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

Jernyei Kiss János: Az újjáélesztett barokk. Maulbertsch illuzionizmusa és képi retorikája az 1770-es évek monumentális műveiben

15 A korneuburgi és mühlfrauni látszatarchitektúra kivitelezését Vinzenz Fischernek tulajdonítja: Dachs 2005a, 66-67. 16 Garas 1960, 102-103, 105-107, 129-130. 17 Dávid 1999, 118; Jernyei Kiss 434. 18 Maulbertschnek ez az eljárása a pápai plébániatemplom freskóciklusában éri el csúcspontját: Pigler 1922, 21. 19 E képeket a felvilágosodástól és a felvilágosult abszolutizmustól veszélyeztetett katolikus egyház új típusú propagandaeszközeként mutatja be: Galavics 1971, 17. 20 Raffaello ifjabbik Jakabként azonosított apostolfigurájának jelentőségéről: Preimesberger, Rudolf: Tragische Motive in Raffaels „Transfiguration". Zeitschrift für Kunstgeschichte 50 (1987) 103-104. 21 Garas 1960, 127-129. Egykor a homlokzat oromzatát is Maulbertschfreskó, az Isteni Szeretet és Igazságosság, valamint Magyarország két folyójának allegorikus ábrázolása díszítette. 22 Kelényi Gvörgv: Adatok a pozsonyi prímási palota tervezés- és építéstörténetéhez. (Művészettörténeti tanulmányok Mojzer Miklós hatvanadik születésnapjára). A Magyar Nemzeti Galéria Evkönyve, Budapest, 1991, 233-235. 23 Jávor 2004, 80-82. 24 Jernyei Kiss 2007, 436. 25 Garas 1960, 129, beszél „laposságról" és „ürességről", és azt a kivitelezés rövidre szabott idejével, a feszített munkatempóval és a segédek fokozottabb igénybevételével magyarázza. János Jernyei Kiss Baroque revival. Maulbertsch illusionism and pictorial rhetoric in the monumental works of the 1770s Maulbertsch came closest to the baroque in his works of the 1770s, mainly his extensive fresco cycles in churches, than ever before. He appears in this period as the reviver and inventive renewer of 17th century picture rhetorical formulate, of the pictorial syntax of the baroque. He drew consciously on the arsenal of illusionist ceiling painting, and applied with great invention the peculiar communicative means of picture installed in space. Unlike panel pictures, frescoes expose themselves through movement in space, thus views from different vantage points, the sights and their interrelations change. The painter harmonizes these sights with the architectural setting and uses a variety of tools to blur the boundaries of real and pictorial space and unite the viewer's space with the fictitious space of the picture. The application of illusory effects in painting was closely tied to the religious practice of the Tridentine period which ascribed a central role in the process of meditation to the effective functioning of the imagination and the inner senses through which the believer might feel as if he/she were a participant in the sacred events. The mutually stimulating effect of the aesthetic concepts and religious attitude of the age came to predominate monumental church frescoes again in the 1770s. In die cathedral of Vác the heaven-dome well known from baroque churches is embedded in a set of paintings the theme of which is the revelation as experienced by Mary who appears as a seer in the Visitation scene of the high altar painted with nobly pathetic formulae. The picture exposes the effective working of her senses, her inner empirical cognition, which ability was deemed important and effective in the intensification of religious contemplation by Tridentine religiosity. In the complex three-aisle space of the cathedral of Győr Maulbertsch had to coordinate various genres and themes, narrative-historical and triumphant-allegorical representations. The closed structure of panel pictures and the open structure of ceiling frescoes sometimes appear in one and the same pictorial field. A single event of the Biblical history transforms into a timeless and always actual vision; the painter united the divided inner space of the cathedral of a medieval character into a monumental pictorial theophany in the manner of the baroque. In the dome fresco of the chapel of the primatical palace in Pozsony the genres and procedures - historical scene and vision, triumph and affection, „prosaic" narrative and illusion - coalesce into a single picture. In the scene of Saint Ladislas striking water the historicist paraphernalia - the accurate period costumes and arms - as well as the genre-like details and the good rendering of character as demanded by „authenticity" are striking new elements. In the centre of the picture, however, there is a typical Tridentine theme, a mystic vision. Leading his people in the desert in the ancient role and witii the attributes of the christian knight protecting his faith, the king is also shown as a visionary looking at the Virgin holding the Christ Child and their celestial retinue.