Szilágyi András (szerk.): Ars Decorativa 15. (Budapest, 1995)

ÁCS Piroska: „Átváltozások" - Stobwasser-szelencék dekorációinak művészeti párhuzamai

NOTES 1. The main works dealing with the activity of the Stobwasser manufactory are as follows: Philips, Philip A. S.: Stobwasser-Ware. In: The Connoisseur 85, 1930 (166-173); Philips, P. A. S.: Stobwasser and Stockman. In: The Connoisseur 85. 1930 (232-240); Holzhausen, Walter: Lakkunst in Europa, Braunschweig, 1959; Richter, Detlev: Lackdosen, München, 1988. 2. He took over direction of the firm after his father's death. 3. However, the illustration on the lid usually bore a title - normally alluding to the author of the masterpice. The delicate red ink incriptions in cursive writing were made by specially trained artists. Inv. Nr.: 69.1413. Papier-maché, Japan. H: 2 cm. Brunswick, beginning of the 19th century. 5. "Das Chor- nach Hogarth. Eine Gesellschaft Sanger und Ton-Künstler führt unter der Leitung des Kapellmeisters Fesch das Oratorium Judith auf, wird aber von dem unzufriedenen Publicum genötigt in der Mitte aufzuhören." (The Choir, after Hogarth. A society of choral singers and musicians present the oratorio Judith under the direction on the conductor Fesch, but is obliged to stop in the middle of the work because of a discontented public.) 6. Huggins Jr. (1696-1761) was a close friend of Hogarth. As a response to the problems which occurred after the publication of the series" The Whore's Progress" (pirate editions, unlicensed publications), he wrote and presented a bill on copyright. (The bill was passed by Parliament in 1735, and was called the "Hogarth law"). In 1757 he anonymously published a full English translation of Ariosto's "Mad Orlando". In 1760, Thomas Mayor made an engraving of his portrait, on the basis of a painting done by Hogarth around 1745. This print was to have embellished the title-page of his Dante translations. 7. The Dutch artist (Alkmaar, 1687-London, 1761) began his career as a violin teacher. He then became choirmaster of Antwerp cathedral. He established himself in London in 1732, where he then became head of the Marylebone Gardens ensamble. He was the author of three oratorios (now lost), a number of chamber-music pieces, and canzonettas. 8. Its topic, Israel, God's chosen people - as the model of the British Empire - was usually rather popular in the new, bourgeois sections of the population in the early years of capitalism (as proved by the popularity of Handel's oratorios, based on similar themes). As a result of its "mania for music" and rapture at the enjoyment of the music, the public was usually not much concerned with the texts. It was, however, shocked by the words of the heroine concerning Holopherne's murder ("As to sever his head from his great trunk for ever and for ever"). By publishing his work, Huggins tried to change the opinion of the public, which in his eyes was prejudiced and undeserving. But even this did not secure the hoped - for success. The title-page of the work was adorned by a print designed by Hogarth and executed by Vandergucht (1733). 9. Later commentators thought that they recognized the figure of the sheep-trader William Tothall in the right-hand corner. He was a close friend and travel companion of Hogarth. 10. We are much indebted to the detailed commentary on Hogarth's graphical works in Ronald Paulson: Hogarth's Graphic Works, London, 1989. 11. Swift, Jonathan: The Legions Club (1736). 12. The work of Antal, Frigyes, Hogarth and His Place in European Art (1962) discusses caricature as a genre in the fine arts, as well as Hogarth's particular relationship with this form (expecially on the basis of his 1743 print entitled "Characters and caricatures") in detail in the chapter "Expression and caricature". 13. "I always considered the knowledge of character, be it noble or vile, as the highest duty of painting and sculpture; as for caricature, I always saw it as its lowest" (Citation by Antal, Frigyes, op. cit. 206). 14. Christian Museum of Esztergom, Collection San Marco, Inv. Nr. 55.648.1-2. Papier-maché, Japan. Diam.: 9,5 cm. Beginning of the 19th century. 15. This sad love story in Greek mythology is linked to the region of the Hellespont Hero, a Thracian princess, is serving as a priestess of Aphrodite in a tower in the town of Sestos. She was seen from the town of Abydos on the other side of the strait, during a festival in honour of the goddess, by Leander who fell in love with her. They kept their love secret because of the vow of virginity the girl had pledged. The young man swam across the strait every night, guided by the torch she lit to guide him, until one night he drowned during a storm. Hero died of grief. 16. Cf.: Pigler, A.: Barockthemen, Budapest. 1974 II. (322-323); Davidson-Reid, Jane: The Oxford Guide to Classical Mythology in the Arts 1300-1990. Oxford, 1993 I. (573-577). 17. Musaeus Grammaticus: De Herone et Leandro (Petri Francii & Iouannis Schraderi, Leipzig. 1825 / National Library 200132 (The Byzantine poet known by the name of Musaeus lived in the 5th century. His biographical data are uncertain.) 18. Hero's letter to Leander: Heroides XIX 191-200 19. Leander's letter to Hero: Heroides, XVIII 195-202 20. Kunsthistorisches Museum, Vienna. Canvas, 205 x 156 cm. Inv. Nr.: 727 (1063) 21. The Flemisch painter C. Schut (1597-1655), belonged, like Hoecke, to Rubens' circle. 22. Vorsterman made a copperplate of the oil painting kept in the Alte Pinakothek Munich. 23. The drawing of Leander naked possibly origi-