THE MIGRATION OF ARTISTS AND ARCHITECTS IN CENTRAL AND NORTHERN EUROPE 1560–1900

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Cover design features details from: Johann Friedrich von Oettinger. Decorative cartouche of the map Theatrum Belli Serenissimæ Domus Austriacæ,
contra Gallos … – Neuester Schauplaz
und in denen Niederlanden.
Oder Lauff des Rheins … Augsburg: Matthaeus Seutter, c. 1746. Staatsbibliothek zu Berlin, Kart. GfE L 1. 431
In the volume The Migration of Artists and Architects in Central
and Northern Europe, 1560–1900 one can find both theoretical and methodological issues, reflections on art historical databases, as well as in-depth studies of specific migrating artists and archi- tects and their oeuvre … The book no doubt will be welcomed by the many scholars researching this specific field of art history and related topics and disciplines. It is a major contribution to one of the most important topics within international art history of today and the years to come.
Juliette Roding
Historical investigation of artists’ migration has grown into a vast field of intense academic networking and encourages continuous exchange among twenty-first century researchers, bringing them into motion both literally and figuratively. The new volume of art historical studies by an international team of fourteen authors approaches this field from multiple method- ological perspectives. Perhaps just as importantly, it increases the visibility of the Baltic countries on the map of transnational artistic activities across early modern Europe and helps the Art Academy of Latvia as the publisher to become a notable contributor to the scholarly re-examination of these processes.
Kristina bele
IN CENTRAL AND NORTHERN EUROPE
1560–1900
THE MIGRATION OF ARTISTS AND ARCHITECTS
IN CENTRAL AND NORTHERN EUROPE
1560–1900
in Central and Northern Europe, 1560–1900
Edited by Anna Ancne
The publication is supported by the European Regional Development Fund within the framework of the project Raising the Research and Innovation
Capacity of the Art Academy of Latvia Institute of Art History (No. 1.1.1.5/18/I/01)
Approved by the Scientific Council of the Art Academy of Latvia on 29 November 2022
Peer reviewers: Dr Juliette Roding (Leiden University), Dr Kristina bele (Art Academy of Latvia)
Copy editing and proof-reading by Valdis bols and Kristina bele Introduction translated by Stella Pelše Design and layout by Rauls Liepiš / Al secco
Published by Latvijas Mkslas akadmija / Art Academy of Latvia Kalpaka bulv. 13, LV–1050 Riga, Latvia www.lma.lv
Printed by Jelgavas tipogrfija
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CONTENTS
Konrad A. Ottenheym
Kathrin Wagner
The pre-migration phase and its significance for the migration of foreign artists working at the Tudor and Jacobean courts in London (1485–1642). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
Micha Wardzyski
Sculptors Joseph van Enden (Eynden), Augustin van Oyen and Martin Christian Peterson: Last ‘Mannerist’ Netherlandish and Danish immigrants in the Polish–Lithuanian Commonwealth? . . . . . . . . . . 45
Wendy Frère
A Quellinus in Scandinavia: Thomas Quellinus (1661–1709) and his artistic production in Denmark . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74
Agnieszka Pataa
Old connections die hard: Artistic migrations between Nuremberg and Breslau in the sixteenth century from the perspective of Silesia (selected issues). . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92
Anna Ancne
Transfer of new models in Riga architecture and sculptural décor in the 1750–60s: Johann Friedrich Oettinger, a travelling artist in military service, and immigrant sculptor Jacob Ernst Meyer . . . . . . . . . . . . . . . . . . . 107
Aist Paliušyt
Lithuanian contribution to the studies of artists’ migration in the seventeenth and eighteenth centuries . . . . . . . . . . . . . . . . . . . . . . . . . 127
Hans J. Van Miegroet
Aleksandra Lipiska
‘On the move’ in Central and Northern Europe: Trends and methods in the research on artist migration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 160
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Alessandra Becucci
Chi non è conosciuto li conviene in età matura fare il noviziato: New documents for seventeenth-century artistic migration in Central Europe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179
Sanja Cvetni
Ruth Sargent Noyes
Translatio reliquiae and translatio imperii between Italy and North-Eastern Europe in the Age of Partition (c. 1750–1800): The case of the Plater in Polish Livonia . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 213
Julia Trinkert
The architect and his employer: Carl Gottlob Horn’s passive mobility and its significance for Heinrich Carl von Schimmelmann’s social ascendancy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 232
Eduards Kaviš
Pragmatic migration and romantic nomadism of artists across and from the German-ruled Baltic provinces of the Russian Empire at the turn and the beginning of the nineteenth century . . . . . . . . . . . . . . . 252
Authors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 265
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(in alphabetical order)
Dr Irene (Rena) Fatsea (Department of Architecture, University of Thessaly),
Dr Wendy Frère (Université libre de Bruxelles),
