A Baroque polychrome painted glass mounted and ebonised cabinet, c. 1700. Photo Nagel Auktionen
Rest. Signs of aging. 70x64x38 cm. Estimate 2000 €
Literature: Vgl. M. Riccardi-Cubitt, Le Cabinet, S. 192.
Nagel Auktionen. February 20th 2013. www.auction.de
A very important Baroque ormolu mounted, marble and semi precious stones inlaid ebony casket, Florence, late 17th ct. Photo Nagel Auktionen
Signs of aging. 21x29x24,5 cm. Estimate 22000 €
Nagel Auktionen. February 20th 2013. www.auction.de
Jacques-Louis David (1748–1825), Patroclus, 1780. Oil on canvas, 122 x 170 cm. Cherbourg-Octeville , Musée d'art Thomas-Henry © Daniel Sohier
FRANKFURT.- A comprehensive special exhibition presented by Frankfurt’s Städel Museum from 20 February to 26 May 2013 will highlight the art of Neoclassicism and the impulses it provided for Romanticism. Developed in collaboration with the Liebieghaus Skulpturensammlung, the show Beauty and Revolution will assemble about one hundred works of the period from 1770 to 1820 by such artists as Anton Raphael Mengs, Thomas Banks, Antonio Canova, Jacques-Louis David, Bertel Thorvaldsen, Johann Gottfried Schadow, and Jean-August-Dominique Ingres. The major survey, whose range also comprises a number of impressive examples of “Romantic Neoclassicism,” will be the first in Germany to convey an idea of the variety of the different and sometimes even contradictory facets of this style.
Based on significant sculptures, paintings, and prints from collections in many countries, the exhibition will explore the decisive influence of classical antiquity on the artists of the era. Struggling for a socially relevant art, the artists directed their attention to the aesthetics of Greek and Roman art as well as to their virtues and moral standards conveyed by history and mythology. It will become evident how the viewer could be addressed in many different ways. Two famous marble sculptures of the Greek goddess Hebe, for example, will be confronted with each other in Frankfurt for the first time: a variant by Antonio Canova (1796, The State Hermitage Museum, Saint Petersburg) and another by Bertel Thorvaldsen (designed in 1806, Thorvaldsens Museum, Copenhagen). The two masterpieces have again and again been compared and judged, yet never exhibited together since their creation.
Assembling a wide range of works from Gavin Hamilton’s und Henry Fuseli’s innovative solutions to central works by Antonio Canova and Jacques-Louis David as well as Bertel Thorvaldsen’s masterpieces of “Romantic Neoclassicism,” the Städel Museum’s major spring exhibition offers an extensive survey of Neoclassicist art and demonstrates the unexpected vitality of an era often classified as static.
The various aspects of Neoclassicism will be explored along three lines in the Städel’s exhibition. Disregarding a few exceptions, the selection of numerous loans focuses on the production of art in the city of Rome that was considered the first address for studying the ancient world by many artists, writers, and theorists around 1800 and became a center of the art world of that time. The second emphasis of the show is on representations of historical and mythological scenes. In search of a model for moral standards of behavior, the artists fathomed the core of what features as human in the ancient world’s myths, which they read as poetry without religious implications. Jacques-Louis David’s painting The Oath of the Horatii, for example – of which an oil sketch from the holdings of the Louvre in Paris will be presented in the exhibition – upholds a timelessly valid moral code, yet also relates to current political events. The show exemplifies how contemporary motifs increasingly found their way into the range of themes dealt with by Neoclassicist art. The third chapter explores an issue connected with this development, namely how feelings and passions were depicted in Neoclassicist works of art. Artists like Canova or David rendered emotions and pathos in a way unfamiliar to their contemporaries, a way which manifested itself mainly in their figures’ body language. Contrary to the Baroque era, it was not the representation of affectations that artists were primarily concerned with any longer, but internalized emotions in which the viewer was to immerse himself. The artists also clearly detached themselves from the pathos of the ancient world in this way: Canova’s sculpture Theseus and the Minotaur (1783, Museo e Gipsoteca Antonio Canova, Possagno), for example, primarily deals with the aspect of reflection after Theseus’s victory and the hero’s moral consciousness.
