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저작권 이 저작물은 퍼블릭 도메인 상태입니다. Johann Wilhelm Baur는 1642에 사망하였으며, 저작권은 작가 사후 70년 동안 유지되므로 1712에 만료되었습니다.
문맥상
Erichthonius’ release — Johann Wilhelm Baur
음영 처리됨: Johann Wilhelm Baur의 생애 (1607–1642) ▲ 이 작품, 1641
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작품 소개
Erichthonius’ release — Johann Wilhelm Baur
Landscape in shades of green and brown. On the right side appears a hybrid figure, child on top and with serpent-like tail and feet, running away from a woman that appears to be throwing water on it from an amphora. Behind them, another woman, older and in a crouching position, seems to want to grab something. The Italian inscription on the back (“Transformazione di Jupiter”) does not match thescene, as it will be seen in the following pieces.It concerns the release of Erichthonius, one of the first mythical kings of Athens. There are several traditions related to his birth. In Ovid’s version (Metamorphoses 2.553-561) it is said to be Vulcanus’ “son of no mother”, the one who would be a legendary king of Athens. In reality, he was born of Vulcanus’ fulminant passion for Athena, as she went to his hell forges to order weapons. While she was running away from the god, he managed to seize her and pour a drop of sperm on her leg, which she shook off to the ground. There the hero was conceived, and that’s why the etymology of his name keeps the Greek term for “earth” (chthôn). Athena, to hide her offspring, enclosed him in a basket, which shehanded to the custody of the daughters of Cecrops. The girls, moved by curiosity, opened the basket; some versions state that they found a child surrounded by two serpents; others affirm that inside the basket was a hybrid being with a serpent tail, as it is common in the beings born from the earth.Ovid, in the referred verses, follows the first version. However, the painter appears to have preferred to illustrate the second one due to its more spectacular nature, a choice rather frequent in the sixteenth and seventeenth century illustrations of the Metamorphoses.
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출생지 Strasbourg, France
Johann Wilhelm Baur, a renowned German painter and engraver, was born on May 31, 1607, in Strasbourg, France. His artistic journey began under the tutelage of Friedrich Brentel, a prominent artist of the time. This foundational training provided Baur with a solid grounding in drawing, composition, and technique.
Following his initial education, Baur embarked on an extended tour of Italy – a crucial period for his artistic development. He had the distinct privilege of working for esteemed families such as the Farnese, Colonna, and Borghese. This exposure to Italian art and patronage significantly shaped his style and subject matter. During this time, he honed his skills in both painting and etching.
Baur is celebrated for his innovative vedute – highly detailed topographical views of cities and landscapes. These works had a lasting impact on German and European art, influencing subsequent generations of artists. He also excelled in miniatures and etchings, demonstrating a remarkable mastery of technique and an exceptional eye for detail. His peers affectionately nicknamed him “Reiger” (heron) likely referencing his meticulous attention to detail.
Baur’s artistic focus centered heavily on mythological scenes, particularly those drawn from Ovid's Metamorphoses. His paintings often depict dramatic moments of transformation and emotional intensity. Some of his most notable works include:
Venus transforms Adonis’ corpse into a flower
Mercury descends from the heavens for the love of Herse
Europa’s abduction by Jupiter
Deianeira’s abduction by the centaur Nessos
Latona and the Lycians
While Friedrich Brentel was his primary early influence, Baur’s time in Italy exposed him to a wider range of artistic styles and masters. The Baroque aesthetic prevalent in Rome and other Italian cities profoundly impacted his work. His innovative vedute paved the way for later topographical painters, and his detailed miniatures influenced portraiture.
Johann Wilhelm Baur passed away in Vienna on January 1, 1642. Despite a relatively short life, he left behind a significant body of work that continues to be admired for its technical skill, dramatic composition, and mythological themes. His contributions remain a cherished part of the region's cultural heritage, particularly within the Musée des Beaux-Arts de Strasbourg (France), which houses an impressive collection of his art.
전시 장소 Aguada, Portugal
Nestled within the verdant landscapes surrounding the charming city of Águeda, Portugal, the
Museu da Fundação Dionísio Pinheiro e Alice Cardoso Pinheiro
stands as a profound testament to the nation’s enduring artistic legacy. It is far more than a mere repository for historical artifacts; it is a carefully curated journey through centuries of Portuguese creativity, where the whispers of the 14th century meet the bold, expressive movements of the 20th. The museum’s very soul is rooted in the passionate lives of its founders, Dionísio Pinheiro and Alice Cardoso Pinheiro. As artists themselves, their testamentary bequest was not simply an act of accumulation, but a visionary gift to Portugal—a desire to establish a sanctuary where beauty could speak across generations, illuminating the evolving identity and artistic spirit of their homeland.
The museum’s collection offers a breathtaking panorama of Portuguese craftsmanship, weaving together diverse media into a single, cohesive narrative. Visitors find themselves immersed in a world where paintings, sculptures, antique furniture, and ceramics coexist in a silent, beautiful dialogue. One cannot wander through these halls without being captivated by the works of
Acácio Luminous de Magalhães
, whose canvases breathe life into historical scenes with a remarkable, naturalistic precision that transports the viewer to another era. This realism is masterfully contrasted by the intense, psychological depth found in the works of
António Teixeira Carneiro Júnior
. His bold experimentation delves into the inner human experience, foreshadowing the rise of Expressionism and creating an evocative tension between the artist’s hand and the viewer's perception.
The architectural setting of the museum serves as a vital component of the artistic experience, embodying a harmonious blend of tradition and modernity. The building itself is designed to foster contemplation, seamlessly integrating classical architectural features with contemporary design sensibilities. This creates a serene, tranquil environment that honors the historical weight of the collection while providing a fresh, light-filled space for modern appreciation. For the interior designer or the discerning collector, the museum serves as an unparalleled source of inspiration, demonstrating how the elegance of antique furniture and the delicate textures of historic ceramics can inform a sophisticated modern aesthetic.
Beyond its permanent treasures, the Museu da Fundação Dionísio Pinheiro e Alice Cardoso Pinheiro remains a living, breathing institution. Through regularly hosted temporary exhibitions, lectures, and workshops, it actively engages the public, ensuring that the dialogue between art and society never falters. It is a place where the interconnectedness of all creative forms—how a ceramic glaze might reflect a broader cultural trend, or how furniture design influences the composition of a painting—is celebrated. For anyone seeking to understand the profound aesthetic traditions of Portugal, this museum offers an intimate encounter with the very heart of the nation's artistic soul.
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Erichthonius’ release — Johann Wilhelm Baur
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