Albertina (Vienna) – Wikipedia
The Albertine is an art museum in the 1st district of Vienna, the inner city. Among other things, it houses one of the most important graphic collections in the world.
The museum is housed in the Palais Archduke Albrecht, a historical residence of the Habsburgs. The name Albertina refers to Albert Casimir Duke of Saxony-Teschen, son-in-law from Archduchess or Emperor Maria Theresia, who founded the Collection in Pressburg in 1776, where he resided as a representative of Maria Theresia for the Kingdom of Hungary. In 1792 he was able to bring a large part of the collection from the Austrian Netherlands, where he later served as a representative of the Austrian monarch, to Vienna. The encyclopedic and universal collection includes around one million drawings and print -graphic leaves from the Renaissance to the present.
Since the museum received the batliner private collection in 2007, part of the exhibition area has no longer been used for the presentation of the graphic collection, but for a permanent show on classical modernism: “Monet to Picasso. The Batliner Collection ”. The Albertina collections are kept in a fully automatic high -bay warehouse.
The Herzog Alberts collection is one of the most important art collections worldwide. For more than 50 years, he used a Europe -wide network of dealers and auctions from extensive private collections to acquire 14,000 drawings and 200,000 print graphics. Many of the master drawings – from Michelangelo’s men’s files to Dürer’s “Feldhasen” to Rubens ’children’s portraits – are among the most famous works in art history.
The most important impulses for the creation of the collection received from his art -loving and art -loving wife, Archduchess Maria Christine, who was also able to support him financially with her enormous assets.
In the ducal collection there are works by artists from the early 15th to the early 19th century. From the beginning, Duke Albert systematically divided his collection according to art-historical criteria, schools and art landscapes. The Germans and Austrians take first place, followed by the works of Dutch, Italian and French artists.
In the past two decades of his life, Albert has increasingly acquired works of contemporary artists (“Maîtres Modernes”). They make up around a third of his drawing collection. All drawings from Albert’s property are provided with a stamp designed by the Duke itself: his monogram “AS” for Albert von Saxony.
In addition to historical and genre representations, Duke Alberts were primarily landscapes. The collector preferred carefully recorded and colored or with lavier -developed works: The drawing was less interested in him as a document of an artistic creative process, but as a work of his own aesthetic qualities inherent, only the “light” drawing.
In 1816 Duke Albert determined his graphic collection as an indivisible and inevitable Fidekommiss, which was initially managed to his universal and adoptive son Archduke Karl in 1822 and, according to this by the Archdechen Albrecht (statue in front of the Palais) and Friedrich, both like Karl Feldherren of the Monarchy. As a Habsburg Fidekommiss, buildings and art collection fell under the Habsburg Act after the end of the monarchy and therefore passed into Austrian state property in April 1919. The collection has been completely preserved to this day.
The 25,000 volumes, on the other hand, were recently private property by Archduke Friedrich, were removed by him in 1919 and have since passed over various buyers. In recent years, however, Albertina has bought some furnishings that were essential for the faithful equipment of the Habsburg representation rooms in the palace. [first]
In 1744 Maria Theresia had the palace built for her close friend and consultant Don Emanuel Teles da Silva Conde Tarouca. The architect was Mauro Ignazio Valmaggini.
In 1792, Albert and Marie Christine had to flee in the Austrian Netherlands due to war and revolution from Laeken Castle, where they acted as governors.
Back in Vienna, the couple needed a proper accommodation, whereupon Emperor Franz II.
