Kresba vídeňských "drobných mistrů" na příkladu Christiana Hilfgotta Branda (1695-1756) a Karla Josefa Aigena (1685-1762)
| Title in English | Drawing of Viennese "small masters" on the example of Christian Hilfgott Brand (1695-1756) and Karl Josef Aigen (1685-1762) |
|---|---|
| Authors | |
| Year of publication | 2024 |
| Type | Appeared in Conference without Proceedings |
| Citation | |
| Description | In his article for Národní listy (1933), Vincenc Kramář (1877–1960) characterized a large group of authors of cabinet pieces with the term "small masters", among whom the largest proportion were painters active in Vienna from the beginning of the 18th century. These artists, originating from various parts of the Habsburg Monarchy, began to settle in the Austrian metropolis in connection with the growing demand for detailed, small-format paintings, which formed an integral part of the growing picture cabinets of the Central European aristocracy. The high number of works produced, together with their popularity as collectors, later caused their dispersion in many European public and private collections. An equally numerous group of works by "small masters" is also represented by drawings, which have received little attention so far. The contribution aims to draw attention to the specific process of artistic practice, which for the given authors balanced between official teaching at the renewed Academy of Fine Arts in Vienna (1726) and training in private studios. Thanks to this, it is possible to monitor the activity of the given authors in the field of drawing, mainly in two areas: the capture of diverse staff figures and the creation of drawing templates for graphic sheets. The first category, in which individual types of figures often turned into an author's "mark" of painters, can be demonstrated in the surviving work of Christian Hilfgott Brand (1695–1756). The relationship of these painters to graphics is subsequently demonstrated by the example of Olomouc native Karel Josef Aigen (1685–1762), who collaborated with many popular engravers at the beginning of his Viennese career. The main purpose of the contribution is to show, through examples of works on paper, the diverse positions of individual authors' creations, which at first glance at picture collections often merge into a seemingly homogeneous whole. |