Grafički listovi Jozefinskog razdoblja (1765./1790.) i propaganda “Vjerske tolerancije”

This article aims to deliver a new and methodologically modified view of representation and propaganda strategies in the late 18th century. In the Josephine era, emphasis was placed less on the glorification of a single regent. Instead, the focus was more on complex, multi-layered propagations of a new system of governance and self-image in the context of reform efforts that were intended to permeate all areas of life. In general, the contents of prints dealing with the confessional issue range from the image of the ruler (for example, Joseph as a ‘new’ Diogenes) to satire. The Protestants acclaimed the monarch with demonstrations of gratitude in words, writings and images, which ultimately made the piety of the Emperor a subject in itself. On that bases, I will try to apply a multipolar model that encapsulates the exercise of power as a system of communicative processes with many divergent participators. This view is in line with recent methodological approaches which regard communication as simultaneously a prerequisite and a function of domination. Hence the fundamental question here is how state reforms, particularly those concerning ‘Religious Tolerance’, could be communicated and (finally) carried out in words and images.Članak donosi nov, metodološki izmijenjen pogled na strategije reprezentacije i propagande u kasnom 18. stoljeću. U usporedbi s istraživanjima u polju historiografije, povijesnoumjetnička istraživanja usmjerena na likovne medije u razdoblju vladavine Josipa II. za njima poprilično zaostaju. Taj raskorak, međutim, nije moguće premostiti samo povijesnoumjetničkom metodologijom; nužan je interdisciplinarni pristup, integracija te harmonizacija s historiografskim i kulturološkim metodama istraživanjima. U doba jozefinizma mediji su bili manje usredotočeni na veličanje vladara kao pojedinca, a znatno više na kompleksnu i slojevitu promidžbu novoga sustava vlasti i samoprezentacije u kontekstu reformi koje su trebale obuhvatiti sva područja života. Sekularizacija i vjerska politika bile su od kasnih 1770-ih za čitateljsku publiku središnje teme. Radikalni pomak ka prosvjetiteljskoj tematici moguće je primijetiti u grafičkim listovima, ponajprije s obzirom na pitanja tolerancije i vjerske politike. Te teme obilježavaju jasan prekid s erom Marije Terezije i onodobnim pretežno alegorijskim stilom prezentacije. Nasuprot tome, memorandum Josipa II. (1765.) poručuje da »služenje Bogu« nije moguće odvojiti od »služenja državi«. Općenito gledano, sadržaj grafičkih listova koji se bave konfesionalnim pitanjima varira od prikaza vladara (primjerice, Josip kao “novi” filozof Diogen) do satire. Protestanti su slavili monarha iskazima svoje zahvalnosti riječima, pisanim djelima i slikama, što je u konačnici rezultiralo time da je Careva pobožnosti postala zasebnom temom. Josip je, primjerice, na svojem imanju u Moravskoj posjedovao i katolički i protestantski (!) oltar, a njegovi su portreti visjeli u luteranskim molitvenim prostorima i crkvama, što na stanovit način govori o Josipovoj “bifokalnoj” pobožnosti. Od 1780-ih godina nadalje, Josipa su smatrali ‚tolerantnim carem‘ a njegova je politika tolerancije bila cijenjena kao simboličko postignuće. Polazeći od tih premisa, u članku se pokušava primijeniti “multipolarni” model u kojem se obnašanje vlasti promatra kao sustav komunikacijskih procesa s mnogo raznorodnih sudionika (umjetnika, izdavača, teologa, carevih savjetnicka itd.). Takav je stav u skladu s novijim metodološkim pristupima koji komunikaciju smatraju istodobno i pretpostavkom i funkcijom dominacije. Zaključuje se također da se državne reforme, osobito kada je riječ o “vjerskoj toleranciji”, mogu posredovati i (naposljetku) provesti riječima i slikama na vrlo deskriptivan način. Upečatljivi odlomci iz Biblije, na primjer, podvrgnuti su radikalno novim (ponekad prosvjetiteljskim, dijelom subverzivnim) tumačenjima i interpretacijama. Stoga ovdje analizirane grafike preuzimaju sugestivnu ulogu suvremenih im pamfleta opisujući činjenice, okolnosti i mišljenja na osobito izoštren (pretjeran ili karikaturalan) način