Extending across the Städel’s entire Exhibition House, the generously conceived special exhibition begins with the imposing confrontation of the two famous representations of the goddess Hebe by Antonio Canova (1800–1805) und Bertel Thorvaldsen (1815–1823) on the ground floor. The difference between Canova’s cupbearer hurrying near on a cloud and involved in what is going on and Thorvaldsen’s introverted musing female illustrates the whole stylistic range of Neoclassicist art at the very beginning. Picking up the thread of this confrontation, the presentation in the large ground floor hall impressively visualizes the turbulent development of Neoclassicism until about 1870. The tour starts with a selection of plaster cast and bronze reproductions of antique sculptures dating from the late eighteenth and early nineteenth centuries; these reproductions particularly illustrate the canon of classical antiquity emphasized by the archaeologist and art historian Johann Joachim Winckelmann (1717–1768). Artists staying in Rome initially incorporated these famous reproductions into their works as directly as possible. In those years, the return to the ancient world frequently implied a criticism of contemporary systems of rule, especially of the courtly and ecclesiastical formal language of the Baroque age. Anton Raphael Mengs’s appropriation of classical antiquity was of such an extreme degree that the artist was even able to deceive Winckelmann who described Mengs’s fresco Jupiter Kissing Ganymede (1758–1759, Galleria Nazionale d’Arte Antica, Palazzo Barberini, Rome) as an original of classical antiquity in one of his writings.
The following section comprises the rebellious works of a group of artists who also lived in Rome for some time, yet felt not inclined to follow Winckelmann’s credo of “noble simplicity and quiet grandeur” – though they too thoroughly studied the antique models. They aimed at capturing the viewer’s attention by dramatizing their subjects, even if this meant putting up with exaggeration and distortion. The English sculptor Thomas Banks (1735–1805) – see his The Falling Titan (1786, Royal Academy of Arts, London) – was one this group’s artists as was the Swiss-born Henry Fuseli (1741–1825), whose Achilles Sacrificing his Hair on the Funeral Pyre of Patroclus (1800–1805) from the Kunsthaus in Zurich is included in the exhibition.
The shown works by Antonio Canova (1757–1822) and Jacques-Louis David (1748–1825) and his pupils then ushered in a definitely calmer approach to the motifs rendered. They are characterized by formal austerity and a deliberately pointed dramatic composition. However, both the sculptor Canova and the painter David relied on completely new pictorial and iconographic means for drawing on antique subjects and attitudes – means that were to inform subsequent generations of artists all over Europe.
The presentation on the second floor of the Exhibition House highlights how the new iconography developed not least in response to the political context of the time and particularly the French Revolution. Jacques-Louis David immortalized the dead Marat as the revolution’s first martyr, for example: the exhibition comprises a version by David and his workshop (Musée national des châteaux de Versailles et de Trianon, Versailles) as well as by Joseph Roques (1793, Musée des Augustins, Toulouse).
The works in the following room strikingly illustrate that the young art also held a revolutionary potential in terms of form: the sophisticatedly simplified scenes visualized by the sculptor John Flaxman (1755–1826) in his drawings and engravings, for example, are based on an astounding abstraction. Their reduction to mere contours was to create a furore all over Europe.
The adjacent room sheds light on the slow, yet far-reaching change in the artists’ attitude toward the ancient world that occurred around 1800. The unreachability of its ideal made itself felt with increasing weight. This implied a growing abandonment of its norms on the part of the artists, whereas the viewer was granted more leeway for interpretation. The protagonist’s internalization also came to play a more important role in what was going on in the picture. Consequently, masterpieces such as Bertel Thorvaldsen’s Ganymede (1819–1821, Thorvaldsens Museum, Copenhagen) are categorized as works of „Romantic Neoclassicism” today.
The various tendencies brought forth by Neoclassicism within the first decades after 1800 become increasingly clear in the last room of the exhibition. In spite of all discrepancies between the various artists’ decisions, they shared a common denominator in looking for new ways to leave Neoclassicism behind. The idea of the ancient world was regarded with increasing detachment, unconventionally transformed, and largely ignored by more and more nineteenth-century artists. All in all, the exhibition unfolds the age of Neoclassicism as a surprisingly manifold and lively stylistic epoch whose unconditional desire for renewal and improvement became a breeding ground for Romanticism in its return to classical antiquity.
