Ve službách „trůnu a oltáře“: Führichovo umělecké a pedagogické působení ve Vídni / In den Diensten von „Thron und Altar“: Führichs Künstler- und Lehrtätigkeit in Wien
| Title in English | In the service of "throne and altar": Führich’s art and teaching activities in Vienna |
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| Authors | |
| Year of publication | 2014 |
| Type | Chapter of a book |
| MU Faculty or unit | |
| Citation | |
| Description | Only in 1834 the painter received a report that it had obtained previously considered instead Lamberg gallery curator, and he and his wife to move to Vienna. Even before it started work on the paintings of the Calvary Chapel in Prague on Petřín, but according to his designs were executed later. Although this position was connected with teaching duties, Professor historical composition became until 1840. His experiences and opinions attempted to capitalize on the new organization of teaching, in which the emphasis was on developing a broad historical and philosophical knowledge of students. His idealistic postulates sprung in the intellectual world Nazarene movement, whose representatives have long been influenced academic training in the major art centers of Germany in Munich, Düsseldorf and Berlin. In Vienna also build on his experience with the mural painting acquired in Italy, especially when working on the frescoes in the Casino Massimo in Rome and became next to his friend Leopold Kupelwieser main representative of monumental wall paintings with religious content in the Habsburg monarchy. The most important realizations in this field are his paintings of the Stations of the Cross (1844-1846) for the Vienna St. John of Nepomuk, which followed his older compositions for Petřín in Prague, and in particular the overall decoration of the parish church in Vienna - Altlerchenfeldu (1848-1861). The concept of wall decorations was entirely in the hands of Joseph Führich and on the realization of his designs worked number of Führich’s colleagues and students, among others Eduard Engerth, Leopold Kupelwieser, Carl Blaas or Franz Dobiaschofsky. This monumental work can be considered as a perfect synthesis of Führich’s art work, as well as the fulfillment of his theoretical ideas and opinions on art as a means of communication and Christian religious instruction. |
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