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Papers by Stefan Bartilla
Studia Rudolphina 19, pp. 65-79. , 2019
The Inscription on the pedestal of the statuette of Venus Verticordia by Nikolaus Pfaff in the Ku... more The Inscription on the pedestal of the statuette of Venus Verticordia by Nikolaus Pfaff in the Kunsthistorisches Museum Vienna was until now wrong interpreted in an important detail. The solution offers a passage in Valerius Maximus, Factorum et Dictorum Memorabilium, 8, 15.12. Sulpicia was chosen from hundred as most chaste matron, to dedicate a statue to Venus Verticordia. Nevertheless, the statuette by Pfaff shows attributes of Cybele: mural crown and key, for which I propose an interpretation.
Oud Holland - Quarterly for Dutch Art History
A painting in a private Amsterdam collection, which until now had been attributed to Jacob Adriae... more A painting in a private Amsterdam collection, which until now had been attributed to Jacob Adriaensz Backer, shows a surprisingly close relation to the 1633 picture Penitent King David byHendrick Bloemaert in the National Gallery in Prague. After a close comparison with a passage from Scripture (Job chapter 42, verses 7-9) and a print by Adriaen Collaert, based on a drawing by Johannes Stradanus, the subject of the Amsterdam picture has been determined anew as Job's intercession at the Burnt Offering of His Friends. An analysis of style of the Job-painting, based on a comparison with works by Hendrick Bloemaert and his father Abraham Bloemaert, confirms the attribution to Hendrick Bloemaert. Lastly, the Amsterdam picture is identified with a painting, assumed to be lost, which according to a source from 1778, was painted by Hendrick Bloemaert and dedicated to the Sint Jobsgasthuis in Utrecht in 1633 and which depicts the "Gebed en Brand-offer van Hiob"
Studia Rudolphina 20, 2020
The Dead Christ supported by angels in the Thun Chapel in St. Vitus Cathedral in Prague and Spran... more The Dead Christ supported by angels in the Thun Chapel in St. Vitus Cathedral in Prague and Spranger’s Dead Christ supported by angels for Paul Sixt Trautson:
The paper shows that the painting with Dead Christ supported by angels in the Thun Chapel in St. Vitus Cathedral in Prague is a stylistically updated, but compositionally largely faithfully repetition of a Netherlandish painting from around 1550–1560, which is only known through a photograph from the archive of Max J. Friedländer (RDK, The Hague). Previously classified as an Italian work and also attributed to Giulio Licinio, the painting is stilistically determined for the first time as a Netherlandish work from around 1585–1590, which was most likely imported. Together, a newly surfaced painting by Bartholomeus Spranger is presented, which is closely linked to an engraving from 1587, dedicated by Spranger to Paul Sixt Trautson, Majordomo (Obersthofmarschall) and president of the Aulic council. Trautson was also the protector of the Corpus Christi court brotherhood in Prague. I interpret the painting as a present for Trautson, because Spranger, as a Calvinist, did not want to join the court brotherhood, but wanted to secure the favor of the most important person at court after the emperor Rudolph II. Compared to the painting with Dead Christ supported by angels in St. Vitus Cathedral, which shows a Catholic interpretation of the eucharistic theme, Spranger’s is not confessional. If the painting from the St. Vitus Cathedral was in Prague already in the early 1590s, it may have been perhaps the first altar piece and devotional image of the Corpus Christi Brotherhood.
