A grande missão do século XIX e a escrita da história de Ernest Renan (1848-1863)

Pós-graduação em História - FCLAS

Ernest Meissonier und der Blick durch die Lupe - Fern- und Nahsicht im französischen Salon

Während angesichts der Gemälde der Impressionisten immer wieder geäußert wurde, dass diese sich nur aus großem Abstand betrachten ließen, meinten viele Besucher des französischen Salons, den kleinformatigen Gemälden Ernest Meissoniers nur durch einen Blick durch die Lupe gerecht werden zu können. Der vorliegende Essay geht der rezeptionsästhetischen Frage nach, inwieweit die besondere Betrachtungsweise der Gemälde Meissoniers durch die Bilder selbst konditioniert wurde. Zunächst wird dabei auf die Regeln einzugehen sein, welche die zeitgenössische Kunsttheorie hinsichtlich des richtigen Betrachterabstands aufgestellt hatte, um sodann eine exemplarische Auswahl der Gemälde des Künstlers näher ins Visier zu nehmen. Schließlich sollen die Ergebnisse im Kontext der zeitgenössischen Rezeptionsbedingungen, wie sie der französische Salon vorgab, diskutiert werden.

Ernest Meissonier und der Blick durch die Lupe - Fern- und Nahsicht im französischen Salon

Während angesichts der Gemälde der Impressionisten immer wieder geäußert wurde, dass diese sich nur aus großem Abstand betrachten ließen, meinten viele Besucher des französischen Salons, den kleinformatigen Gemälden Ernest Meissoniers nur durch einen Blick durch die Lupe gerecht werden zu können. Der vorliegende Essay geht der rezeptionsästhetischen Frage nach, inwieweit die besondere Betrachtungsweise der Gemälde Meissoniers durch die Bilder selbst konditioniert wurde. Zunächst wird dabei auf die Regeln einzugehen sein, welche die zeitgenössische Kunsttheorie hinsichtlich des richtigen Betrachterabstands aufgestellt hatte, um sodann eine exemplarische Auswahl der Gemälde des Künstlers näher ins Visier zu nehmen. Schließlich sollen die Ergebnisse im Kontext der zeitgenössischen Rezeptionsbedingungen, wie sie der französische Salon vorgab, diskutiert werden.

Printed Narrative: The Festival Books for Archduke Ernest of Austria from Brussels and Antwerp 1594

Workshop „The Narrative in Eastern and Western Art“, Graduate School of Letters, Kyoto, 2-5 December 2013 Abstract by Ivo Raband, University of Berne Printed Narrative: The Festival Books for Ernest of Austria from Brussels and Antwerp 1594 During the early modern period the medium of the festival book became increasingly more important as an object of ‘political narration’ throughout Europe. Focusing on Netherlandish examples from the sixteenth and seventeenth centuries, my talk will focus on the festival books printed for the Joyous Entries of Archduke Ernest of Austria (1553–1595). Ernest was appointed Governor General of the Netherlands by King Philipp II in 1593, being the first Habsburg Prince to reside in Brussels since 30 years. In Brussels and Antwerp, the Archduke was greeted with the traditional Blijde Imkomst, Joyous Entry, which dates back to the fourteenth century and was a necessity to actually become the sovereign of Brabant and Antwerp and to uphold the privileges of the cities. Decorated with ephemeral triumphal arches, stages, and tableaux vivants, both cities welcomed Ernest and, at the same time, demonstrated their civic self-assurance and negotiated their statuses. In honor of these events of civic power, the city magistrates commissioned festival books. These books combine a Latin text with a description of the events and the ephemeral structures, including circa 30 engravings and etchings. Being the only visual manifestation of the Joyous Entries, the books became important representational objects. The prints featured in festival books will be my point of departure for discussing the importance of narrative political prints and the concept of the early modern festival book as a ‘political object’. By comparing the prints from Ernest’s entries with others from the period between 1549 and 1635, I will show how the prints became as important as the event itself. Thus, I want to pose the question of whether it would have been possible to substitute a printed version of the event for the actual ceremony.

Collecting the Painted Netherlands: The Art Collection of Ernest of Austria in Brussels

The (art) collection of Archduke Ernest of Austria (1553-1595) is widely unknown when it comes to early-modern Habsburg collections. Ernest, younger brother of Emperor Rudolf II (b. 1552) and educated at the Madrid court, was appointed Governor-General of the Netherlands by King Philip II of Spain, his uncle, in summer 1593. Ernest relocated his court from Vienna to Brussels in early 1594 and was welcomed there with lavish festivities: the traditional Blijde Inkomst, Joyous Entry, of the new sovereign. Unfortunately, the archduke died in February 1595 after residing in Brussels for a mere thirteen months. This investigation aims to shed new light on the archduke and his short-lived collecting ambitions in the Low Countries, taking into account that he had the mercantile and artistic metropolis Antwerp in his immediate reach. I argue, that his collecting ambitions can be traced back to one specific occasion: Ernest’s Joyous Entry into Antwerp in June 1594. There the archduke received a series of six paintings of Pieter Bruegel the Elder (1525/30-1569) known as The Months (painted in 1565), hanging today in separate locations in Vienna, New York and Prague. These works of art triggered Ernest’s collecting ambitions and prompted him to focus mainly on works of art and artefacts manufactured at or traded within the Netherlands during the last eight months of his lifetime. Additionally, it will be shown that the archduke was inspired by the paintings’ motifs and therefore concentrated on acquiring works of art depicting nature and landscape scenes from the 1560s and 1590s. On the basis of the archduke’s recently published account book (Kassabuch) and of the partially published inventory of his belongings, it becomes clear that Ernest of Austria must be seen in line with the better-known Habsburg collectors and that his specific collection of “the painted Netherlands” can be linked directly to his self-fashioning as a rightful sovereign of the Low Countries.