À propos des diverses formes de transfert culturel habsbourgeois : entre consolidation du pouvoir et réformes politiques (du xvie au xviiie siècle)

Le présent article se penche sur l’évolution que les transferts culturels ont connue dans l’Empire des Habsbourg entre le xvie et le xviie siècle et jusqu’à l’époque de Marie-Thérèse. Au centre de notre réflexion se situera non seulement la comparaison entre les modèles du transfert culturel habsbourgeois à l’Époque moderne, mais également les questions de l’organisation politique liée au modèle thérésien pour savoir si celui-ci s’est éventuellement inspiré de modèles espagnols (notamment la..

La France et l’Autriche. Des « régions culturelles européennes » en concurrence et en relation entre 1700 et 1900

I. Concurrence monarchique. Vienne et Versailles autour de 1700 La relation « difficile » entre la France et l’Autriche apparaît avec évidence dans les rapports hostiles entre Louis XIV et Léopold Ier. L’antagonisme Bourbon-Habsbourg devient à cette époque une constante qui structure la politique européenne. La question centrale dans ce contexte est celle des modalités particulières du « transfert culturel » (Michel Espagne, Michael Werner, Hans-Jürgen Lüsebrink) entre ces deux pays. La récep..

Kulturraum Österreich

While the first volume of the overalll work, which was published as "The historical Area of Austria" ("Geschichtsraum Österreich") in 2006, focused on the Hapsburgian "whole state" from the perspective of the most important phenomena and protagonists of the "Hapsburgian iconography", this second and concluding volume examines multifarious visualisations of the regional and supraregional historical myths of the 19th century in Vienna, the "centre", and in the regions, i.e. the Austrian Crownlands (part of which are identical with today´s federal provinces of the Republic of Austria). The difficult relationship between the "whole state" and the Crownlands constitutes the entire, extremely complex spectrum of reflections on Austrian 19th century history. Here, the kinds of methods and concrete goals with which regional memorial foundations interact or compete with dynastic strategies is a pivotal issue - on that has been examined only far too rarely in the past. Hence the present work intends to discuss both art-historical and historical phenomena with explore various historical reflections at the - frequently neglected - "periphery" and investigate visual approaches to one´s "own" history from the "present" of the 19th century (using prominent events such as the second Ottoman siege of 1683 and the "wars of liberation" against Napoleon as an example). The degrees of complexity, quantitative permeation and significant contrasts between Vienna - the "centre" - and the "provinces" in their different reflections on Austrian history clearly begin to emerge when we examine an extensive range of topics against the background of competing national, regional and communal strategies. Compared to the first volume "The historical Area of Austria", the perspective of the multifarious "historical area of Austria" shifts from the "whole state" to an analysis of a highly distinct "plurality of areas" (Karl Schlögel) with its own intrinsic laws. Such diversity is also an essential factor when we come to investigate the prolific amount of Austrian landscape art in the 19th century and the role it played in forging identity. It graphically demonstrates that a deeper understanding of Austria´s federal structures is not possible without gaining a comprehensive insight into 19th century history.Während im ersten Band der Gesamtpublikation, der unter dem Titel "Geschichtsraum Österreich" im Jahr 2006 erschienen ist, der habsburgische "Gesamtstaat" aus dem Blickpunkt der wichtigsten Phänomene und Protagonisten der "habsburgischen Ikonographie" im Zentrum des Interesses stand, werden im vorliegenden zweiten und abschließenden Band die vielfältigen Visualisierungen der regionalen und überregionalen historischen Mythen im 19. Jahrhundert im Zentrum Wien und in den Regionen, den österreichischen Kronländern (zum Teil mit den heutigen Bundesländern der Republik Österreich), untersucht. Das schwierige Verhältnis zwischen dem "Gesamtstaat" und den Ländern konstituiert das gesamte und höchst vielschichtige Spektrum der österreichischen Geschichtsreflexionen im 19. Jahrhundert. Wie und mit welchen konkreten Zielsetzungen regionale Gedächtnisstiftungen mit dynastischen Strategien zusammenwirken oder diese konkurrenzieren, ist eine wesentliche und bisher viel zu selten untersuchte Fragestellung. In der vorliegenden Arbeit sollen somit sowohl kunstgeschichtliche als auch historische Phänomene zur Sprache kommen, die einerseits die vielfältigen Geschichtsreflexionen an der - häufig vernachlässigten - "Peripherie" in den Blickpunkt nehmen, und andererseits den visuellen Umgang mit der "eigenen" Geschichte (etwa anhand der prominenten Ereignisse der zweiten Türkenbelagerung 1683 und der "Befreiungskriege" gegen Napoleon) aus der "Gegenwart" des 19. Jahrhunderts beleuchten. Anhand unterschiedlichster Themenkreise kann deutlich gemacht werden, in welcher komplexen Weise, mit welchem Grad der quantitativen Durchdringung und mit welchen signifikanten Gegensätzen zwischen dem "Zentrum" Wien und der "Provinzen" die österreichische Geschichte im Spannungsfeld von nationalen, regionalen und kommunalen Strategien reflektiert wurde. Die Perspektive auf den vielfältigen "Geschichtsraum Österreich" verlagert sich - im Vergleich zum ersten Band - vom "Gesamtstaat" zur Analyse der höchst unterschiedlichen und eigengesetzlichen "Pluralität der Räume" (Karl Schlögel). Diese Vielfalt ist auch für die Untersuchung der reichen Produktion der österreichischen Landschaftskunst im 19. Jahrhundert hinsichtlich ihrer identitätsstiftenden Gehalte wesentlich und zeigt in anschaulicher Weise, daß ein tiefes Verständnis der föderalen Strukturen Österreichs nicht ohne einen umfassenden Blick des 19. Jahrhunderts möglich ist