Thomas Banks (1735–1805) The Falling Titan, 1786 Marble, 84.5 x 90.2 x 58.4 cm Royal Academy of Arts, London Photo: © Royal Academy of Arts, London
Antonio Canova (1757–1822) Hebe, 1800–1805 Marble, 158 cm The State Hermitage Museum, Saint Petersburg Photo: © The State Hermitage Museum, Saint Petersburg, photo: Vladimir Terebenin, Leonard Kheifets, Yuri Molodkovets
John Flaxman (1755–1826) Apollo and Marpessa, ca. 1790–1794 Marble relief, 48.4 x 54.8 x 6.9 cm Royal Academy of Arts, London Photo: © Royal Academy of Arts, London
Henry Fuseli (1741–1825) Achilles Sacrificing his Hair on the Funeral Pyre, ca.1800/1805 Pen in sepia over pencil, painted in watercolours, 48 x 31.5 cm Kunsthaus Zürich, Department of Prints and Drawings ©© 2012 Kunsthaus Zürich. All rights reserved
Angelica Kauffmann (1741–1807) Penelope is awoken by Euryclea, 1772 Oil on canvas, 75 x 109,9 cm vorarlberg museum, Bregenz Photo: Markus Tretter, Lindau, 2007
Joseph Anton Koch (1768–1839) Rape of Hylas, 1832 Oil on canvas, 76 x 104 cm Städel Museum, Frankfurt am Main © Städel Museum – ARTOTHEK
Charles-Paul Landon (1760–1826) Daedalus and Icarus, 1799 Oil on canvas, 54 × 43,5 cm Loan from the Louvre, Museum of Fine Arts and Lace, Alençon, 1861 Photo: David Commenchal
Johann Heinrich von Dannecker (1758–1841) Ariadne on the Panther, 1803–1814 Marble, Height 146 cm Liebieghaus Skulpturensammlung, Frankfurt am Main
Christoffer Wilhelm Eckersberg (1783–1853) A Young Bowman Sharpening his Arrow, 1812 Oil on canvas, 64,5 x 72,5 cm Ny Carlsberg Glyptotek, Copenhagen
Karl Friedrich Schinkel (1781–1841) Spree waterside at Stralau, 1817 Oil on canvas, 36 x 44,5 cm Berlin, Alte Nationalgalerie
Bertel Thorvaldsen (1770–1844) Hebe, 1815–1823 Marble, 156.5 cm Thorvaldsens Museum Photo: Thorvaldsens Museum
Bertel Thorvaldsen (1770–1844) Ganymede Filling the Cup, 1816 Marble, 135.5 cm Thorvaldsens Museum Photo: Thorvaldsens Museum
Crâne en ivoire. Photo Delorme & Collin du Bocage
Haut.: 15 cm environ.
DELORME & COLLIN DU BOCAGE. MERCREDI 27 FÉVRIER À 14H00. DROUOT - RICHELIEU - SALLE 10 - EMAIL : INFO@PARISENCHERES.COM - TÉL. : 01 58 18 39 05
A small Rococo polychrome painted and arte povera decorated cabinet, Italy, Venice, 18th ct. Photo Nagel Auktionen
Minor damages, add. 55x40x28 cm. Estimate 8000 €
Literature: S. Levy, Lacche Veneziane Settecentesche, Tafel 286.
Nagel Auktionen. February 21th 2013. www.auction.de
A Rococo polychrome painted encoignure, Venice, mid 18th ct. Photo Nagel Auktionen
Rest., signs of aging. H. 74/Sl. 41 cm. Estimate 5000 €
Nagel Auktionen. February 21th 2013. www.auction.de
A pair of Baroque painted and parcel-gilt torcheres, Veneto, 17th ct. Photo Nagel Auktionen
Minor damages. Later stand. H. ca. 250 cm - Estimate 1200 €
Nagel Auktionen. February 21th 2013. www.auction.de
Three Rococo carved, painted and gilt armchairs, Italy, Venice, c. 1740. Photo Nagel Auktionen
Rest., minor damages. H. 120 cm. Estimate 5500 €
Literature: C. Santini, Mille mobili Veneti, Bd. 1, S. 222.
Nagel Auktionen. February 21th 2013. www.auction.de
A fine Venetian partly cut, etched and blued glass mirror, 19th ct. Photo Nagel Auktionen
Minor damages. 158x94 cm. Estimate 8500 €
Literature: G. Child, World Mirrors, S. 293, Nr. 665.
Nagel Auktionen. February 21th 2013. www.auction.de
A pair of chinoise black and gold lacquered tea caddies, 19th ct. Photo Nagel Auktionen
Minor damages. H. 34 cm. Estimate 1200 €
Nagel Auktionen. February 21th 2013. www.auction.de
A Baroque brass mounted and chinoise lacquered cabinet, Dresden(?), 18th ct. Photo Nagel Auktionen
Rest. Signs of aging. 60x89x39 cm. Estimate 2800 €
Literature: Kopplin/Haase, "Sächßisch Lacquirte Sachen", S. 15.