Albert initially had the building adapted for its graphics collection and the library and subsequently expanded it with a representative wing (between 1802 and 1804). The 150 -meter -long facade demonstrated the emperor, which was residing next door in the Hofburg, impressively the financial potency and self -esteem of the duke. The equipment from Laeken Castle, such as furniture, shutters and wall paneling, were integrated into the new state rooms. Silk tension from Lyon, artistic indarsia floors and gilded crystal dumplings complemented the magnificent appearance. [first]
Vienna and the Kaiserhof around 1780 [ Edit | Edit the source text ]
The Kaiserhof in Vienna presented itself in courtly splendor and late baroque shine during the reign of Maria Theresia. She ruled the countries of the Habsburg monarchy and her husband Franz Stephan von Lorraine has been the emperor in the Holy Roman Empire of the German nation since 1745. The state mother secured the continued existence of the dynasty by 16 children, and Franz I. Stephan generated a gigantic fortune as an economic magnate that would provide financial providing his descendants as a family fund. The everyday life of the imperial family was strictly regulated, which is why child -rearing was also subject to strict requirements. From the age of four, languages, history, religion, music and dance were taught; Scientific and artistic interests were promoted early. Archduchess Marie Christine was a talented draftsman who copied through the Dutch and French champions. Until 1765, she matured into a proud, self-confident and cultivated “Grande Dame”, which was able to meet the dynastic demands of the Habsburg-Lorraine house because of her education and representation. [first]
Albert and Marie Christine [ Edit | Edit the source text ]
Maria Theresia saw her children as a dynastic capital and did not choose the spouses of her children without a political calculation. Prince Albert met 17-year-old Marie Christine in 1760 when he visited his aunt Maria Theresia in Vienna. It was only from the spring of 1764 that she replied his passionate feelings and the monarch granted her preferred daughter a love marriage to the smart Saxon. The marriage festival took place during the mourning for the late Emperor Franz I Stephan on April 2, 1766 in the Vienna Hofburg. The signing of the marriage contract on April 5, 1766 gave Prince Albert a woman with a fortune of 4 million guilders (approx. 63 million euros). While Marie Christine was allowed to maintain the title of an archduchess for all times, her lower-ranking groom received coat of arms and titles of the Duchy of Teschen and from then on called Herzog Albert von Sachsen-Teschen. The wedding was celebrated on April 6, 1766 in the small, family framework and “Incognito” in Castle Hof. The love marriage followed a happy marriage. “Mimi” and “Berti”, according to the intimate nicknames, combined an intimate and passionate love throughout his life. Maria Theresa appointed her son -in -law to the Reichsfeldmarschall and Locumtenens (governor) of Hungary; From April 1766, the couple resided in the Royal Castle of Pressburg.
Duke Albert von Sachsen-Teschen and Archduchess Marie Christine were not ruling monarchs, but through their high birth they belonged to the European elite. Office and dignity of the couple-she represented the dynasty in Hungary and in the Austrian Netherlands (where she was co-regent), he took as an empire (general) field marshal, locumtenens, knight of the order from the golden fleece and the Austrian-imperial leopold Orders, in the Netherlands, primarily as a general governor, high military, political and social positions – expressed themselves in an elaborate lifestyle. Their feudal need for representation was reflected in an extensive court, illustrious festivals and exquisite hunting societies. The residence locks in Pressburg and Brussels as well as the Vienna Palais housed unique equipment; Magnificent gobelins from the royal-French court manufacturers, most precious silverware, exquisite furniture and noble busts of Josiah Wedgwood. The 25,000 volumes, which was one of the most important of the continent, enjoyed a particularly high priority. High education, excellent artistic understanding and exquisite taste showed Albert and Marie Christine as “Grand Homme” and “Grande Dame”. [first]
journey to Italy [ Edit | Edit the source text ]
The couple made an educational trip to Italy from January to July 1776. The route included visits to the courtyards of Marie Christine’s siblings in Parma, Florence, Naples and Modena as well as a stay in Rome. In addition to ancient monuments and baroque sacral buildings, they visited the Vatican Museums with the Pio Clementino and the Nobilità palaces with their important private collections. Pope Pius VI. Granted the high couple several times and presented him with valuable gifts. In Naples, Duke Albert was interested in natural phenomena and climbed the Vesuvius with the British ambassador Sir William Hamilton. Marie Christine spent a lot of time with the court society and her favorite sister Queen Marie Caroline, who gave her several paintings by Jakob Philipp Hackert to depart. At the Florentine Hof Grand Duke Leopold, the couple stayed the longest. The relationship with the brother was warm and the cultural and social life offered a lot of variety. Albert visited the magnificent collections in the Ufficios three times. [first]
In 1776 the cornerstone of the collection was laid [ Edit | Edit the source text ]
At the end of the Grand Tour, Albert and Marie Christine visited the Republic of Venice. According to an order from 1774, the Austrian ambassador Giacomo Conte Durazzo presented them on July 4, 1776 for a thousand copper engravings. The former director of the Wiener Hoftheater was close friends with the couple and also wrote to Duke Albert the Discorso Preliminars, the founding certificate of the Albertina, in which he determined the principle of order and systematics of the collection. Based on the Préliminaire discours of D´Alembert to the Encyclopédie published with Denis Diderot, the collection should not only serve the princely representation, but also contribute to the education and the good of humanity. On the same day, the founding fathers of the United States in Philadelphia signed the Declaration of Independence. It was the first Basic Law based on the principles of Enlightenment. In the same year, Maria Theresia graduated from the “embarrassing questioning”, Adam Weishaupt founded the Illuminati order in Ingolstadt, Adam Smith published The Wealth of Nations And James Cook broke down to his third and last circular reconciliation. [first]
The legacy [ Edit | Edit the source text ]
Archduchess Marie Christine died in Vienna in 1798. Albert made Antonio Canova, the most famous sculptor of his time, to design an impressive grave monument. Canova designed a pyramid -shaped kenotaph that was set up next to the Palais of the Duke in the Augustinian Church – the first public grave monument for a woman in Vienna. [2]
Duke Albert, largely withdrawn from the public, spent the last decades of life, in his palace and primarily devoted himself to the expansion of his collection. In 1816, Duke Albert determined the collection for indivisible and inevitable Fidei Commission in his will. [first] After Albert’s death in 1822, the collection, like the Palais, was taken over by his heir Archduke Karl, subsequently by the Archdudes Albrecht and most recently Friedrich. During this time, the graphic collection was further expanded. At the time, however, like the Palais, it was no longer privately owned by an archduke, but was part of the Habsburg Family Fund, which, in 1919, was taken over in the possession of the Republic of Austria without compensation.
