Exuberant Apotheoses: Italian Frescoes in the Holy Roman Empire: Visual Culture and Princely Power in the Age of Enlightenment

626 Pages·2016·41.757 MB·English

by  Daniel Fulco

Exuberant Apotheoses—Italian Frescoes in the Holy Roman Empire
Brill’s Studies in
Intellectual History
General Editor
Han van Ruler (Erasmus University Rotterdam)
Founded by
Arjo Vanderjagt
Editorial Board
C.S. Celenza (Johns Hopkins University, Baltimore) – M. Colish (Yale University)
J.I. Israel (Institute for Advanced Study, Princeton) – M. Mugnai (Scuola
Normale Superiore, Pisa) – W. Otten (University of Chicago)
VOLUME 255
Brill’s Studies on Art,
Art History,
and Intellectual History
General Editor
Walter S. Melion (Emory University)
VOLUME 15
The titles published in this series are listed at brill.com/bsai
Exuberant Apotheoses—
Italian Frescoes in the
Holy Roman Empire
Visual Culture and Princely Power in the
Age of Enlightenment
By
Daniel Fulco
LEIDEN | BOSTON
Cover illustration: Giovanni Battista Tiepolo, details from Apollo and the Four Continents, America, Mars &
Venus, Hour with Horse, Asia, and Africa, 1752, oil on canvas. New York, Metropolitan Museum of Art.
Gift of Mr. and Mrs. Charles Wrightsman, 1977.1.3. Photo: http://www.metmuseum.org.
Library of Congress Cataloging-in-Publication Data
Names: Fulco, Daniel.
Title: Exuberant apotheoses- Italian frescoes in the Holy Roman Empire : visual
culture and princely power in the Age of Enlightenment / by Daniel Fulco.
Description: Boston : Brill, 2016. | Series: Brill’s studies in intellectual
history ; VOLUME 255 | Series: Brill’s studies on art, art history, and
intellectual history ; VOLUME 15 | Includes bibliographical references and index.
Identifiers: LCCN 2015050257 (print) | LCCN 2015050996 (ebook) | ISBN
9789004308046 (hardback : alk. paper) | ISBN 9789004308053 (E-book)
Subjects: LCSH: Mural painting and decoration, Italian—Holy Roman
Empire—17th century—Themes, motives. | Art patronage—Holy Roman Empire. |
Enlightenment—18th century—Europe, German-speaking. | Holy Roman Empire—Intellectual life.
Classification: LCC ND2755 .E98 2016 (print) | LCC ND2755 (ebook) |
DDC 751.7/3094509032—dc23 | LC record available at http://lccn.loc.gov/2015050257
Typeface for the Latin, Greek, and Cyrillic scripts: “Brill”. See and download: brill.com/brill-typeface.
issn 0920-8607
isbn 978-90-04-30804-6 (hardback)
isbn 978-90-04-30805-3 (e-book)
Copyright 2016 by Koninklijke Brill NV, Leiden, The Netherlands.
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For Lisa
∵

Contents
Acknowledgements ix
List of Illustrations x
Abbreviations xxviii
Introduction 1
1 The Aftermath of Military Conflict: A Rise in Princely Visual Culture
(1648–1710) 11
2 War and International Politics: The Staircase Frescoes of Schloss
Bensberg (1710–1714) 101
3 Dynasticism and Cultural Philanthropy: The Pictorial Program of Schloss
Bensberg’s State Rooms (1710–1714) 188
4 The Blue Elector’s Aeneas: Jacopo Amigoni’s Images of War and Triumph
at Schloss Schleissheim (1724–1726) 301
5 Ducal Power and Munificence: Carlo Innocenzo Carlone’s Frescoes in
Schloss Ludwigsburg (1731–1733) 349
6 Prince-Episcopal Patronage and World Civilization: Giovanni Battista
Tiepolo’s Apollo and the Four Continents in the Würzburg Residenz
(1751–1753) 436
Excursus: Italo-Germanic Artistic Exchange and Collaboration 502
Epilogue 539
Bibliography 553
Index 583

Acknowledgements
To begin with, I owe a special debt of gratitude to David O’Brien, who went well
beyond the call of duty in originally editing this manuscript and offering many
helpful suggestions. His thorough guidance and constant encouragement
throughout the duration of this project ensured its final success. I would like
to thank Heather Hyde Minor, Lisa Rosenthal, Mara Wade, and in particular,
Vernon Hyde Minor, who initially inspired me to pursue this topic and publish
my work. These colleagues have offered me excellent insights and encouraged
me to transform my dissertation into a book. At Brill, I very much appreci-
ate the assistance of Walter Melion, the General Editor of this series, and the
editiorial support of Ivo Romein, both of whom ensured the realization of this
project. Special thanks are also due to the anonymous readers whose insightful
feedback on the manuscript helped shape and refine the final revisions.
In Europe, I am most grateful to the following persons for their advice
and assistance in conducting my research: Ulrich Krüger; Alexandra Hanzl;
Judith Bolsinger; Irene Kremser; the Matutschka-Greiffenclau family; Ina
Harnischfeger; Franz, Duke of Bavaria; Elisabeth Weinberger; Andreas
Leipnitz; Magdalena Popp-Grilli; Ingrid Heeg-Engelhardt; Arthur Stögmann;
Johann Koutek; Kay Froehlich; Gerrit Thiebes; Jens Burk; Charlotte Gommel;
Rita Schellenberg; Susanne Just; Tillmann Kossatz; Marcus Dekiert; Max
Morsches; Hubertus Kohle; Frank Büttner; and Werner Helmberger. Special
thanks go to colleagues and institutions that kindly provided images for pub-
lication: the Alte Pinakothek and Bayerische Gemäldesammlungen, Munich;
the Bayerische Schlösserverwaltung; Regina Kaltenbrunner and Werner
Friepesz at the Salzburg Museum; Patricia Peschel from the Staatliche Schlösser
und Gärten Baden-Württemberg; Theobald Seyffertitz of the Schlossverwaltung
Salzburg; and Robert Baldwin. Financial support for research and writing was
furnished by the German Academic Exchange Service (DAAD), The Pittsburgh
Foundation, and the University of Illinois at Urbana-Champaign.
In addition to these organizations, I am indebted to my parents for their aid
and encouragement from the beginning of this undertaking to its conclusion.
Last but not least, I gratefully acknowledge the personal and practical support
of my wife, Lisa Yang, who helped me immeasurably throughout this endeavor.
She not only prepared a range of diagrams and maps for the present volume
but offered me her sound advice at every step of the way throughout the course
of this project. It is her unwavering inspiration and optimism that brought this
book to fruition.