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Peristil : zbornik radova za povijest umjetnosti, Vol.18-19 No.1 Prosinac 1976.



Oto Švajcer

Puni tekst: hrvatski, pdf (19 MB) str. 109-115 preuzimanja: 69* citiraj
Švajcer, O. (1975). Portreti Johanna Georga Weickerta u Galeriji likovnih umjetnosti u Osijeku. Peristil : zbornik radova za povijest umjetnosti, 18-19(1), 109-115. Preuzeto s

The Gallery of Fine Arts in Osijek keeps in its collection of
paintings a certain number of significant works from the 18th
century, predominatly made by Austrian masters. Among these
works is quite conspicuous a larger altar painting of the Holy
Trinity by the late-baroque master J. M. Rottmayr. Further, there
are representative portraits by Ephraim Hochhauser, and most
particularly portraits by J . G. Weickert, which latter are the
subject of the present article.
Weickert was born in Vienna in 1745, died there in 1799. He
was educated at the Vienna Academy of Painting, was a student
of Martin van Meytens, director of the Academy, a man of broad
culture and favourite of the Empress Maria Theresa. Thanks to
the excellent quality of his works, Weickert soon made a name
for himself and was much sought for as a painter. He would
make portraits of numerous personalities of the high and highest
societies, such as portraits of Maria Theresa, Joseph II, Queen
Caroline of Naples, and others. The Osijek Gallery is in possession
of three paintings by this master, the most conspicuous as
to the quality and size being the portraits of Maria Eleonora Pejačević-
Erdody (sized 222 x 149 cm). It is a normal-sized likeness
of the latter, showing the moment when in a park she makes
an offering to a small amorette by throwing incense into an um.
She is clad in rich garments, although restrained in manner and
deeply sunk in thought. Maria Eleonora had come from the rich
old family Erdody de Monyorokerek, was the wife of Karlo Pejačević,
who was 25 years her senior. She was his second partner
in marriage (the f irst was the Spaniard Barbara Baroness of
Sanches de Origosa y Cuenfuentes). This painting was executed
still in the spirit of the Rococo, although certain elements make
us sense the accents of the arriving classicism. The picture was
painted in subdued transparent tones, most particularly the fluttering
dress and the veil, and it testifies to the mastership of
this painter, both in conducting the brush and selecting the colours,
the latter exhibiting delicate pastel-like nuances.

Hrčak ID: 151566



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