Nagel Auktionen. February 21th 2013. www.auction.de
Five richly carved and leather covered armchairs, Europe-China, 19th ct. Photo Nagel Auktionen
Minor damages. H.118/105/116 cm. Estimate 4000 €
Nagel Auktionen. February 21th 2013. www.auction.de
Finely detailed, Chinese 16th Century Ming Dynasty, blue and white porcelain dragon vase of tall gu form, Wanli Mark and of the Period. © 2013 I.M Chait.
with long slim neck, flared rim, bulbous body and slightly splayed base; with peonies, foliage and writhing dragons; H: 21 1/4" - Estimate $35,000-40,000
I.M Chait. IMPORTANT CHINESE CERAMICS & ASIAN WORKS OF ART - March 17 2013 - Telephone 310.285.0182 - www.chait.com
Chinese 16th Century Ming Dynasty, Wanli Mark and of the Period, blue and white porcelain box. © 2013 I.M Chait.
the rectangular form decorated with floral sprays to the exterior, on a lotus motif splayed foot; the interior with eight compartments; the (later replacement) cover of matching design; L: 7 7/8" - Estimate $15,000-18,000
I.M Chait. IMPORTANT CHINESE CERAMICS & ASIAN WORKS OF ART - March 17 2013 - Telephone 310.285.0182 - www.chait.com
Tall and unusual, antique Chinese Kangxi Period, blue and white porcelain yen-yen (beaker) vase, circa 1700. © 2013 I.M Chait.
the body with blue and white variously shaped panels depicting scholarly landscapes and narrative figural scenes, all reserved on a ground of moulded design of scrolling foliage and peonies in light relief , H: 17 3/4" - Estimate $18,000-20,000
I.M Chait. IMPORTANT CHINESE CERAMICS & ASIAN WORKS OF ART - March 17 2013 - Telephone 310.285.0182 - www.chait.com
Important and extremely rare, Chinese late 17th Century porcelain bowl, Kangxi Period. © 2013 I.M Chait.
the blue and white interior with four lotus and rockery medallions amid clouds, centering a flaming medallion; the exterior incised with two biscuit dragons in pursuit of flaming pearls, all picked out from a blue ground; six-character Ming mark but Kangxi Period; D: 8" - Estimate $12,000-18,000
I.M Chait. IMPORTANT CHINESE CERAMICS & ASIAN WORKS OF ART - March 17 2013 - Telephone 310.285.0182 - www.chait.com
Beautifully detailed, Chinese doucai enameled porcelain bowl, Kangxi Mark and of the Period, Circa 1700. © 2013 I.M Chait.
the exterior with Buddhist motif design of Shou characters in peach-shaped medallions, surrounded by leafy vines and lingzhi fungus; the interior with a longevity roundel; D: 7" - Estimate $10,000-15,000
I.M Chait. IMPORTANT CHINESE CERAMICS & ASIAN WORKS OF ART - March 17 2013 - Telephone 310.285.0182 - www.chait.com
Meuble d'appui formant secretaire en acajou et placage d'acajou. Estampillé Levasseur (reçu maître en 1766), Epoque Louis XVI. Photo Osenat
ouvrant à une porte en façade et un tiroir en ceinture simulant un abattant qui laisse découvrir deux tiroirs intérieurs et des castins, les montants à cannelures rudentées, encadrement de frises de perles en bronze doré, décor toutes faces de panneaux en laque de Chine or sur fond noir, provenant d'un paravent du XVIIIème siècle. Dessus de marbre brèche à pans coupés. Estimation : 30 000 / 40 000 €
Osenat. Dimanche 24 février 2013. Hôtel des Ventes - 5, rue Royale - 77300 Fontainebleau www.osenat.fr
Paire de flacons piriformes, en verre rouge rubis dit Rubin Glass. Attribuées à l'atelier de Johan Kunckel. Allemagne, fin du XVIIème - début du XVIIIème siècle. Photo Osenat
à côtes en relief vertical. Ils sont ornés d'une monture en bronze ciselé et doré, la partie supérieure présente un bouchon à vis. La base cylindrique décorée de godrons et de volutes. Vraisemblablement Postdam. (cassure, fêle ).H : 30 cm - Estimation : 8 000 / 12 000 €
Provenance : Ancienne collection Marthe Regnier
Un flacon similaire est conservé au Kunsthistorische muséum de Vienne, illustré dans la Collection Rudolf van Strasser. (Illustration A.)
cf . Licht und Farbe par Rudolf von Strasser et Sabine Baumgärtner, Skira, Vienne 2002, p.418, n°256
Expert : Cabinet de L'Espée-Marie de la Chevardière 14, rue Drouot 75009 Paris 01 42 46 10 46
Osenat. Dimanche 24 février 2013. Hôtel des Ventes - 5, rue Royale - 77300 Fontainebleau www.osenat.fr