Prof. Dr habil. Eduards Kaviš
(Institute of Art History, Art Academy of Latvia),
Prof. Dr Krista Kodres (Institute of Art History and Visual Culture,
Estonian Academy of Arts; Institute of Humanities, Tallinn University),
Prof. Dr Aleksandra Lipiska (Institute of Art History, University of Cologne),
Prof. Dr Hans J. Van Miegroet (Duke University, Duke Art,
Law & Markets Initiative / Art History & Visual Studies),
Photo: Laura Ozola, 2019
(National Museum of Denmark, Novo Nordisk Fonden Postdoctoral Research Fellow),
Prof. Dr Konrad A. Ottenheym (Utrecht University),
Dr Aist Paliušyt (Lithuanian Culture Research Institute, Vilnius),
Dr Agnieszka Pataa (Institute of Art History, University of Wrocaw),
Dr Juliette Roding (Leiden University),
Dr Helena Serain (France Stele Institute of Art History at the Research Centre
of the Slovenian Academy of Sciences and Arts, Ljubljana),
Dr Franciszek Skibiski (Nicolaus Copernicus University in Toru),
Dr Julia Trinkert
Torsten Veit (University of Greifswald),
Dr Kathrin Wagner (Liverpool Hope University),
Dr Micha Wardzyski (Art History Institute, Warsaw University),
as well as to the invited panel participants
Prof. Dr habil. Ojrs Sprtis (Art Academy of Latvia) and
Prof. Dr Andris Teikmanis (Art Academy of Latvia).
Special thanks to
Dr Daina Lce and all other colleagues
at the Institute of Art History of the Art Academy of Latvia,
Ieva Silia, Project Manager at the Project and Development Department,
Art Academy of Latvia.
The international scientific conference The Migration of Artists and Architects
in Central and Northern Europe 1560–1900 took place at the Art Academy of Latvia in Riga on 26–28 September 2019. Organised by the Institute of Art History of the Art Academy of Latvia within the ERDF project Raising the
Research and Innovation Capacity of the Art Academy of Latvia Institute of Art
History (No. 1.1.1.5/18/I/014), the conference focused on a broad range of problems involving research and interpretation of the intertwined processes of art and migration.
Still recently, the migration of artists and architects was treated as a sec- ondary issue in art-historical literature. In the last decades, however, the number of scholarly publications on the artists’ migration in the early modern period has substantially increased. This trend was advanced by a growing inter- est in the activities of travelling artists and architects in Central and Northern European regional centres, and it examines the role of previously little-known artists and workshops, replacing narrow local perspectives with broader con- textual approaches. Academic publications produced in various countries over the last years show a significant art-historical tendency to create period over- views alongside studies of outstanding specific phenomena, such as contact networks and the development of art markets and workshops.
The migration of masters, typical to the period in question, is a phe- nomenon that cannot be explored today without a broader interdisciplinary perspective that includes sociological and economic aspects. The migration is- sue in the context of significant art-historical phenomena has been among the topmost research subjects in recent years, with art historians from the Nether- lands, Belgium, Poland and Denmark being the most active in the field.
A multifaceted view of the early modern period’s artistic and architectural heritage that includes interpersonal contacts among masters, consumers and cultural agents, export of cultural goods and trading routes allows building a broader interconnected informational network that through elucidating cul- tural processes of a particular epoch from an expanded perspective and pro- viding information from various aspects, creates a valuable additional tool for art-historical exploration.
The conference embraced several directions: the routes of artists’ migra- tion, related general trends and favourable conditions; case studies of particu- lar individuals’ mobility; influential centres and peripheries; migration as a means of transfer of artistic innovations and promotion of stylistic changes;
INTRODUCTION
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spread of examples; trends and differences in the output of individual work- shops and masters; methodological issues of studying artists’ migration; art market and commissioners; the role of interdisciplinary studies in establishing the art market trends; the interaction of consumers and artists, as well as the geographic circulation of artistic production.
On 26 and 27 September the conference venue was the Art Academy of Latvia but on 28 September participants held a visiting session at Rundle Palace Museum. The conference welcomed researchers from Lithuania, Estonia, the Netherlands, Great Britain, Poland, Belgium, Germany, the USA, Slovenia, Croatia, Italy, Denmark, Greece and Latvia. Several thematic blocks emerged at the conference, such as theoretical and methodological studies and in-depth discussions of individual artists, workshops and artistic phenomena. Latest researches on the routes of artists’ migration in Europe were presented alongside models explaining the root causes of migration, art market and export during the early modern period, as well as the structure and capacity of masters’ workshops.