Zuzana Macurová, Tomáš Valeš (eds.), Od objevu k interpretaci. Znalectví, sběratelství a ikonografie umění raného novověku (Edice Maturandum vol. I), Brno 2019, pp. 139-146. , 2019
Eine von Simon Frisius radierte und von Hendrick Hondius herausgegebene Folge zum Leben Christi v... more Eine von Simon Frisius radierte und von Hendrick Hondius herausgegebene Folge zum Leben Christi von der Anbetung der Könige bis zum Einzug in Jerusalem zeigt im letzten Blatt bislang unerkannt die Prager Burg als Jerusalem, in das Jesus als Messias einzieht. Hondius und Frisius benutzten für die Ansicht der Prager Burg eine Zeichnung von Marten de Cock, bei der es sich höchstwahrscheinlich um eine Kopie nach Roelant Savery handelt, die jener 1613 in die nördlichen Niederlande zurückbrachte. Andeutungen von Bäumen und einer Bodenwelle mit schwarzer Kreide auf der Zeichnung belegen, dass das Blatt direkt für die Radierung benutzt wurde. Verschiedene Indizien weisen auf eine Entstehung der Folge um 1619/1620 hin. Meine These ist, dass es sich bei dem Einzug Christi in die „Prager Burg“ um eine Anspielung auf die Besteigung des böhmischen Throns durch Friedrich von der Pfalz handelt, wodurch der wahre apostolische Glaube Einzug in das Königreich Böhmen hielt, wo bislang die katholischen Habsburger herrschten. Hendrick Hondius selbst war ein lokal kirchenpolitisch engagierter, überzeugter Calvinist.
In the late 16th century, netherlandish landscape painters developed curiosity in wonders of natu... more In the late 16th century, netherlandish landscape painters developed curiosity in wonders of nature and wilderness.
Short introduction into the prints depictings landscapes after designs by Roelandt Savery, mostly... more Short introduction into the prints depictings landscapes after designs by Roelandt Savery, mostly engravde by Egidius Sadeler.
Oud Holland, 2016
A painting in a private Amsterdam collection, which until now had been attributed to Jacob Adriae... more A painting in a private Amsterdam collection, which until now had been attributed to Jacob Adriaensz Backer, shows a surprisingly close relation to the 1633 picture Penitent King David by Hendrick Bloemaert in the National Gallery in Prague. After a close comparison with a passage from Scripture (Job chapter 42, verses 7-9) and a print by Adriaen Collaert, based on a drawing by Johannes Stradanus, the subject of the Amsterdam picture has been determined anew as Job’s intercession at the Burnt Offering of His Friends. An analysis of style of the Job-painting, based on a comparison with works by Hendrick Bloemaert and his father Abraham Bloemaert, confirms the attribution to Hendrick Bloemaert. Lastly, the Amsterdam picture is identified with a painting, assumed to be lost, which according to a source from 1778, was painted by Hendrick Bloemaert and dedicated to the Sint Jobsgasthuis in Utrecht in 1633 and which depicts the „Gebed en Brand-offer van Hiob.“
Studia Rudolphina, 2016
The paper draws attention to a small, finely executed pen drawing in the Victoria & Albert Museum... more The paper draws attention to a small, finely executed pen drawing in the Victoria & Albert Museum London, long time hidden under the wrong attribution to Abraham Bloemaert. The drawing shows the Union of Painting and Sculpture, crowned by Minerva with a laurel wreath in an idealized artist’s studio. Style and iconography are pointing to the circle of Rudolfinian artists with relations to Hans von Aachen, Joseph Heintz and Hans Rottenhammer, but the author of the works remains unfortunately unknown.
The article examines the iconography in Schalcken’s painting Mary Magdalene Renouncing the Vaniti... more The article examines the iconography in Schalcken’s painting Mary Magdalene Renouncing the Vanities of the World in the Leiden Collection, New York. In the iconography of Mary Magdalene, this subject matter was until now not treated as topic for his own. The point of departure for Schalcken was the engraving by Gérard Edelinck after the painting by Charles Le Brun (now in the Louvre), which he subjected to a profound reinterpretation. Mary Magdalene’s conversion is no longer set clearly in her palace, but in an ambience of symbolic references and pointers to the stations in her life. Schalcken shifts the still life of discarded vanities, which traditionally relates to riches and lust in connection with Mary Magdalene’s role of a sinner, into an vanitas allegory of secular dominion.
Essay about a typical topic of netherlandish art in the era before painting became "fine art".
