Eugen, Prince of Savoy at Vienna, Upper Belvedere

Mary Tavener Holmes; Christoph Martin Vogtherr

Jump to Content

Chapter 2 Eugen, Prince of Savoy at Vienna, Upper Belvedere

于In Conversation

著者：

Mary Tavener Holmes

Mary Tavener Holmes
Search for other papers by Mary Tavener Holmes in
Current site
Google Scholar
PubMed

and

Christoph Martin Vogtherr

Christoph Martin Vogtherr
Search for other papers by Christoph Martin Vogtherr in
Current site
Google Scholar
PubMed

类型:: 章节

Page Range:: 69–84

DOI:: https://doi.org/10.1163/9789004732865_005

Purchase instant access (PDF download and unlimited online access):

€42.00€35.00 excl. VAT

Add to Cart

找回访问令牌

Abstract

Prince Eugen of Savoy (1663–1736) owned one of the outstanding art collections in early eighteenth-century Vienna including important holdings of prints and drawings, antiquities and paintings. The profile of his paintings collection with its strong emphasis on the Netherlandish schools, Venetian and Bolognese works was innovative for the time. Its display in the Upper Belvedere was a turning point similar in importance to the Palais Royal and Crozat’s collection and similarly influential. Eugen’s display constituted a radically new proposal and an alternative to the presentation of the Imperial collection, organizing a major collection around the principle of comparison. As such it became the point of reference for many other collectors, especially – but not exclusively – within the Holy Roman Empire. Like his Parisian contemporaries, Eugen was embedded in an international network of agents and connoisseurs, most famously Pierre-Jean Mariette, who shaped both the collection and its presentation. The Prince himself played also with personal iconographic references in his display. Salomon Kleiner’s engraved views (or preparatory drawings) of the interiors are, together with Storffer’s renderings of the Stallhof gallery and Kleiner’s Pommersfelden engravings, among the first major examples of a specifically German tradition to produce visual records of important hangs, proving how much a hang was seen as a specific cultural accomplishment.

引用信息

Save
Cite
Email this content

Share Link

Copy this link, or click below to email it to a friend
Email this content
or copy the link directly:

https://brill.edhh.ma/abstract/book/9789004732865/BP000012.xml
The link was not copied. Your current browser may not support copying via this button.

Link copied successfully

折叠
展开
回到页面顶端

In Conversation

Intention and Innovation in Eighteenth-Century Display

丛编： Studies in the History of Collecting & Art Markets, 卷： 23

ISBN:: 9789004732865

出版社:: Brill

印刷出版日期:: 04 Sep 2025

Subjects
- Art History
- History
  - Art History

Front Matter

Part 1 Pioneers of the New Principles

Part 2 New Approaches by Private Collectors

Part 3 Rulers and Institutions

Part 4 The British Contribution

Part 5 On the Verge of the Museum Age

Back Matter

统计数据

	全部期间	过去一年	过去30天
摘要浏览次数	73	73	9
全文浏览次数	1	1	0
PDF下载次数	2	2	0

African Studies	Education	Media Studies
American Studies	History	Middle East and Islamic Studies
Ancient Near East and Egypt	Human Rights and Humanitarian Law	Musicology
Art History	International Law	Philosophy
Asian Studies	International Relations	Religious Studies
Biblical Studies	Jewish Studies	Slavic and Eurasian Studies
Biology	Languages and Linguistics	Social Sciences
Book History and Cartography	Life Sciences	Theology and World Christianity
Classical Studies	Literature and Cultural Studies

Subjects

AppBar-Authors 2025

AppBar-Open Access 2025

AppBar-Product Information 2025

AppBar-Company 2025

AppBar-Contact 2025

Chapter 2 Eugen, Prince of Savoy at Vienna, Upper Belvedere

Abstract

引用信息

Share Link

In Conversation

Intention and Innovation in Eighteenth-Century Display

目录

统计数据

统计数据