Geschichtsraum Österreich

The history is intended as the first comprehensive examination of the role of Austrian history in the visual arts of the Habsburg monarchy between 1804 and 1918. At its centre are the following three key questions: What status did the general preoccupation with history acquire? What where the favorite historical subjects for artistic representation? What significance did the Habsburgs´own history (almost endlessly "extendible" all the way back to its fictitious mythical beginnings) hold for the issues of the day? Works of art contribute to the creation of traditions in a double sense: a given work simultaneously contains and creates history. A work of art is also a medium for social identification, facilitating communication between the monarch and the people. Investigating the characteristics of the different "reflections on history" in the visual arts in Austria in the 19th century led to the practical necessity of significantly widening the known material basis. It became apparent that previous research was based on a relatively limited range of works (primarily "high art") and failed to relate these works to literary documents from the fiields of historiography or belles-lettres. I believe it is only by expanding the basis in terms of both word and picture documentation that a reliable overview of the different strategies pursued by Habsburg iconography can be gained. Not only did my chosen methodology seem expedient, and indeed almost indispensable for an examination of concrete historical cases, it also reveals that this interlocking approach (furthermore justified by the nature of the material) based on interrelating picture and text media contains the very key to a proper investigation of the historical art of the 19th century. In approaching the central questions, this study begins with an introduction that looks at concepts and methodology and charts the difficult formation of the "Austrian nation" from "Casa d´Austria" to the Habsburg "nation state". The second chapter examines the relevance of the Austrian 18th century in the consciousness of the following century based on the examples of rulers Maria Theresia and Joseph II. This is folloewd almost of necessity by a long section on the ruler iconography of the period Emperor Franz II (I) to Emperor Franz Joseph I. The visual strategies of the Habsburg rulers in the 19th century and the inseparable question of the legitimation of the Austrian Empire in the years after 1848 steer attention back to the quest for "origins" and to the Habsburg "insurance policy" of evoking the figure of founding father Rudolf I. This forms the main focus of the fourth chapter. In this context, the various appeals to the famous progenitor assume the character of an "underpinning" myth (Jan Assmann). The final chapter attempts to provide answers to questions relating to the "flowering" of Austrian historiography in the 19th century relative to historical interpretations in painting. The complex genesis of the celebration of glorious Austrian deeds ist examined on the basis of the concrete example of "military iconography" and the decoration of the "hall of fame" in the "Arsenal" in Vienna

