Jávor Anna - Lubomír Slavícek szerk.: Késő barokk impressziók, Franz Anton Maulbertsch (1724-1796) és Josef Winterhalder (1743-1807) (A Magyar Nemzeti Galéria kiadványai)

Tomas Vales: Ifj. Josef Winterhalder (1743-1807), Maulbertsch legkiválóbb freskófestő tanítványa. Fejezetek egy készülő monográfiából - A vég vagy a kezdet?

works in churches, he was mainly contracted for the painted decoration of aristocratic residences, but only few works survive. End or beginning? As a result of recent researches, a far more complex oeuvre unfolds. Despite Maulbertsch's strong influence, Winterhalder found his own autonomous painterly language manifest in the altarpieces in a cooler palette, peculiar figure types and individual facial features. His frescoes show him at first as a brilliant colourist, while towards the late 18th century he produced grisaille pieces. They were primarily painted for clients among the Moravian nobility, reflecting current neo-classical tendencies. Thanks to archival research, Winterhalder's more deeply explored intellect also appears remarkable. He kept tabs on contemporary literature, including e.g. Christoph Martin Wieland of the German Enlightenment. He corresponded about artistic problems, too, with the Rajhrad prior Alexius Habrich, the learned sculptor Andreas Schweigl and the Moravian historiographer Johann Peter Cerroni. His penchant for philology is attested by the careful inventory of Louka/Klosterbruck, and also by his autobiography. He put down in notes or drawings the different iconographie themes that he was to use creatively in his own works. His social status is still indistinct. Further researches must clear up the attribution of some oil sketches and paintings ascribed to him. To quote Klára Garas: "New definitions and new problems" are still awaiting the Winterhalder- and Maulbertsch-researchers.