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EN
Among the works that stand out in the Baroque sculpture collection of the Slovak National Gallery (SNG) is the figure of the Saviour by Georg Leonhard Weber of Świdnica. Surveys conducted in Slovak, Czech and Polish museums, combined with field studies, have made it possible to provide hitherto unexplored artistic context of the work. They have made it possible to trace the formal origins of the Bratislava Saviour as well as its later imitations. The sculpture is carved with virtuosic precision; it develops a concept derived from ancient art and is the finest example of Weber’s early oeuvre. Also, it constitutes a link between works made in his workshop over four decades. The present study demonstrates the advantages of an interdisciplinary and international analysis of museum collections. It highlights the significance of the sculpture in question to Central European cultural heritage, expanding the knowledge of museum collections in three different countries.
ARS
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2013
|
vol. 46
|
issue 2
292 – 313
EN
The paper discloses new facts about the initial period of reception of the well-known character heads, today titled as study heads, by sculptor Franz Xaver Messerschmidt. Their first owner was in the years 1792 – 1805 hitherto almost unknown Franz Strunz, the first exhibitor and the author and publisher of the first catalogue. F. Strunz was an enthusiast and supporter of the ideals of the Enlightenment, who bought the 49 busts from the artist's brother in Bratislava in ca. 1972. The latest research shows that for more than ten years they remained in custody of this man, whose name hasn’t been known to us with certainty for 220 years. This paper presents the results of several years of research of the author: a few essentially new facts and several new hypotheses as well.
ARS
|
2013
|
vol. 46
|
issue 2
259 – 291
EN
The paper is dedicated to mapping relationships of sculptor Franz Xaver Messerschmidt with Switzerland, based on archival sources (correspondence) in two important institutions at Zurich: in the Zentralbibliothek and in the graphic collection at the Kunsthaus Zurich, uncovering new facts about the life and work of this significant artist. The writers of most of these letters are two artists coming from Zurich: painter and writer on art, J. Rudolf Fussli (1737 – 1806) and landscape painter J. Jacob Meyer (1749 – 1828). Both came as young adepts of art to Vienna to study at Academy of Fine Arts and both subsequently lived for several years in Bratislava (Slovakia). Already in Vienna Fussli and probably also Meyer got to know F. X. Messerschmidt, with whom they established friendly relations, lasting during their Bratislava stay too.
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