Buzási Enikő szerk.: In Europe' Princely Courts, Ádám Mányoki, Actors and venues of a portraitist's career (A Magyar Nemzeti Galéria kiadványai 2003/1)

Harald Marx: "THE LUCKY STAR OF PAINTING HAS RISEN" Painting and Art Patronage in Dresden under Augustus the Strong and Augustus III

After C. A. Encke by Michael Keyl: Cross section of the Brühl Belvedere with ceiling paintings by Stefano Torelli, 1761 Dresden, Staatliche Kunstsammlungen Dresden, Kupferstichkabinett himself. Together with Brühl's negative reply of April 27, 1742, Silvestre also received the happy news that his salary would be raised by another 20 thalers."

85 In making the above-mentioned series of engravings of the royal picture gallery and, simultaneously, at the insistence of Heineken, of Brühl's collection too (of which fifty engravings were published in 1754), draughtsmen were needed to provide the engravers with patterns. In 1768 Heineken made a point in stressing that the "great history paintings seen here [...] cannot be translated into engravings on a diminished scale without a preliminary drawing. The sheer outlines, called contours, do not suffice."

86 In addition to Pierre and Charles Francois Hutin, Giovanni Battista Internari (died 1761), Francesco Gandini (1723-1778), Stefano Torelli, and Matthias Oesterreicher (1716-1778), the Roman-born Marcello Bacciarelli (1731-1818) deserves mention. He "was called to the Dresden court in 1750 to make drawings of the gallery's paintings chosen for reproduction in copperplates."

87 Bacciarelli and his wife, miniaturist Johanna Juliane Friederike Richter (1733-1812), went to Vienna in 1756. After the Seven Years' War, they returned to Dresden for a while, then moved to Warsaw where they had a brilliant career.

88 "A NOBLE GENTLEMAN MUST HAVE A CABINET" Collectors, connoisseurs and artists in Dresden The catchphrase "Dresden in the mid-18

th century" immediately brings to mind Augustus III, Count Brühl, the collections of the elector-king, the no-less-famous Opera, as well as the French, German, and Italian court painters and architects. It is more likely to be forgotten that, at the same time, the court was not the only employer of many artists and collector of works of art, for there was a whole regiment of book lovers, art fans and patrons in Dresden at that time.

89 Worth mentioning is Count Heinrich von Bünau (1697-1762), minister and qualified historian, who employed Johann Joachim Winckelmann (1717-1768) from 1748 to 1754 at Nöthnitz.

90 Winckelmann made friends here with the painter Adam Friedrich Oeser (1717-1799), who was working for Brünau and later filled the directorial post of the Leipzig Academy. Winckelmann came into personal contact with contemporary art through Oeser.