The Albertina in the 1st Republic [ Edit | Edit the source text ]
With the end of the monarchy in 1918, the time of decline began for the representative building of the Albertina. Nothing was to be reminiscent of the Habsburg roots of the collection, from now on the displacement of the history of the palace, the memory of its inhabitants and the magnificent classicist equipment of the splendid makers took place. In April 1919, the building and collection went into possession of the republic. In 1920 the collection was united with the existence of the print graphics of the former imperial court library. In the same year, all state rooms were closed to the public and used as an offices, library or to store the collection. There was no maintenance handling of the precious decorations, which was gradually devastating the glamorous cultural heritage. However, it can only be spoken of an actual will to destroy after the Second World War. Since 1921, buildings and collection have officially been called Albertina.
As much as the building suffered, the constant expansion of the collection sought by Duke Albert, was still continued from 1923 to 1934 by the then director of Albertina, Alfred Stix. He managed to complete the stocks through the acquisition of French and German drawings of the 19th century, which has hardly been represented so far. [3]
The Albertina in World War II and afterwards [ Edit | Edit the source text ]
From 1934 to the end of the Second World War, Alfred Stix continued to devote himself to the focus of the Austrian and German graphics of the 19th and 20th centuries. On March 12, 1945, Albertina was badly damaged in an American bomb attack. Instead of rebuilding the palace afterwards, the history of history started in 1919 was continued. The former Habsburg Palais was an unadorned, architecturally uninteresting and its historical identity, which was reopened by the “Graphic Collection of Albertina”. [3] The Albertina was only publicly accessible for decades a few hours a day (around 1936: 27 hours per week, 1959: 35 hours per week) and recorded low number of visitors. Her scientific director attached much more importance to their study character than on the effect of the collection in the general public. The fact that many graphics were rarely suspended for the light for conservatory reasons contributed significantly to this attitude.
From 1962 to 1986, Walter Koschatzky acted as a director. He organized over 200 exhibitions and published numerous art -historical works on the graphic arts. In its era, the Albertina was publicly perceived again.
Present [ Edit | Edit the source text ]
The Albertina was again made accessible to the audience after over a decade of closure, extensive expansion, modernization and careful restoration. The Albertina was to be reopened in 2002 after the renovation work started in 2002 after the early 1990s. The find of a Roman burial field with over 130 graves delayed the renovation. [4] In the course of the restoration, missing parts of the facades cut off in the 1950s were reconstructed and the Habsburg state rooms were restored. For the first time in 80 years, the classicist state rooms were renovated and large parts of the original furniture commissioned by Duke Albert 1780 to 1805 and Archduke Karl 1822 from Josef Danhauser were bought back all over the world after the First World War. After the state rooms were used as offices and depots for 80 years, they could be made accessible to the public for the first time in the history of the palace. The museum entrance was again placed on the historically original level of the Bastei. In order to make the comprehensive presentation of the collections possible, four exhibition halls were set up and the exhibition area was expanded from only 150 m² to 5,000 m². At the same time, a deep memory with 5,000 cubic meters was built. [5]
Hans Hollein was commissioned to redesign the entrance. Especially the so -called “Soravia Wing”, a striking flight roof, was in the center of controversial and mostly critical media attention. [6] With the Wing, the modernization of the museum’s infrastructure should be made symbolically clear to the outside world, which is why a widely cantilevered roof wing was chosen. The escalation, which is over 60 meters long, the bastion sloping the escalator and the panoramic lift should shorten the distance between the street level and the entrance on the Bastei optically and technically.