After the conference, it was realised that these valuable conclusions deserve a publication to inspire a wider circle of scholars and connoisseurs for further work and discoveries in the diverse field of art history. Most of the confer- ence participants agreed to extend their papers for publication in this edited volume. The articles are arranged in the order their themes were presented at the conference.
When analysing some concrete artist or phenomenon, we are also invited to notice the epoch’s border-transcending tendencies, manifold background pro- cesses and conclusions of interdisciplinary studies. Having said that, the work of art remains at the centre of art-historical research, while these contributions provide valuable cognitive instruments and added enriching components.
Anna Ancne
Konrad A. Ottenheym
University of Utrecht [email protected]
As far as Prague where the Emperor resides, as well as in
other large cities, there are few architects or learned people with
authority and expertise. In fact, the construction of buildings is
principally undertaken by certain master builders who travel
from Italy to those places and decide on things their own way.
Thus the results are rough or even worse … 2
(Vincenzo Scamozzi 1615)
Summary
This paper focuses on the diffusion of architectural inventions from the Low Countries to other parts of Europe, especially to the Baltic region and Scandinavia, from the late fifteenth to the end of the seventeenth century. Multiple pathways connected the architecture of the Low Countries with the world and various mechanisms of transmission can be discerned, such as the migration of building masters and sculptors who worked as architects abroad, networks of foreign patrons inviting Netherlandish artists, printed models and the role of foreign architects who visited the Low Countries for professional reasons. The paper discusses such questions as why experts from the Low Countries were called upon and what made them successful abroad. Were their design skills merely a spinoff of other, more important arts such as hydraulic engineering and fortification? Or did Netherlandish architecture possess particularly compelling traits that could also be studied by foreign architects? Did the attraction lie in qualities that were explicitly perceived as ‘Netherlandish’? Or were the Netherlandish examples regarded as favourite models of an international architectural
1 The first part of this paper is a based on my introduction to Architects without Borders: Migration of Architects
and Architectural Ideas in Europe 1400–1700. Ed. by Konrad Ottenheym. Mantova, 2014, 7–13; the second part, on my chapter on “Travelling architects from the Low Countries and their patrons”, in: The Low Countries at
the Crossroads: Netherlandish Architecture as an Export Product in Early Modern Europe (1480–1680) (Architectura Moderna 8). Ed. by Konrad Ottenheym & Krista De Jonge. Turnhout, 2013, 55–88.
2 Scamozzi, Vincenzo. L’Idea della Architettura Universale, Venice 1615, Book III, 251 (quote from the English edition: Scamozzi, Vincenzo. Venetian Architect: The Idea of a Universal Architecture. III, Villas and Country Estates. Amsterdam, 2003, 98).
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style desired by rulers, nobility and civic authorities who sought to keep up appearances among their peers?
When the famous Venetian architect Vincenzo Scamozzi was in Salzburg working on his designs for a new cathedral and the renovation of the prince- bishop’s palace,3 he found himself surrounded by numerous craftsmen of northern Italian origin, the maestri comacini.4 Apparently, he was not quite convinced by the level of expertise of these craftsmen, as the quote above from his treatise of 1615 indicates. Scamozzi’s complaint about the quality of his fellow countrymen he had met abroad, both in Austria and Bohemia, illustrates the two categories of emigrant architects in early modern Europe. On the one hand, there were a few star architects, such as Scamozzi himself, who were invited by monarchs, noblemen and other esteemed patrons for prestigious building commissions. On the other hand, there were large groups of travelling architects, building masters, stone carvers and stucco workers who lacked international fame but were well organised and often highly skilled – in contrast to what Scamozzi had to say about them. While many star architects enjoyed positions as court artists, others were treated as mere craftsmen, sometimes working on the same prestigious projects, but sometimes also for more humble patrons.
