II (Kunstkammer of the Kunsthistorisches Museum Vienna).
In 2018, the manuscripts in the Ambras collection were included in the UNESCO “ National Memory of the World Register ”.
Museum and collection history
Archduke Ferdinand II moved into residence in Innsbruck in 1567, after he became Prince of Tyrol in 1564 after the death of his father, Emperor Ferdinand I. He brought his famous collections with him from Prague, which he had already established during his 20 years as governor in the Kingdom of Bohemia. After Ferdinand II's death in 1595, Margrave Karl von Burgau inherited the castle and its collections and sold everything to Emperor Rudolf II. However, he did not incorporate them into his own collection in Prague, but left them at Ambras Castle.
In the following centuries the castle was no longer the residence of a Habsburg sovereign and was only rarely inhabited. Inadequate conservation measures resulted in losses that have been handed down in the handwritten inventories. In the thirties of the 18th century, the facility was completely renovated and the collection was reorganized for the first time. The later use of the high palace and the Spanish Hall as a military hospital (1797–98) and as a barracks (1841–1843) caused serious damage to the building fabric. After Napoleon Bonaparte recognized the private law nature of the Ambras collection after Austria's defeat by the French Empire in 1805 , the main holdings were brought to Vienna in 1806. In 1814, on the occasion of the Congress of Vienna, they were exhibited in the lower Belvedere Palace under the title “K u K Ambraser Collection”. But it came back to Tyrol as early as 1880, when a museum was set up at Ambras Castle. However, valuable objects remained in Vienna after they - in keeping with the fashion of the time - were distributed to the various newly created presentation houses. Since then, this part of Ferdinand II's collections has primarily - together with the Rudolf II collections - the core holdings of the Kunsthistorisches Museum in Vienna, which opened in 1891 . The other significant part is shown at Ambras Castle.
After the First World War, the State of Tyrol asserted its claims to the Ambras collection as a former imperial property, but this was rejected by the Monument Office so that Italy could not incorporate parts of the collection on behalf of South Tyrol. Ambras Castle has been owned by the Republic of Austria since 1919 and was initially administered by the Ministry of Education. The facility was renovated from 1922 and was then reopened as a museum. After the end of the Second World War, the castle administration and from 1950 the Kunsthistorisches Museum Wien took over the management of the buildings and collections.
Directors of Schloss Ambras Innsbruck
- Laurin Luchner (1952-1962)
- Lilly Sauter (1962-1972)
- Elisabeth Walde (interim 1972)
- Elisabeth Scheicher (1972-1992)
- Alfred Auer (1992 - 2010)
- Veronika Sandbichler (since 2010)
literature
- Johann Primisser : Brief message from the KK rarities cabinet in Ambras in Tyrol. With 158 biographies of those princes and generals whose armor and weapons are kept in it . Wagner, Innsbruck 1777 ( digitized version ).
- Alois Primisser: The Imperial and Royal Ambraser Collection . J.-G. Heubner, Vienna 1819 ( digitized version ).
- Eduard von Sacken : The KK Ambraser Collection . Braumüller, Vienna 1855 ( digitized version ).
- Alfred Auer, Veronika Sandbichler, Karl Schütz, Christian Beaufort-Spontin: Ambras Castle . Electa, Milan 1996.
- Sabine Haag (Ed.): Ambras Castle Innsbruck. Museum guide Ambras Castle Innsbruck . Kunsthistorisches Museum, Vienna 2013, ISBN 978-3-99020-160-2 .
- Sabine Haag (Hrsg.): Masterpieces from Ambras Castle Innsbruck . Kunsthistorisches Museum, Vienna 2015, ISBN 978-3-99020-093-3 .
- Michael Forcher: Archduke Ferdinand II. Prince of Tyrol. His life. His rule. His country . Haymon, Innsbruck 2017, ISBN 978-3-7099-7293-9 .
- Sabine Haag, Veronika Sandbichler (Eds.): Ferdinand II. 450 years of Tyrolean Prince Haymon, Innsbruck 2017, ISBN 978-3-7099-3401-2 .
Web links
- Website Ambras Castle Innsbruck
- Video Ambras Castle Innsbruck (KHM Museum Association)
- Online image database Schloss Ambras Innsbruck (KHM Museum Association)
Remarks
- ^ Legal regulation for museum regulations for the Kunsthistorisches Museum. Legal information system of the Federal Chancellery. Retrieved March 12, 2014.
- ^ Elisabeth Scheicher: Ambras Castle . In: Felmayer, Oettinger, Scheicher u. a. (Ed.): Österreichische Kunsttopographie , Volume 47. Vienna 1986, pp. 508–623.
- ^ "View of the city of Innsbruck from the east with Ambras Castle", Joris Hoefnagel (1542–1600) based on a model by Alexander Colin (1527 / 29–1612), approx. 1580. Washed pen drawing on paper, Vienna, Kunsthistorisches Museum, Kunstkammer, Inv no. KK 5351.
- ↑ Thomas Kuster: 'dises heroische theatrum': The hero's armory of Ambras Castle . In: Sabine Haag, Veronika Sandbichler (ed.): Ferdinand II. 450 years of Tyrolean sovereign . Innsbruck 2017, pp. 82–87.
- ^ Friedrich Kenner: The portrait collection of Archduke Ferdinand of Tyrol . In: Yearbook of the Art History Collections of the Very Highest Imperial House 14, 1893, pp. 37–186 ( digitized version ).
- ^ Michael Forcher: Archduke Ferdinand II. Prince of Tyrol. His life. His rule. His country . Innsbruck 2017, p. 78ff.
- ↑ Veronika Sandbichler: Turkish Treasures from the Art History Museum . Vienna 1997.
