Collecting Central Europe  
  The History of Collecting of Central and Eastern Europe  

 Drawing of the Studiolo of Francesco I, Palazzo Vecchio by Jess Wright (2021)

Programme 2022

24 May 2022

Kunstkammer Workshop: Issues of Research and Terminology

Three ten-minute presentations followed by discussion

Andrea M. Gáldy, LMU
Andrea is the founder of CCE. Her interest in the kunstkammer/studiolo is the result of her doctoral research on the collections of Cosimo I de’ Medici in sixteenth-century Florence.
Mark A. Meadow, UCSB
“Specifying Knowledge: Quiccheberg on Prudence and Cognition”
Mark A. Meadow is a professor of Northern Renaissance Art and the History and Theory of Museums. His research interests include the relationship of art and rhetoric, early-modern ritual and spectacle, and the origins of Kunst- and Wunderkammern and mutable concepts of value in collections and museums.
In his 1565 treatise on Kunst- and Wunderkammern, Samuel Quiccheberg utilizes specific terminology concerning the forms of knowledge produced by the collection. I will discuss two terms in particular – prudentia and cognitio – and their implications for our understanding of these early collections.
Renate Leggatt-Hofer, independent scholar
“A New Separate Building to House the Collection in Vienna in 1558. Ferdinand I as Trendsetter?”
Renate is art historian who used to work for the Federal Monuments Authority Austria at the Scientific Inventory Department and as the Head of the Executive Department for Public Relations. She took part in the research project on the Vienna Hofburg organised by the Austrian Academy of Sciences (2010-16). Her main research interests include among others early modern art collecting displayed in residential architecture.
In 1558, a new kunstkammer building was erected in Vienna. It was the first known autonomous building in central Europe, exclusively designed to house the imperial collections. In the eighteenth and nineteenth centuries, the building was “swallowed” by newly built residential structures. Although there are few remains, its exact position, appearance and building history could be detected and virtually reconstructed. It is the aim of this paper to discuss the idea of having a separate “museum” in Vienna and what it meant for the set-up of kunstkammern for the Habsburg dynasty and the Wittelsbach dukes Munich.
Eliška Zlatohlávková, Univerzita Palackého v Olomouci
“Echoes of Rudolf II’s kunstkammer in Peter Wok’s (1539–1611) residence in Třeboň (Wittingau) – spatial organisation of art collections”
Eliška is an art historian who has been working on the topic of Rudolfine art since her doctoral research at Charles University. Her present research focus is on collecting in the early modern era, in particular on spaces for the display of art collections in the lands of the Bohemian crown.

21 June 2022

Barbara Murovec (Visiting Scholar at the Kunsthistorisches Institut in Florenz):  

German, Italian and Slovenian National Heritage – Considered through Collecting of Cultural Objects in 1941/1942 and 1945/1946

Lecture of ca. 40 minutes followed by discussion

The lecture will analyse Slovenian examples of cultural heritage to show the characteristics of dealing with them during and immediately after the Second World War, as well as the practices of collecting and musealisation of objects in the Alpe Adria region. It will address the issue of institutional art history still being trapped in exclusive national narratives and its resulting applications.

How did the search for “national heritage” proceed in the first years of the Second World War and during the time immediately after the war on the territory of present-day Slovenia? Who inventoried cultural objects and for whom? How were new museums and collections created, on what (legal) basis and with “whose” objects? What were the reasons for the transfer of cultural objects? What was safe-guarded, restored, newly acquired or shown in exhibitions during the first years of German and Italian occupation? And how did these processes and phenomena continue, develop or change after the end of the war in Yugoslavia? How was and is national identity of cultural objects determined, and how might art historians think (differently) about their role and the meaning of identity in the context of the history of the discipline and the mission of institutions in the twenty-first century?

Barbara Murovec, Visiting Scholar at the Kunsthistorisches Institut in Florenz – Max-Planck-Institut, studied art history and comparative literature in Ljubljana, Munich, Vienna and Graz. She obtained her PhD in Ljubljana in 2000 and her habilitation in Maribor in 2009, where she taught from 2010 to 2019. From 2005 to 2018, she was director of the France Stele Institute for Art History of the Research Centre of the Slovenian Academy of Sciences and Arts and, from 2010 to 2016, she served as Secretary and Second Vice-President of RIHA (International Association of Research Institutes in the History of Art). Most recently Barbara was a guest scholar at the Getty Research Institute in Los Angeles and at the Zentralinstitut für Kunstgeschichte in Munich. She coordinated several national and international projects; the monograph of the EU HERA project (2016 to 2020) Transfer of Cultural Objects in the Alpe Adria Region in the 20th Century (TransCultAA) will be published by Böhlau in autumn 2021 (ed. together with Christian Fuhrmeister).

26 July 2022

Paul Schuster, Eggenberg Castle, Graz, Austria

Guided tour to the Museum of Eggenberg Castle

Recorded guided tour of the museum followed by live q & a session

Built after1625 as a residence for the imperial governor Hans Ulrich von Eggenberg (1568-1634), Schloss Eggenberg was intended as a political statement. It was a power house, the sophisticated legitimation of dynastic rule. The house was designed as a huge allegory, a symbolic representation of the universe. The architectural programme is based on strict number symbolism.
With its original seventeenth- and eighteenth-century designs, furniture and decorations, the flight of 24 state rooms is among the most significant ensembles in Austria. The rooms have retained their original appearance for over 250 years. They still have no heating and no electricity, simple windows and chandeliers with candles. A special feature offered at Schloss Eggenberg is the opportunity to experience its Baroque rooms under Baroque lighting conditions.
The quality and extent of Eggenberg’s authentic building fabric – the product of many historical coincidences – represents a particular stroke of luck, which eventually secured Schloss Eggenberg its place on the list of UNESCO World Heritage sites.

Paul Schuster, curator at Schloss Eggenberg, read art history and romance studies (Italian) at the University of Graz and earned his PhD with a research project on: “Schloss Eggenberg - A study of its architecture, building history and functions 1470-1717 (2021)”. Thereafter, he joined the international research network “PALATIUM - Court Residences as Places of Exchange in Late Medieval and Early Modern Europe (1400-1700)” to continue his research with the support of scholarships for summer schools held in The Netherlands and Spain as well as at “The Attingham Summer School” in the United Kingdom.