Since his appointment as director of Albertina, 1999, Klaus Albrecht Schröder has been responsible for renovating and repositioning the house, which has been defined as a scientific institution since January 1, 2000. At the same time, the museum’s name was changed to “Albertina” to express the originally intended unity of the founder of the collection, palace and museum. In addition, with the elimination of the “graphic collection” in the museum name of the fact that the Albertina now housed three large collections: in addition to the graphic collection, the architectural collection and the in 2000 by merging the significant historical stocks of the Graphic Federal Experience and Experimental Institute the photo archive of the Langewieschen publisher (blue books) founded photo collection. In the following years, Schröder increasingly did not content himself not to present his own collections, but also conclude cooperations with private partners and permanent loan. (The Batliner and the Essl Collection had been added until 2018.)
According to the number of visitors, the departure from the sole exhibition of the graphic collection proves to be a success: these increased enormously. The museum is now one of Vienna’s most visited sights and recorded over a million visits in 2018.
Klaus Albrecht Schröder introduced a new presentation doctrine on the Albertina, underlining the indivisibility of the artistic. The expansion of the Albertina to an art museum with the four different collections (graphic collection, photo collection, collection of paintings, architecture collection) and a historical reminder of the protective rooms is also reflected in the number of employees of the Albertina: After 60 employees in 1999, Albertina counts today The 300 employees. The sum of the purchases was also increased during the period – to seven million euros a year. [7]
A new study hall was opened in 2008. As part of the underground, four -storey research center, in which, among other things. The library, the restoration and the Albertina workshops are housed today, today the collection that counts over a million works is made accessible in the approximately 300 m² hall.
In the event of heavy rains in June 2009, water penetrated into the deep memory. The detectors had recognized the water entry, but the robots were paralyzed. To avoid major damage, 950,000 collecting objects had to be shifted. [8]
- Archdowable collection (Fideikommiss since 1816):
- Franz Rechberger: 1822-1827 Head of the Collection and 1827-1841 Director of the Collection
- Carl Sengel: 1847–1863 Director of the collection
- Carl Müller: 1864–1868 Director of the collection
- MORIZ THAUSING: 1868–1876 Head of the Collection and 1876-1884 Director of the Collection
- Josef Schönbrunner: 1884–1896 Inspector of the Collection and 1896-1905 Director of the Collection
- Joseph Meder: 1905–1909 Inspector of the collection, then until April 10, 1919 Director of the Fideic Commissioner Collection and then until December 25, 1920 Director of the Graphic Collection, which was nationalized according to April 3, 1919
- (State) Graphic Collection Albertina
- Joseph Meder: December 25, 1920–1922 Director of Albertina
- Alfred Stix: 1923 provisional director of Albertina and 1923-1934 Director of Albertina
- Josef Bick: 1934–1938 Director of Albertina and 1945–1946 Director of Albertina
- Anton Reichel: 1938–1942 provisional director of Albertina and 1942 – February 1945 Director of Albertina
- Heinrich Leporini: February to May 1945 provisional director of Albertina
- George Saiko: May to July 1945 provisional director of Albertina
- Josef Bick: 1945–1946 (again) Director of Albertina
- Karl Garzarolli-Thurnlackh: March to August 1946 Head of Albertina and August 1946 to April 1947 Director of Albertina
- Otto Benesch: May 1947 to the end of 1947 head of Albertina and from late 1947 to 1961 director of Albertina
- Walter Koschatzky: 1962–1986 Director of Albertina
- Erwin Mitsch: 1986–1987 Interimistic director of Albertina
- Konrad Oberhuber: 1987–1999 Director of Albertina
- Klaus Albrecht Schröder: Albertina director since 1999 [9]
The Albertina houses five collections (as of 2020):
- Graphical collection: around 950,000 drawings and print graphics, sculptures and ceramics
- Architecture collection: 50,000 plans, sketches and models
- Photo collection: 101,000 individual objects
- Batliner Collection, classical modernity, since 2007
- Essl collection since 2017/2018
The focus of the graphic collection is:
- Albrecht Dürer and his time
- The Italian champions of the Renaissance
- The Dutch art of the 16th and 17th centuries
- Italian baroque and late baroque
- French drawings of the 18th century
- Austrian watercolor painting of the 19th century
- Vienna around 1900
- Classical modernity and contemporary art
In spring 2007, Albertina received the Batliner collection previously based in Salzburg as an indefinite permanent loan. The collection of Rita and Herbert Batliner is one of the most important European private collections. It includes important works of classical modernity, from French Impressionism to German Expressionism of the “Blue Rider” and the “Bridge” to works of Fauvism or the Russian avant -garde from Chagall to Malewitsch. [ten] With this extension of the collection, the Albertina is presenting a permanent exhibition from its own stocks for the first time since its existence.