- ↑ Veronika Sandbichler: 'Innata omnium pulcherrimarum rerum inquisitio'. The collector Archduke Ferdinand II. In: Sabine Haag, Veronika Sandbichler (Ed.): Ferdinand II. 450 years of Tyrolean sovereign. Innsbruck 2017, pp. 77–81.
- ↑ Harriet Roth: The beginning of the museum teaching in Germany. The treatise "Inscriptiones vel Tituli Theatri Amplissimi" by Samuel Quiccheberg. Latin-German. Akademie Verlag, Berlin 2001, ISBN 978-3-05003490-4 .
- ↑ Paulus Rainer: About art and miracles in the extra-moral sense. In: Sabine Haag, Veronika Sandbichler (ed.): Ferdinand II. 450 years of Tyrolean sovereign. Innsbruck 2017, pp. 89–97.
- ↑ The Ambras shaking box. KHM-Museumsverband, April 28, 2017, accessed on January 24, 2018 (English).
- ^ Kunsthistorisches Museum Wien (ed.): The art chamber. Kunsthistorisches Museum, Ambras Castle collections . (= Guide through the Kunsthistorisches Museum No. 24). Tyrolia, Innsbruck 1977; Sabine Haag (Ed.): Masterpieces from Ambras Castle Innsbruck (= short guide through the Kunsthistorisches Museum Vienna, Volume 9). Vienna 2015.
- ↑ Tirolensium principum comitum genuine eicones . Augsburg 1599, expanded second edition 1623.
- ↑ Sabine Haag, Veronika Sandbichler (ed.): Ferdinand II. 450 years of Tyrolean Prince Haymon, Innsbruck 2017, p. 299.
- ↑ Sabine Haag (Ed.): Really animal! The Prince's Mengaerie . Kunsthistorisches Museum, Vienna 2015, ISBN 978-3-99020-097-1 , p. 268f.
- ^ Kunsthistorisches Museum Wien (ed.): Portrait gallery on the history of Austria. Catalog of the Gemäldegalerie . Vienna 1982.
- ↑ Sabine Haag (Ed.): Splash! The bath of the Philippine Welser . Vienna 2012.
- ↑ Wilfried Seipel (Ed.): Death and Resurrection . Vienna 2008.
- ↑ Katharina Seidl: The St. Nicholas Chapel of Ambras Castle and its chapel treasure . Kunsthistorisches Museum, Vienna 2004, ISBN 3-85497-086-2 .
- ↑ Claudia Lehner-Jobst (text), Sabine Haag (ed.): 'Happiness is a glass thing ...'. Guide to the Strasser Glass Collection. Permanent exhibition of the Kunsthistorisches Museum, Ambras Castle collections. Kunsthistorisches Museum, Vienna 2013, ISBN 978-3-99020-038-4 .
- ↑ Thomas Kuster: “Horses, dogs [...], birds [...] and strange animals belong to the splendor of a gentleman.” Archduke Ferdinand II's zoo in Innsbruck. In: Sabine Haag (Ed.): Really animal! The Prince's Mengaerie. Kunsthistorisches Museum, Vienna 2015, ISBN 978-3-99020-097-1 , pp.? - ?.
- ↑ Alfred Auer: Of paradises, gardens and plants. In: Sabine Haag, Veronika Sandbichler (ed.): Ferdinand II. 450 years of Tyrolean sovereign. Innsbruck 2017, pp. 72–75.
- ↑ Ivo Purs: . The library of Archduke Ferdinand II in Ambras Castle . In: Sabine Haag, Veronika Sandbichler (ed.): Ferdinand II. 450 years of Tyrolean sovereign . Innsbruck 2017, pp. 99-104.
- ↑ Elvira Glaser: The cookbooks of the Philippine and Sabina Welser. Philological and linguistic considerations on two early women's cookbooks. In: Max Häberlein et al. (Ed.): The Welser. New research on the history and culture of the Upper German trading house. Berlin 2002, pp. 510-549
- ↑ Katharina Seidl: "... to breastfeed all external and internal sickness ..." Medicine at the court of Archduke Ferdinand II. In: Sabine Haag, Veronika Sandbichler (Ed.): Ferdinand II. 450 years of Tyrolean sovereign . Innsbruck 2017, pp. 67–71.
- ↑ Sabine Haag (Ed.): Drinking party! Bacchus invites you . An exhibition of the Kunsthistorisches Museum Wien in Schloss Ambras Innsbruck, April 7 to May 31, 2011. Kunsthistorisches Museum, Vienna 2011, ISBN 978-3-99020-002-5 .
- ↑ Ludwig Igálffy von Igály: The Ambraser drinking books Archduke Ferdinand II of Tyrol. First volume (1567–1577) transcription and documentation (= writings of the Kunsthistorisches Museum 12). Vienna 2010, ISBN 978-3-85497-192-4
- ↑ Kunsthistorisches Museum: Prayer Book of the Philippine Welser. Retrieved January 23, 2018 .
- ↑ Wilfried Seipel (Ed.): All wonders of this world. The most valuable art chamber pieces from the collection of Archduke Ferdinand II (1529–1595) . Kunsthistorisches Museum, Vienna 2001, ISBN 3-85497-026-9 .
- ↑ Wilfried Seipl (Ed.): Works for Eternity . Kunsthistorisches Museum Wien, Vienna, p. 79 f .
- ↑ Magdalena Krapfenbauer: Extension and adaptation of the Ambras Castle Museum near Innsbruck . Vienna, Techn. Univ., Dipl.-Arb., 2015, Vienna 2015, p. 89; P. 19 .
Coordinates: 47 ° 15 ′ 23 " N , 11 ° 26 ′ 5" E