Der Bildhauer Franz Biener und der Einfluss Antonio Beduzzis auf den skulpturalen Schmuck des Schlosses in Feldsberg

Název: Der Bildhauer Franz Biener und der Einfluss Antonio Beduzzis auf den skulpturalen Schmuck des Schlosses in Feldsberg
Variantní název:
  • Sochař Franz Biener a vliv Antonia Beduzziho na sochařskou výzdobu zámku ve Valticích
Zdrojový dokument: Opuscula historiae artium. 2018, roč. 67, č. 2, s. 106-121
  • ISSN
    1211-7390 (print)
    2336-4467 (online)
Type: Článek
Jazyk shrnutí
Licence: Neurčená licence
Přístupová práva
přístupné po uplynutí embarga

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The article focuses on the decorative sculptural work on the exteriors of Valtice Castle, some of which has been attributed to Franz Anton Biener (1681/82–1742), his authorship being partly documented in archival sources. From 1707 until his death in 1742 Biener was in the service of the House of Liechtenstein. The article examines the sculptural work's iconographic programme, with its allusions to the virtues and the rank of the client, and it also analyses stylistic changes made under the direction of the architects Anton Ospel (1677–1756) and Antonio Beduzzi (1675–1735). While the sculptural work on the façades of the riding school and the press house shows clear signs of Ospel's characteristic style, the decorative sculptures and ornaments on the main façade and in the courtyard resemble more the 'Wienerischer Gusto', which can be traced back to Beduzzi's designs and to the scenic and sculptural decoration of the chapel. The groups of figures unfolding freely in space are situated into Carlo Innocenzo Carlone's painting and have their roots in the Roman Baroque sculpture of Bernini, which spread through northern Italy to the Vienna and its neighbouring regions. This sculptural work may have been influenced by sculptor Lorenzo Mattielli (1687–1748). The pulpit in the former Liechtenstein patronage church, which to now was attributed to Beduzzi should now be attributed to Anton Ospel because of its Borromini-like style. The switch in patrons is probably the main reason for the change in style. While Anton Florian, Prince of Liechtenstein (1656–1721), was still responsible for the first step of the renovation of the castle, the modernisation of the courtyard, and the decoration of the chapel were executed by his son and successor Joseph Johann Adam, Prince of Liechtenstein (1690–1732).