On February 16, 2017, Minister of Culture Thomas Drozda, Karlheinz Essl and Albertina director Klaus Albrecht Schröder announced that the Essl collection would go to the Albertina as a permanent loan until 2044. The Albertina also took over the former museum of the collection in Klosterneuburg as a depot for ten years. [11] [twelfth] In 2018, the ESSL loan was converted into a donation to the Albertina.
The Albertina was depicted on the back of the 20-shilling license from October 19, 1988 to February 28, 2002, when the Schilling was pulled out of traffic after the introduction of the euro. (Moritz Daffinger was depicted on the front, of which portrait miniatures are located in the Albertina.)
- Christian Benedik and Klaus Albrecht Schröder: The foundation of the Albertina – Duke Albert and his time . Hatje Cantz, Ostfildern, Germany 2014.
- Christine Ekelhart: Describing catalog of hand drawings in Albertina, Volume XI, French drawings and watercolors from the 19th and 20th centuries of Albertina . Vienna 2007.
- Heinz Widauer: Descriptive catalog of hand drawings in the graphic collection of Albertina. Volume X, the French drawings of the Albertina. From the baroque to the beginning of Rococo . Vienna-Köln-Weimar 2004.
- Barbara Dossi: Collection history and masterpieces . Prestel, Munich-New York 1998.
- Maren Gröning and Marie Luise Sternath: Describing catalog of hand drawings in the graphic collection of Albertina, Volume IX, the German and Swiss drawings of the late 18th century . Vienna 1997.
- Eckhart Knab and Heinz Widauer: Descriptive catalog of hand drawings in the graphic collection of Albertina. Volume VIII, the drawings of the French school from Clouet to Le Brun . Vienna 1993.
- Luke Hermann: Describing catalog of hand drawings in the graphic collection of Albertina, Volume VII, the English school. Drawings and watercolors of British artists . Vienna 1992.
- Veronica Birke, Janine Gardener: The Italian drawings of the Albertina. (= Publications of the Albertina . General directory in 4 volumes, 1992–1997, No. 33–36 ). Vienna / Cologne / Weimar.
- ↑ a b c d It is f g Christian Benedik, Klaus Albrecht Schröder: The foundation of the Albertina – Duke Albert and his time . Ed.: Albertina. 2014 (publication for the Dürer exhibition, Michelangelo, Rubens. The 100 masterpieces of Albertina).
- ↑ Kenotaph is male according to the Austrian dictionary, according to Duden.
- ↑ a b Christian Benedik: The Albertina – the Palais and the Habsburg state rooms . Hrsg.: Albertina. 2008.
- ↑ Remodeling on installments , Nextroom.at (accessed June 25, 2009)
- ↑ The central depot of the Albertina ( Memento from May 18, 2015 in Internet Archive ) (PDF; 90 kB)
- ↑ See u. A. Jan Tabor, which was added as a weblink, in Falter (weekly newspaper) of December 17, 2003, and previously Elisabeth Leopold in Kronen-Zeitung September 14, 2003 as well as Kurier and the Standard of December 12, 2003
- ↑ Interview with Albertina director Klaus Albrecht Schröder. Accessed on August 5, 2021 .
- ↑ Albertina: Hundreds of protective covers soaked on ORF Vienna of June 25, 2009, accessed on June 29, 2009
- ↑ Barbara Dossi: Collection history and masterpieces . Hrsg.: Albertina. 1998.
- ↑ Klaus Schröder, Susanne Berchtold: Monet to Picasso: The Batliner collection . Ed.: Graphic Collection Albertina. 2007 (exhibition of the Albertina).
- ↑ Essl collection goes to Albertina , ORF.AT , February 16, 2017
- ↑ Essl collection goes to the Albertina , The press , February 16, 2017
- ↑ Museum check: Albertina Vienna. In: Fernseherien.de. Retrieved on November 12, 2020 .
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