The Art of the Vienna Galleries: Giving a Brief History of the Public and Private Galleries of Vienna, with a Critical Description of the Paintings Therein Contained
The Art of the Vienna Galleries: Giving a Brief History of the Public and Private Galleries of Vienna, with a Critical Description of the Paintings Therein Contained
This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1911 Excerpt: ...shows Italian training in his " Holy Family" (No. 186a), which was unmistakably painted in the vein of Carlo Dolci; while Karl Marko in his " Italian Landscape with Ruins" (No. 192) and in "Christ silencing the Storm" (No. 193) has the same Southern traits. The large canvas by Eduard Ritter von Engerth, "Capture of the ...
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This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1911 Excerpt: ...shows Italian training in his " Holy Family" (No. 186a), which was unmistakably painted in the vein of Carlo Dolci; while Karl Marko in his " Italian Landscape with Ruins" (No. 192) and in "Christ silencing the Storm" (No. 193) has the same Southern traits. The large canvas by Eduard Ritter von Engerth, "Capture of the Son of Manfred by the Soldiers of Charles of Anjou" (No. 172), with its scenes of horror; the one by Karl Rahl, "Reception of Manfred in Luceria, in 1254" (No. 194); and the "Reichstag at Warschau in 1773" (No. 176), are large historical canvases of little artistic merit. Still more works are found in Cabinet IX, which are of greater interest for the study of history than of art. They consist of forty-four sketches for the fresco paintings in the Imperial Arsenal, representing the history of the Habsburgs. They are painted by Karl Ritter von Blaas. Only one small picture is worthy of special attention here. This is a picture by Moriz Ritter von Schwind, one of the greatest of the German artists of the middle of the century. It represents "Emperor Max on the Martinswand" (No. 364). On the right, at the extreme edge of a steep cliff kneels the Emperor, with hands folded as he receives the benediction from a priest who stands in the valley below and elevates the Host. A multitude witnesses the solemn ceremony. It is well painted, finely drawn, and the colour is of a fine fluency through the magic mist of atmosphere. Schwind was the healthiest, most warm-hearted of the idealists, who sought a substantial substratum of real life in his poetic imagery. His influence was all for good; but speedily overcome and diluted by that strong current of anecdotal painting that swept from Du...
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