Munich; Johann Andreas Wolff (1652-1716) Draughtmanship in Munich around 1700
by Venetia Kapernekas
05.05-17.07.2016 Staatliche Graphische Sammlung München at Pinakothek der Moderne
Johann Andreas Wolff (1652-1716) electoral court painter in Munich and in Freising, was a leading participant since about 1680 numerous sacred and profane new and renovated buildings in southern Germany and Austria, such as in the modernization of state rooms of the Munich Residenz by Elector Max Emanuel. The Staatliche Graphische Sammlung München secures more than half of his surviving drawings that are shown on the occasion of the 300th anniversary of his death at the Pinakothek der Moderne.
Johann Andreas Wolff, VENUS UND AMOR AUF EINEM VON SCHWÄNEN GEZOGENEN HIMMELSWAGEN “Venus and Cupid on a heavenly chariot drawn by swans, design for the ceiling mural in the Munich Residence, around 1692; pen and red-brown ink, grey and light brown wash, over graphite 161 x 250 mm © Staatliche Graphische Sammlung München
Johann Andreas Wolff DIE MYSTISCHE VERMÄHLUNG DER HL. KATHARINA, “The Mystic Marriage of St. Catherine, around 1692; Pen and brown ink, coloured wash, 309 x 215 mm
© Staatliche Graphische Sammlung München
Johann Andreas Wolff, ALEXANDER ZIEHT PERSISCHE KLEIDUNG AN “Alexander wears Persian attire”, design for the ceiling painting (now lost) of the Electoral dressing room in the Munich Residence, around 1680, 341 x 561 mm © Staatliche Graphische Sammlung München
Other patrons were Prince Bishop Johann Eckher of Freising and the abbots of major Austrian pins (St. Florian, Kremsmünster, Göttweig)….In the baroque interior beings throughout the north of the Alps Wolff exercised decisive influence. Its high extraordinary altarpieces dominate today in many South German and Austrian churches and monasteries.
Johann Andreas Wolff HL. SIPPE “The Holy Kinship”, design for the central panel of the altarpiece in the Church of St. Martin and Castles in Landshut, around 1684, pen and red-brown ink, red-brown wash, 304 x 235 mm, © Staatliche Graphische Sammlung München
Since the last monograph on Wolff was drawn up in 1988 (Kuno Schlichtenmaier), the image of work and importance of the painter is to revise. In addition to new discoveries and partially modified ups and a re-reading of the numerous surviving sources new questions are asked to Wolff’s biography and oeuvre: What is his position in the “Organization” of the Munich court to understand? …How did the artist whose ceiling paintings, sculptures and ephemeral Triumphalbauten was designed alongside monumental altarpieces, contributed to the representation of court and church? ,,, Is the role of Munich as an art center in 1700 to re-evaluate? (Johann Andreas Wolff (1652 – 1716) – a court painter and art director Edited by Sibylle Appuhn-Radtke, Josef H. Biller, Dagmar Dietrich and Maria-Luise Hopp-Gantner)
Johann Andreas Wolff DIE VERKÜNDIGUNG AN MARIA “The Annunciation”design for a painting that now hangs in the Diözesanmuseum, Freising, around 1678; pen and black ink, grey wash, heightened with white, on light brow paper, 263 x 179 mm © Staatliche Graphische Sammlung München
Johann Andreas Wolff DIE ANBETUNG DER HIRTEN “The Adoration of the Magi”, design for the Nativity Altarpiece in St. Stephan’s Cathedral in Passau, around 1697, 253 x 199 mm © Staatliche Graphische Sammlung München
Johann Andreas Wolff DAS MAHL DER KLEOPATRA UND DES MARCUS ANTONIUS “The Feast of Cleopatra and Mark Anthony”, probable design for the Alexander Room in the Munich Residence, around 1680; pen and brown ink, inked-in over graphite sketch, grey and light-brown wash, 377 x 292 mm © Staatliche Graphische Sammlung München
The research results of a working group to appear to Wolff’s 300th anniversary 2016 Apelles Publishing. The exhibition of the Staatliche Graphische Sammlung München allows a new look at Wolff as a draftsman.
Johann Andreas Wolff ALEXANDER VERANLASST EPHESTIONIS ZUR VERSCHWIEGENHEIT ‘Alexander makes Ephestionis swear an oath of silence’, design for the ceiling painting (now lost) in the ‘Rittestube’of the Munich Residence, around 1680; pen and black and brown ink, grey and brown wash. 179×180 mm ©Staatlische Graphische Sammlung München
a beautiful publication “Johann Andreas Wolff: Zeichenkunst in München um 1700″ Achim Riether (author); Joseff Strasser (contributor)
all images provided by the Press Department of Pinakothek der Moderne for this editorial reporting. Thank you!