19th CENTURY ART COLLECTIONS
BACK TO NATURE
Rousseau’s cultural critique initiated a tendency towards returning to nature, turning it from the feared threat into the object of romantic longing. Correspondingly diverse are the landscapes on display here, from the Dutch winter landscape, the “romantic” Danube Valley, “classic” Arcadia and the starkness of Helgoland to the Grossglockner glaciers. The pharmacy from Schloss Weinberg illustrates the use of nature for healing purposes and natural historic compounds in scientific research. In the middle of the room vehicles highlight different accesses to nature: The eagle of an imperial ship, a baroque parade sleigh and a draisine, which points the way to the vehicle technology of the future.
IDEAL AND REALITY
The tension so characteristic of art of the 19th century is not least of all reflected in the simultaneity of Classicism and Romantic, Biedermeier and Realism. Correspondingly the thematic focuses range from ancient history and mythology to Judaeo-Christian topics to portrait, flower and genre painting. The baroque allegory lives on in Prud'hon’s “Union of Love and Friendship”. Through the Pierer collection purchased in 1970 there is a focus on Viennese Painting, which is represented in major works by Schindler, Amerling, Danhauser and Waldmüller. Upper Austrians Abel, Reiter, Zinnögger, Wengler and Kronberger also received their own monographic areas. In addition to pictures, there are also furniture, glass, porcelain, iron and miniature woodcarvings on display.
LANDSCAPE IN THE LIGHT
In the 1800s, the study of the old masters was gradually replaced by nature, whereby Steinfeld, Waldmüller and Rudolf von Alt were among the pioneers. Gauermann and Hansch on the other hand, tended towards dramatic exaggeration and the large formats by Kummer, Mevius and Bierstadt continued the sublime ideals.
The Pierer collection purchased in 1970 gives an overview of the Viennese Painting, from Biedermeier to Realism and “atmospheric impressionism”, the “father” of which is considered to be Albert Zimmermann, active in Dresden, Munich and Milan. Influenced by him Schindler, Hörmann, Jettel, Wisinger-Florian, Blau, Russ and Ribarz created a specifically Austrian facet of plein air.
MAKART ERA AND ART NOUVEAU
The room reflects the atmosphere of the metropolis and imperial city of Vienna, characterised by pictures and furniture and a draft for a memorial from the estate of the “Malerfürsten” [“Painter Prince”] Hans Makart, who significantly shaped the style of his era. The pictures by the artist and his painter friends from Munich and Vienna, Kaulbach, Lenbach and Müller, give an impression of the glory of the Gründerzeit, culminating in the monumental picture, “The Harvest” from Helfert Palace and the sensational “Japanese Girl”. It was a counterpoint opposing the Parisian salon painting of Lévy, which also included Veith and Ritzberger among its members.
The decorative arts of Viennese art nouveau are above all represented by the magnificent Lötz vases, the Powolny ceramics as well as jewellery and silver creations by Hoffmann und Moser.