Studia Rudolphina 19, pp. 65-79. , 2019
The Inscription on the pedestal of the statuette of Venus Verticordia by Nikolaus Pfaff in the Ku... more The Inscription on the pedestal of the statuette of Venus Verticordia by Nikolaus Pfaff in the Kunsthistorisches Museum Vienna was until now wrong interpreted in an important detail. The solution offers a passage in Valerius Maximus, Factorum et Dictorum Memorabilium, 8, 15.12. Sulpicia was chosen from hundred as most chaste matron, to dedicate a statue to Venus Verticordia. Nevertheless, the statuette by Pfaff shows attributes of Cybele: mural crown and key, for which I propose an interpretation.
Oud Holland - Quarterly for Dutch Art History
A painting in a private Amsterdam collection, which until now had been attributed to Jacob Adriae... more A painting in a private Amsterdam collection, which until now had been attributed to Jacob Adriaensz Backer, shows a surprisingly close relation to the 1633 picture Penitent King David byHendrick Bloemaert in the National Gallery in Prague. After a close comparison with a passage from Scripture (Job chapter 42, verses 7-9) and a print by Adriaen Collaert, based on a drawing by Johannes Stradanus, the subject of the Amsterdam picture has been determined anew as Job's intercession at the Burnt Offering of His Friends. An analysis of style of the Job-painting, based on a comparison with works by Hendrick Bloemaert and his father Abraham Bloemaert, confirms the attribution to Hendrick Bloemaert. Lastly, the Amsterdam picture is identified with a painting, assumed to be lost, which according to a source from 1778, was painted by Hendrick Bloemaert and dedicated to the Sint Jobsgasthuis in Utrecht in 1633 and which depicts the "Gebed en Brand-offer van Hiob"
Studia Rudolphina 20, 2020
The Dead Christ supported by angels in the Thun Chapel in St. Vitus Cathedral in Prague and Spran... more The Dead Christ supported by angels in the Thun Chapel in St. Vitus Cathedral in Prague and Spranger’s Dead Christ supported by angels for Paul Sixt Trautson:
The paper shows that the painting with Dead Christ supported by angels in the Thun Chapel in St. Vitus Cathedral in Prague is a stylistically updated, but compositionally largely faithfully repetition of a Netherlandish painting from around 1550–1560, which is only known through a photograph from the archive of Max J. Friedländer (RDK, The Hague). Previously classified as an Italian work and also attributed to Giulio Licinio, the painting is stilistically determined for the first time as a Netherlandish work from around 1585–1590, which was most likely imported. Together, a newly surfaced painting by Bartholomeus Spranger is presented, which is closely linked to an engraving from 1587, dedicated by Spranger to Paul Sixt Trautson, Majordomo (Obersthofmarschall) and president of the Aulic council. Trautson was also the protector of the Corpus Christi court brotherhood in Prague. I interpret the painting as a present for Trautson, because Spranger, as a Calvinist, did not want to join the court brotherhood, but wanted to secure the favor of the most important person at court after the emperor Rudolph II. Compared to the painting with Dead Christ supported by angels in St. Vitus Cathedral, which shows a Catholic interpretation of the eucharistic theme, Spranger’s is not confessional. If the painting from the St. Vitus Cathedral was in Prague already in the early 1590s, it may have been perhaps the first altar piece and devotional image of the Corpus Christi Brotherhood.
