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ACQUIRED AND DISPERSED: THE COLLECTIONS OF GRAZIOSO ENEA LANFRANCONI AND BARON KARL KUFFNER

100%
Ciulisová I.
ARS
|
2007
|
vol. 40
|
issue 1
53-66
EN
The article focuses on peripethies of the art collections, built up by two significant art collectors, active in the territory of present day Slovakia in the late 19th and early 20th centuries. Both, Grazioso Enea Lanfranconi (1850 -1895), coming from a Lombard patrician family and working as one of the leading specialists of his time in the area of waterworks, and Baron Karl Kuffner (1847-1924), representative of the Austro-Hungarian Jewish elite, successfully involved in the sugar industry, based their picture galleries on the collections of Italian and especially Dutch and Flemish paintings. Why did both collectors focus on collecting the art works not at first sight linked up to the region in which they lived and worked? The authoress sees the answer in the exemplary role of the imperial picture gallery in the Belvedere at Vienna, arranged by Christian von Mechel for the Emperor Joseph II in 1781. The gallery was dominated by the works of Italian, Flemish, Dutch and German masters, that is by the works of the painters, active in the territories historically belonging to the Habsburg crown and forming part of the artistic traditions of this multi-ethnic and multi-cultural Empire. The death of Lanfranconi and Kuffner meant the break up of their art collections, but the mere fact of their existence, although only briefly, throws new light on the little researched society of the private art collectors of the late 19th and early 20th centuries in what is now Slovakia. On the one hand, the now dispersed collections point to the multi-cultural and multi-ethnic character of this society. On the other hand, however, they reveal the discontinuity of the long-term tradition of art collecting in this region.
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HOVORIŤ STRIEBRO: KONVERZAČNÁ KULTÚRA V NIZOZEMSKOM „ZLATOM VEKU“

100%
Bžoch A.
World Literature Studies
|
2022
|
vol. 14
|
issue 1
79 - 97
EN
The boisterous conviviality we know from Dutch genre painting of the 17th century expresses only one side – albeit an important one – of the culture of conversation in the Dutch “Golden Age”. The author writes about what the ideal image and everyday life of conversation looked like in the Republic of the Seven United Provinces, the freest European country of the Baroque period. The picture of the multifaceted culture of communication in the Netherlands of the era can be shown by means of not only visual, but also rich literary material. Diaries, memoirs, correspondence, conduct manuals and, in many cases, literary works of the time show what rules governed free communication, what habitats were predominant in sociable conversation and what was permitted in it. However, it was not only great personalities of Dutch education such as Hugo Grotius or Constantijn Huygens Jr. who commented on the sociability of their time; impressive images of it were also provided by numerous foreigners who travelled to and admired the Netherlands.
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