roving renaiSSance architectS, a european phenomenon
Migration of artists has always been essential to the diffusion of new inventions, and so was the role of Italian artists to the dissemination of all’antica architecture in early modern Europe.5 The first well-documented wave of Italian sculptors and stone carvers working abroad dates from the second half of the fifteenth century. Their first patrons were the courts of
3 For Scamozzi in Salzburg, see: Lippmann, Wolfgang. Der Salzburger Dom 1598–1630. Unter besonderer Berück -
sichtigung der Auftraggeber und des kulturgeschichtlichen Umfeldes. Weimar, 1999, 137–155. 4 For the comacini working in Salzburg around 1600, see: Ponn-Lettner, Gudrun. “Die Bautätigkeit der Maestri
Comacini in Salzburg. Das Neugebäude im österreichischen Kontext”; Strategien der Macht. Hof und Residenz in
Salzburg um 1600 – Architektur, Repräsentation und Verwaltung unter Fürstbischof Wolf Dietrich von Raitenau 1587
bis 1611/12. Ed. by Gerhard Ammerer and Ingonda Hanneschläger. Salzburg, 2011, 371–404; Rottensteiner, Margareta. “Die Arbeiten der Familie Castelli für den Salzburger Hof unter Fürstbischof Wolf Dietrich und die Bedeutung ihrer Stuckarbeiten in den Prunkräumen des Neugebäudes”. In: Ibidem, 405–436; Bstieler, Stephan. “Oberitalienische Stuckateure im Dienste erzbischöflicher Repräsentation: Giacomo Bertoletto, Pietro und Antonio Castello, Giovanni Passarini, Bernardo Bertinalli und Giovanni Battista Orsolino”. In: Ibidem, 437–466. For their activities in Poland, see: Arciszewska, Barbara. “Architectural Crossroads: Migration of Architects and Building Trade Professionals in Early Modern Poland 1500–1700”. In: Architects without Borders: Migration of
Architects and Architectural Ideas in Europe 1400–1700. Ed. by Konrad Ottenheym. Mantova, 2014, 60–75. 5 The bibliography on migrant architects from Italy is too extensive to be summarised here, starting with various
volumes in the series L’opera del genio italiano all’ estero (1933–1962) up to more recent publications, such as: Architetti e ingeneri militari italiani all’ estero dal XV al XVIII secolo, 2 vols. Ed. by Marino Vigano. Livorno, 1994– 1999; Crocevia e capitale delta migrazione artistica: forestieri a Bologna e bolognesi nel mondo (secoli XV–XVIII). Ed. by Sabine Frommel. Bologna, 2010. A critical survey of the historiography of this topic would be most welcome.
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Central and Eastern Europe.6 In the 1470s and 1480s, the Hungarian king Matthias Corvinus invited various Italian masters to his court in Buda, some of them even mediated by Lorenzo il Magnifico.7 Their main task was the transformation of the royal residence on the Buda Hill into a true all’antica residence comparable, for instance, to the ducal palace of Urbino (fig. 1).8
Chimenti Camici (his presence in Buda is mentioned by Vasari), Giovanni Dalmata, Tommaso Fiamberti, Giovanni Ricci and Gregorio di Lorenzo (a pupil of Desiderio da Settignano) were among the first masters to travel to 6 Biaostocki, Jan. The Art of the Renaissance in Eastern Europe. Ithaca (NY), Oxford, 1976; Kaufmann, Thomas
DaCosta. Court, Cloister and City: The Art and Culture of Central Europe 1450–1800. London, 1995. 7 Matthias Corvinus, the King: Tradition and Renewal in the Hungarian Royal Court 1458–1490. Exh. Cat. Budapest
History Museum. Ed. by Peter Farbaky et al. Budapest, 2008; Török, Gyöngyi. “Die Vermittlerrolle Ungarns in der mitteleuropäischen Renaissance”. In: Úsvit renesance na Morav za vlády Matyáše Korvína a Vladislava
Jagellonského (1479–1516) v širších souvislostech (Historická Olomouc XVII). Ed. by Ivo Hlobil, Marek Perutka. Olomouc, 2009, 87–103.
8 Farbaky, Peter. “Chimenti Camici, a Florentine woodworker-architect, and the Early Renaissance reconstruction of the royal palace in Buda during the reign of Matthias Corvinus (ca. 1470–1490)”. In: Mitteilungen des
Kunsthistorischen Instituts in Florenz. 50, 2006, 215–256.
1. Capital from the palace of King Matthias Corvinus
at Buda, c. 1480s. Budapest Történi
Múzeum. Photo: Konrad Ottenheym
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Hungary. For some, the stay at the court in Buda was just a stepping stone for a career even further east. For instance, Ridolfo Aristotele Fioravanti from Bologna is documented to have travelled to Buda in 1468, and just a few years later, in 1475, he was invited to Moscow to construct the new Cathedral of the Dormition of the Virgin in the Kremlin.9 He was followed by various other Italian architects, such as Marco Ruffo and Pietro Antonio
Solari, who built the new banqueting hall of the Kremlin palace, the so called ‘Faceted Palace’, whose diamond-shaped rustica antedates Biago Rossetti’s famous Palazzo dei Diamanti (1492) in Ferrara.10
Whereas in Buda and Moscow Italians were already responsible for pres-…