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BETWEEN BOLOGNA AND KRAKOW: THE LIFE AND WORK OF THE ITALIAN PAINTER INNOCENZO MONTI (1653-1710)

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Zapletalova J.

Umění (Art)

2005

vol. 53

issue 4

335-346

The obscure Italian painter Innocenzo Monti (1653-1710) worked on the territory of several European states. In this study, Innocenzo Monti and his work are treated in the context of the Bologna school of painting of the second half of the 'seicento' and the workshop of Carlo Cignani, where Monti trained as a painter. The text considers the painter's artwork in his native Emilia, in particular Monti's large canvas for the Gesu Church in Mirandola. Duke Francesco d'Este later tried to acquire the painting for his collections in Modena. The text touches on Monti's relationship with his older colleague from Cignani's workshop, Marcantonio Franceschini; in this context, it suggests a possible answer to the question of why the painter went beyond the Alps to work for Gottfried Count Dietrichstein and the Liechtenstein family. The painter's work in Poland and Moravia is closely tied to that of the sculptor and stucco worker Baldassarro Fontana. Monti and Fontana decorated the university Church of St Anne in Krakow and the Church of the Clare Nuns at St Andrew. Their collaboration culminated in the decoration of the Premonstratensian library at Klásterni Hradisko near Olomouc, where both Italian artists left their signatures. Another joint commission in Moravia was the painting and stucco work in the refectory of the Franciscan monastery at Uherské Hradiste, where a group of four canvases depicting Franciscan saints has been preserved. The composition of the painting of St Anthony of Padua resembles that of a painting by Monti on the same theme in the Galleria Davia Bargellini in Bologna. In a broader context, the text also treats the issue of the fluctuating quality of Monti's painting output.

'FANTASIOSO FRESCANTE'. AN INTERPRETATION OF THE MURALS OF ANDREA LANZANI AT SLAVKOV U BRNA (AUSTERLITZ)

100%

Zapletalova J.

Umění (Art)

2007

vol. 55

issue 2

120-132

Based on archival material - the contract between Andrea Lanzani and Count Kounic for the execution of a series of paintings and the appended sketches with the dimensions and shapes of the areas to be painted on - the first part of this text reconstructs the course of the painting work done at Slavkov Castle, dates it and describes the painter's travels between Slavkov and Vienna. Attention centres mostly, however, on the iconographic interpretation of the entire cycle of Lanzani's murals. The text contravenes previous interpretations of the Marina Dell'Omo paintings as a cycle of profound moral and didactic significance derived from Boethius' 'De Consolatione Philosophiae'. In contrast, it reinterprets the paintings in the context of the sculptural ornamentation of the gardens by Giovanni Giulani and the painted decorations (which have not been preserved) of the garden pavilion as a cycle of paintings celebrating themes of love: an allegory of female beauty, showcasing the power of love along with Fortuna in love bound tightly with the course of nature and its cyclical character, which is to be found in the northern half of the castle wing. At the same time, archival material has newly been made accessible which documents that the literary source used by the painter for the decoration of the garden's 'casino' was the poem 'Avenimenti amorosi di Psiche' by Ercole Udine. Lanzani's manuscript provides a detailed description of the subject matter of the paintings for the garden pavilion and thus points to the existence of a unified conception connecting the paintings and sculptures adorning the gardens of Slavkov Castle on the theme of Amor and Psyche. For this reason, we perceive Slavkov Castle and its decorations from the turn of the 17th and 18th centuries as the Moravian country residence of Count Kounic rather than as his representative palace. This building, with its ornamental programme, was a fulfilment of traditional theory, highlighting decorum in the relationship between the structure's function and its ornamentation according to older treatises, allowing 'tutte le seduzioni della leggiadria e del diletto' for villas and summer residences. In addition, the article furnishes two drawings discovered at the Biblioteca Ambrosiana in Milan which served as preparatory sketches for the Slavkov paintings.

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BETWEEN BOLOGNA AND KRAKOW: THE LIFE AND WORK OF THE ITALIAN PAINTER INNOCENZO MONTI (1653-1710)

'FANTASIOSO FRESCANTE'. AN INTERPRETATION OF THE MURALS OF ANDREA LANZANI AT SLAVKOV U BRNA (AUSTERLITZ)