17th Century Italian Drawings in the Budapest Museum of Fine Arts

Fülszöveg

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The Budapest Museum of Fine Arts opened its gates to the public in 1906. The Department of Prints and Drawings is the largest of the museum in numerical terms, and the collection of old master drawings represents almost all the major artists and schools of European art, the Italian school being one of the most comprehensive and most valuable of all.
The proportion of the different regional schools in the museum's 17th century Italian material reflects the art historical significance of the different regions in Italy of the time, and naturally also reflects the taste and knowledge of former collectors, who contributed to the creation of this collection. The Emilian school - and within it mainly the Bolognese - prevails with more than the half of the material overall. Second in ntunber is the Roman school.... Tovább

Fülszöveg

'I M' 'a
i ' !. i I ¦ ' I' ,,11
(, '¦'¦I /
-, I I,: , ' ¦
li'^r).!': !
¦It"! I' ¦ 'i. '!<!' ;
r ,
I.
r'^i t I-'.I' -! if
vi
M.Iim'. .; .'i U.Ut
¦ -¦fivU •¦'(
íiÉ'Hí
The Budapest Museum of Fine Arts opened its gates to the public in 1906. The Department of Prints and Drawings is the largest of the museum in numerical terms, and the collection of old master drawings represents almost all the major artists and schools of European art, the Italian school being one of the most comprehensive and most valuable of all.
The proportion of the different regional schools in the museum's 17th century Italian material reflects the art historical significance of the different regions in Italy of the time, and naturally also reflects the taste and knowledge of former collectors, who contributed to the creation of this collection. The Emilian school - and within it mainly the Bolognese - prevails with more than the half of the material overall. Second in ntunber is the Roman school. The Tuscan - maiidy Florentine - group is the third, while Lombard (Milanese), Neapolitan, Genoese and Venetian schools are less well represented numerically. The majority of the 17th century Italian drawings - more, than 200 pieces, which means almost two thirds of this group -derives from the Esterházy Collection, purchased by the Hungarian State in 1870 fi-om a descendent of the main collector of the family. Prince Nicholas Esterházy (1765-1833). Through individual purchases firom art dealers as well as acquiring whole collections Prince Nicholas assembled a historically balanced collection of drawings largely during the first three decades of the 19th century. Several pieces originated from well known earlier collections, such as that of Antonio Cesare Poggi (1744-1836), Italian painter, engraver, and editor acting mostiy in London and Paris, or Paulus von Praun (1548-1616), Nuremberg silk manufacturer and merchant, who had business interests in Bologna, and whose collection was still intact in the eighteenth century.
A significant addition to the Budapest collection of 17th century Italian drawings was the bequest of Stephan Delhaes (1843-1901), painter in Vienna and restorer to the Liechtenstein princes. The collection was later completed by gifts and purchases through the activity of the curators of the museum, mainly in the first decades ofthe twentieth century, but occasionally also more recentiy.
•tY Vissza