Enlightenment and Baroque Ceiling Paintings in Sacred Spaces: The Example of Austria

The paper questions the complex relations between Jansenism, Catholic Enlightenment, and visual culture in the second half of the 18th century in Austrian ceiling painting. On this basis, selected examples from Vienna and Lower Austria are compared with the characteristic features of the Enlightenment (e.g. purifying the religious practices of sensual excess). The aim of this study is to bring the following – hitherto largely neglected – question into new focus: Did the Enlightenment cause, provoke, or produce new artistic attitudes or should pragmatism, classicism, and simplicity be considered as parallel phenomena in the complex intellectual history of the second half of the 18th century

Le sarcophage de François-Étienne et de Marie-Thérèse par Balthasar Moll dans la crypte des Capucins à Vienne (1754)

« Hier wird einmal gutt ruhen seyn. »(« Il sera bon de reposer ici un jour. ») En 1713, l’empereur Charles VI promulgua la pragmatique sanction en vue d’établir une base légale pour la transmission des possessions Habsbourg à sa fille Marie-Thérèse qui allait régner de 1740 à 1780. Les concessions faites par Charles VI ne purent néanmoins prévenir la guerre de Succession d’Autriche qui éclata à sa mort en 1740. L’année même, la Prusse envahit les duchés silésiens de Bohême. À la fin de 1741, ..

