Scholarly catalogue “German Paintings in the Städel Museum 1550–1800, Part 2: 1725–1800”

在过去的近三十年里，Städel博物馆一直致力于对其早期大师画作的深入分析。自申请人于1993年提交第一份早期荷兰绘画目录以来，所有学术目录都以系统整合技术调查方法（显微镜，紫外线荧光，红外反射摄影，x射线，树木年表）来区分。在对1550年前荷兰、德国和意大利绘画以及荷兰和佛兰德巴洛克绘画的全部收藏进行研究之后，学术目录项目“Städel博物馆中的德国绘画1550 - 1800”的第一部分，集中于1550年至1725年的德国绘画，最近已经完成。第二部分，专门研究1725年至1800年的德国绘画，现在开始填补研究中剩下的最后一个空白。其目的是在三年内对137幅1725-1800年间的德国画作进行彻底研究。这些作品包括约翰·海因里希·威廉·蒂施拜因的《罗马大平原上的歌德》，这是一部享誉国际的杰作。要检查的藏品具有强烈的地地性，包括由所谓的法兰克福“歌德画家”和“荷兰主义者”制作的一大批小型橱柜画，包括Christian Georg sch<e:1>老人、Justus Juncker、Johann Georg Trautmann和Johann Georg Pforr的作品。除了安东·格拉夫（Anton Graff）、弗里德里希·乔治·魏奇（Friedrich Georg Weitsch）等人的肖像画外，法兰克福贵族家庭冯·霍尔兹豪森（von Holzhausens）的22幅肖像画构成了另一个主要群体。藏品还包括德国南部的洛可可绘画和安吉莉卡·考夫曼和雅各布·菲利普·哈克特的新古典主义作品。每个对象都要进行技术检查，并全面记录其历史，并介绍目前的研究状况。随后的讨论将把这些作品嵌入到当前的研究话语中，围绕着与绘画在各自艺术家作品中的意义相关的专题问题。这位艺术史学家将与博物馆的绘画保管员密切合作，澄清有关这幅作品的起源、归属和年代的问题。进一步的步骤将是解释主题，考虑到图像和工作的执行背景。最后一个方面与18世纪德国绘画的整体讨论有关。对于要审查的藏品，与艺术家的社会历史、荷兰和佛兰德艺术的接受、艺术理论以及艺术和收藏家市场有关的问题尤为重要。申请该项目的首要目标是参与并为这些研究领域做出贡献，并使公众和学术界能够访问这些馆藏。

Over the past nearly thirty years, the Städel Museum has been devoted to the in-depth analysis of its Old Master painting holdings. Since the first catalogue on Early Netherlandish painting submitted by the applicant in 1993, all scholarly catalogues have been distinguished by the systematic integration of technological investigation methods (microscopy, ultraviolet fluorescence, infrared reflectography, X-ray, dendrochronology). Following the study of the entire collection of pre-1550 Netherlandish, German, and Italian painting as well as the Dutch and Flemish Baroque paintings, part 1 of the scholarly catalogue project “German Paintings in the Städel Museum 1550–1800”, concentrating on German paintings from 1550 to 1725, has recently reached completion. Part 2, devoted to the examination of the German paintings from 1725 to 1800, is now to commence to close the last remaining gap in the study of the holdings.The aim is to carry out a thorough study of 137 German paintings dating from 1725–1800 within a period of three years. The works include Johann Heinrich Wilhelm Tischbein’s Goethe in the Roman Campagna, a masterpiece of international prominence. The holdings to be examined are otherwise of a strongly regional nature and encompass a large group of small-scale cabinet paintings made by the so-called Frankfurt ‘Goethe Painters’ and ‘Hollandists’, including works by Christian Georg Schütz the Elder, Justus Juncker, Johann Georg Trautmann, and Johann Georg Pforr. Apart from portraits by Anton Graff, Friedrich Georg Weitsch, among others, twenty-two portraits of the von Holzhausens, a family of Frankfurt patricians, make up another major group. The holdings also comprise examples of Southern German Rococo painting and Neoclassicist works by Angelica Kauffmann and Jakob Philipp Hackert. Each object is to be technologically examined and comprehensively documented along with its history, and the current state of research is to be presented. The subsequent discussion will embed the works in the current research discourse revolving around monographic issues related to the significance of the painting in the oeuvre of the respective artist. The art historian will work closely with the museum’s painting conservator to clarify questions pertaining to the work’s genesis, attribution, and dating. A further step will be to interpret the subject matter, taking both the iconography and the work’s execution context into account. The last-named aspect bears a connection to the overall discussion of eighteenth-century German painting. For the holdings to be examined, issues related to the social history of artists, the reception of Dutch and Flemish art, art theory, and art and collectors’ markets are especially significant. The foremost aims of the project here being applied for are to participate in and contribute to these areas of research and to make the holdings accessible to the public and the scholarly community.