Zuzana Macurová, Tomáš Valeš (eds.), Od objevu k interpretaci. Znalectví, sběratelství a ikonografie umění raného novověku (Edice Maturandum vol. I), Brno 2019, pp. 139-146. , 2019
Eine von Simon Frisius radierte und von Hendrick Hondius herausgegebene Folge zum Leben Christi v... more Eine von Simon Frisius radierte und von Hendrick Hondius herausgegebene Folge zum Leben Christi von der Anbetung der Könige bis zum Einzug in Jerusalem zeigt im letzten Blatt bislang unerkannt die Prager Burg als Jerusalem, in das Jesus als Messias einzieht. Hondius und Frisius benutzten für die Ansicht der Prager Burg eine Zeichnung von Marten de Cock, bei der es sich höchstwahrscheinlich um eine Kopie nach Roelant Savery handelt, die jener 1613 in die nördlichen Niederlande zurückbrachte. Andeutungen von Bäumen und einer Bodenwelle mit schwarzer Kreide auf der Zeichnung belegen, dass das Blatt direkt für die Radierung benutzt wurde. Verschiedene Indizien weisen auf eine Entstehung der Folge um 1619/1620 hin. Meine These ist, dass es sich bei dem Einzug Christi in die „Prager Burg“ um eine Anspielung auf die Besteigung des böhmischen Throns durch Friedrich von der Pfalz handelt, wodurch der wahre apostolische Glaube Einzug in das Königreich Böhmen hielt, wo bislang die katholischen Habsburger herrschten. Hendrick Hondius selbst war ein lokal kirchenpolitisch engagierter, überzeugter Calvinist.
In the late 16th century, netherlandish landscape painters developed curiosity in wonders of natu... more In the late 16th century, netherlandish landscape painters developed curiosity in wonders of nature and wilderness.
Short introduction into the prints depictings landscapes after designs by Roelandt Savery, mostly... more Short introduction into the prints depictings landscapes after designs by Roelandt Savery, mostly engravde by Egidius Sadeler.
Oud Holland, 2016
A painting in a private Amsterdam collection, which until now had been attributed to Jacob Adriae... more A painting in a private Amsterdam collection, which until now had been attributed to Jacob Adriaensz Backer, shows a surprisingly close relation to the 1633 picture Penitent King David by Hendrick Bloemaert in the National Gallery in Prague. After a close comparison with a passage from Scripture (Job chapter 42, verses 7-9) and a print by Adriaen Collaert, based on a drawing by Johannes Stradanus, the subject of the Amsterdam picture has been determined anew as Job’s intercession at the Burnt Offering of His Friends. An analysis of style of the Job-painting, based on a comparison with works by Hendrick Bloemaert and his father Abraham Bloemaert, confirms the attribution to Hendrick Bloemaert. Lastly, the Amsterdam picture is identified with a painting, assumed to be lost, which according to a source from 1778, was painted by Hendrick Bloemaert and dedicated to the Sint Jobsgasthuis in Utrecht in 1633 and which depicts the „Gebed en Brand-offer van Hiob.“
Studia Rudolphina, 2016
The paper draws attention to a small, finely executed pen drawing in the Victoria & Albert Museum... more The paper draws attention to a small, finely executed pen drawing in the Victoria & Albert Museum London, long time hidden under the wrong attribution to Abraham Bloemaert. The drawing shows the Union of Painting and Sculpture, crowned by Minerva with a laurel wreath in an idealized artist’s studio. Style and iconography are pointing to the circle of Rudolfinian artists with relations to Hans von Aachen, Joseph Heintz and Hans Rottenhammer, but the author of the works remains unfortunately unknown.
The article examines the iconography in Schalcken’s painting Mary Magdalene Renouncing the Vaniti... more The article examines the iconography in Schalcken’s painting Mary Magdalene Renouncing the Vanities of the World in the Leiden Collection, New York. In the iconography of Mary Magdalene, this subject matter was until now not treated as topic for his own. The point of departure for Schalcken was the engraving by Gérard Edelinck after the painting by Charles Le Brun (now in the Louvre), which he subjected to a profound reinterpretation. Mary Magdalene’s conversion is no longer set clearly in her palace, but in an ambience of symbolic references and pointers to the stations in her life. Schalcken shifts the still life of discarded vanities, which traditionally relates to riches and lust in connection with Mary Magdalene’s role of a sinner, into an vanitas allegory of secular dominion.
Essay about a typical topic of netherlandish art in the era before painting became "fine art".
