Weltgeschichte im Wimmelbild

The representation of battle panoramas was a widespread genre in 17th-century painting when skilled artists became sought-after specialists working for many courts in Central Europe. Throughout the 17th century, continual Otto- man aggressions gave a new actuality to the battle genre. Stephan Kessle...

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Main Author: Ulrich Becker
Format: Article
Language:deu
Published: ZRC SAZU, Založba ZRC 2021-10-01
Series:Acta Historiae Artis Slovenica
Subjects:
Online Access:https://ojs.zrc-sazu.si/ahas/article/view/10440
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author Ulrich Becker
author_facet Ulrich Becker
author_sort Ulrich Becker
collection DOAJ
description The representation of battle panoramas was a widespread genre in 17th-century painting when skilled artists became sought-after specialists working for many courts in Central Europe. Throughout the 17th century, continual Otto- man aggressions gave a new actuality to the battle genre. Stephan Kessler, a late 17th-century artist from the South Tyrolean town of Brixen, who lived far away from the great artistic centres, but was well informed of developments there, successfully made his way in this field, depicting the liberation of Vienna in 1683 on colourful, multi-figured canvasses in the tradition of 16th-century ‘Wimmelbilder’. As an artist of modest talents, Kessler regularly referred to Rubens, whose compositions came to new life through well-known reproductive prints. A representation of the Vienna battle from 1683 held at the Heeresgeschichtliches Museum, Vienna, was attributed to Kessler, as well as a stylistically closely related painting of the same motif at Schloss Friedenstein, Gotha. Recent research of the Viennese canvas confirmed this hypothesis when Kessler’s monogram came to light.
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spelling doaj.art-cb8effafe63243c7a9d45d2e985b19092022-12-22T02:32:14ZdeuZRC SAZU, Založba ZRCActa Historiae Artis Slovenica1408-04192536-42002021-10-0126210.3986/ahas.26.2.069828Weltgeschichte im WimmelbildUlrich BeckerThe representation of battle panoramas was a widespread genre in 17th-century painting when skilled artists became sought-after specialists working for many courts in Central Europe. Throughout the 17th century, continual Otto- man aggressions gave a new actuality to the battle genre. Stephan Kessler, a late 17th-century artist from the South Tyrolean town of Brixen, who lived far away from the great artistic centres, but was well informed of developments there, successfully made his way in this field, depicting the liberation of Vienna in 1683 on colourful, multi-figured canvasses in the tradition of 16th-century ‘Wimmelbilder’. As an artist of modest talents, Kessler regularly referred to Rubens, whose compositions came to new life through well-known reproductive prints. A representation of the Vienna battle from 1683 held at the Heeresgeschichtliches Museum, Vienna, was attributed to Kessler, as well as a stylistically closely related painting of the same motif at Schloss Friedenstein, Gotha. Recent research of the Viennese canvas confirmed this hypothesis when Kessler’s monogram came to light.https://ojs.zrc-sazu.si/ahas/article/view/10440battle paintinghistorical painting17th-century paintingottoman warsreproduction printsrubensprovincial art
spellingShingle Ulrich Becker
Weltgeschichte im Wimmelbild
Acta Historiae Artis Slovenica
battle painting
historical painting
17th-century painting
ottoman wars
reproduction prints
rubens
provincial art
title Weltgeschichte im Wimmelbild
title_full Weltgeschichte im Wimmelbild
title_fullStr Weltgeschichte im Wimmelbild
title_full_unstemmed Weltgeschichte im Wimmelbild
title_short Weltgeschichte im Wimmelbild
title_sort weltgeschichte im wimmelbild
topic battle painting
historical painting
17th-century painting
ottoman wars
reproduction prints
rubens
provincial art
url https://ojs.zrc-sazu.si/ahas/article/view/10440
work_keys_str_mv AT ulrichbecker weltgeschichteimwimmelbild