Geschichtsraum Österreich

The history is intended as the first comprehensive examination of the role of Austrian history in the visual arts of the Habsburg monarchy between 1804 and 1918. At its centre are the following three key questions: What status did the general preoccupation with history acquire? What where the favorite historical subjects for artistic representation? What significance did the Habsburgs´own history (almost endlessly "extendible" all the way back to its fictitious mythical beginnings) hold for the issues of the day? Works of art contribute to the creation of traditions in a double sense: a given work simultaneously contains and creates history. A work of art is also a medium for social identification, facilitating communication between the monarch and the people. Investigating the characteristics of the different "reflections on history" in the visual arts in Austria in the 19th century led to the practical necessity of significantly widening the known material basis. It became apparent that previous research was based on a relatively limited range of works (primarily "high art") and failed to relate these works to literary documents from the fiields of historiography or belles-lettres. I believe it is only by expanding the basis in terms of both word and picture documentation that a reliable overview of the different strategies pursued by Habsburg iconography can be gained. Not only did my chosen methodology seem expedient, and indeed almost indispensable for an examination of concrete historical cases, it also reveals that this interlocking approach (furthermore justified by the nature of the material) based on interrelating picture and text media contains the very key to a proper investigation of the historical art of the 19th century. In approaching the central questions, this study begins with an introduction that looks at concepts and methodology and charts the difficult formation of the "Austrian nation" from "Casa d´Austria" to the Habsburg "nation state". The second chapter examines the relevance of the Austrian 18th century in the consciousness of the following century based on the examples of rulers Maria Theresia and Joseph II. This is folloewd almost of necessity by a long section on the ruler iconography of the period Emperor Franz II (I) to Emperor Franz Joseph I. The visual strategies of the Habsburg rulers in the 19th century and the inseparable question of the legitimation of the Austrian Empire in the years after 1848 steer attention back to the quest for "origins" and to the Habsburg "insurance policy" of evoking the figure of founding father Rudolf I. This forms the main focus of the fourth chapter. In this context, the various appeals to the famous progenitor assume the character of an "underpinning" myth (Jan Assmann). The final chapter attempts to provide answers to questions relating to the "flowering" of Austrian historiography in the 19th century relative to historical interpretations in painting. The complex genesis of the celebration of glorious Austrian deeds ist examined on the basis of the concrete example of "military iconography" and the decoration of the "hall of fame" in the "Arsenal" in Vienna.Ziel der vorliegenden Arbeit ist es, die Bedeutung der österreichischen Geschichte in der bildenden Kunst der Habsburgermonarchie von 1804 bis 1918 erstmals umfassend deutlich zu machen. Im Zentrum stehen vor allem folgende drei Fragen: Welchen Stellenwert gewann die Beschäftigung mit Geschichte ganz allgemein? Auf welche historischen Ereignisse bezog man sich vorzugsweise in den Darstellungen der Kunst? In welcher Hinsicht besaß die eigene - bis zu fiktiven mythischen Anfängen gleichsam beliebig "verlängerbare" - Geschichte für gegenwärtige Fragestellungen Bedeutung? Kunstwerke tragen zur Konstruktion von Traditionen bei - und dies in höchst doppelsinniger Weise: das jeweilige Werk enthält und erzeugt zugleich Geschichte. Es ist darüber hinaus ein soziales "Identifikationsmedium" und vermittelt zwischen dem Regenten und den Bürgern. Die Charakteristika der unterschiedlichen "Geschichtsreflexionen" in Österreich im 19. Jahrhundert in den Medien der bildenden Kunst zu untersuchen brachte die praktische Notwendigkeit mit sich, die bekannte Materialbasis beträchtlich zu erweitern. Es zeigte sich, daß die Forschung bisher zumeist von einem eher begrenzten Werkbestand (vor allem der "Hochkunst") ausging und diesen nicht mit literarischen Dokumenten aus Historiographie und Belletristik in Beziehung setzte. Erst auf dieser entsprechend erweiterten Basis von Dokumenten in Wort und Bild läßt sich meines Erachtens ein verläßliches Gesamtbild für die unterschiedlichen Strategien habsburgischer Ikonographie gewinnen. Die gewählte Methodik erschien nicht nur zweckmäßig und darüber hinaus für den konkreten historischen Fall geradezu unerläßlich, sondern sie zeigt auch, daß gerade in dieser verschränkten (und in der Ausrichtung des Materials begründeten) Betrachtungsweise aufeinander bezogener Bild- und Textmedien der Schlüssel für die Erforschung der österreichischen Historienkunst des 19. Jahrhunderts liegt. Die vorliegende Arbeit nähert sich den zentralen Fragestellungen über eine Einführung zu Begrifflichkeit und Methodik und verfolgt die schwierige Formierung der "Nation Österreich" von der "Casa d´Austria" bis zum habsburgischen "Gesamtstaat". Die Aktualität des österreichischen 18. Jahrhunderts im Bewußtsein des folgenden Jahrhunderts am Beispiel der Regenten Maria Theresia und Joseph II. ist Gegenstand des zweiten Kapitels. Fast zwingend schließt sich hier der große Abschnitt zur Herrscherikonographie von Kaiser Franz II. (I.) bis Kaiser Franz Joseph I. an. Die visuellen Strategien der Habsburgerregenten im 19. Jahrhundert und die damit untrennbar verbundene Frage nach der Legitimation des österreichischen Kaisertums in den Jahren nach 1848 lenken den Blick wieder zurück zur Suche nach den "Ursprüngen" und zur habsburgischen "Selbstversicherung" durch die Beschwörung des Stammvaters Rudolf I., die zentraler Gegenstand des vierten Kapitels ist. Die unterschiedlichen Rekurse auf den berühmten Stammvater besitzen in diesem Zusammenhang den Charakter eines "fundierten" Mythos (Jan Assmann). Das abschließende Kapitel sucht Antworten auf die Fragen nach der "Blüte" der österreichischen Historiographie im 19. Jahrhundert im Verhältnis zu den Interpretationen in der Malerei. Am konkreten Beispiel der "Militärikonographie" und der Ausstattung der "Ruhmeshalle" im Wiener "Arsenal" wird die komplexe Genese der Verherrlichung österreichischer Ruhmestaten untersucht