The catalogue critically examines the Netherlandish paintings and German paintings under influenc... more The catalogue critically examines the Netherlandish paintings and German paintings under influence of Netherlandish painting up to 1800 in the Museums of the City of Bamberg. The collection was founded in 1838 through the endowment of Joseph Hemmerlein’s art collection. The holdings of Dutch paintings include masterpieces by Jan Lievens (the Four Evangelists), Gerard de Lairesse, Jan de Bray, Karel Du Jardin, David Vinckboons and Salomon van Ruysdael, as well as notable paintings by Pieter Claesz., Hendrick Jacobsz. Dubbels, Adriaen van der Cabel, Claes Jacobsz. van der Heck. Flemish works are by Gillis Mostaert, Jacques de Backer, Pieter Breughel the Younger, Joos de Momper II, Andries Eertvelt, Jan van den Hoecke, Willem van Herp. Of the emigrant Netherlandish artists, Nicolas Juvenel, Renier Megan and Willem van Bemmel are represented by works. Under the direct influence of Netherlandish art are the works of Jacob Weyer and Johann Heinrich Roos. Joseph Marquard Treu and Christoph Joseph Treu took up Dutch and Flemish painting retrospectively in their paintings.
The publication contains an essay by Regina Hanemann on the history and state of research of the Bamberg painting collection and an essay on the love of the Treu family of painters in Bamberg for Netherlandish painting. Teresa Lohr wrote an essay on the reception of Netherlandish painting by Joseph Dorn.
In the period between Pieter Bruegel the Elder and Peter Paul Rubens, Flemish landscape painting ... more In the period between Pieter Bruegel the Elder and Peter Paul Rubens, Flemish landscape painting underwent decisive changes. World landscape or overview landscape as a type lost its importance, while at the same time new landscape types emerged, which focused on singular aspects of reality in landscape. This era marks a turning point, at which the aesthetic concept of landscape changed fundamentally. The representation of mountain and forest landscapes, in which wilderness was regarded for first time as worthy of depicting as an independent topic of landscape painting, signifies a key in this process and forms the subject of this study. These new landscape types are interpreted as a coherent phenomenon set against the backdrop of contemporary ideas of nature and art and placed under the new term „visual curiosity“ – derived from Hans Blumenberg’s concept of the „process of theoretical curiosity“. Concurrently and often in close connection with scientific exploration of the world, the process of visual curiosity in art exploited the appearance of reality, environment and visible nature.
In a short introduction the most distinctive features in the development of Netherlandish mountain and forest landscape painting from 1550 until 1620 are presented. This forms the basis for the ensuing study, which is divided into three methodological aspects.
The first part deals with this phenomenon in the context of the history of concepts and ideas and art theory. The emergence of the aesthetic concept of landscape, the contemporary concept of nature and the changing relationship between both of these ideas within the process of visual curiosity are discussed. Then the idea of praise of creation as a catalyst and justification for visual curiosity with regard to landscape painting is treated. The next chapter discusses the theory of imitation and the idea of emulation of nature by artists and their relationship to landscape painting. Finally, the emergence and development of the notion of the „picturesque“ („schilderachtig“) is interpreted as a characteristic feature of visual curiosity.
The second part is devoted to the image of wilderness with respect to the cultural horizon at that time, which is determined by the interaction of cultural traditions and contemporary experiences. First, the ambivalent and varying attitudes toward „the forest“ are examined. The next chapter explores the implication of the new culture of travelling for understanding of landscape painting, which appears as mediator of foreign landscapes and scene of imaginary travels. The last chapter deals with different aspects of the fascination with the Alps as a new phenomenon in contemporary literature and Netherlandish painting.
In the last and most detailed part the question of the image of wilderness is elucidated and specified with the help of the most common subjects of staffage that appear in mountain and forest landscapes. The manner in which the staffage subjects bearing iconographic traditions were treated as interacting with specific landscapes types offers the opportunity to interpret the image of wilderness in these pictures. The following subjects are examined: the Biblical desert, the poetic wilderness of antiquity, farmers and forest workers, the hunt in the forest, woods of pleasure, travellers in the landscape, robbers, the draughtsman in the landscape, landscapes without human staffage.
Journal für Kunstgeschichte 25/2, 2021