SANDRA KANDUČAR TROJAN
аrt historian, The Museum of Arts and Crafts, Zagreb
RADOVI BEČKOG SLIKARA ANTONA KOTHGASSERA U ZAGREBU
ARTWORK OF VIENNESE PAINTER ANTON KOTHGASSER IN ZAGREB
Journal 8/2012 (Museum of Applied Art), pages 55-64
748.035.37(497.5)”18” ; 75.071.1:929 Kothgaser A.
Abstract (original language):
U vrijeme bidermajera staklenim čašama kao predmetima za poklon ili uspomenu pridaje se veliko značenje. Anton Kothgasser (1796–1851) je bečki slikar na porculanu i staklu, koji je postao slavan zahvaljujući oslikavanju transparentnim emajlnim bojama. Mnoge staklene čaše signirao je svojim inic
Key words: (original language)
Anton Kothgasser, bidermajer, Maksimir (Zagreb), primijenjene umjetnosti, staklo
In the first half of the 19thcentury, both glass objects for everyday use and those considered to be souvenirs, became more accessible to a larger number of people due to a drop in price of raw materials and improvement of work techniques. Different techniques and ways of glass decorating flourished during the Biedermeier period. One of the most popular techniques was transparent enamelled colour painting on glasses and on window panes in churches or other important objects. Samuel Mohn made that type of glasses, and his son Gottlob improved the technique and revealed the secrets of glass painting tomany painters from Viennese porcelain manufactory. One of the most famous artists is Anton Kothgasser (1796-1851). He signed glasses made of glass with his initials A.K. A high number of objects were made in his workshop, but it is difficult to attribute them to Kothgasser himself or some other painter. This paper will analyse glass objects that are a part of collection of Zagreb museums (The Museum of Arts and Crafts and The Marton Museum), as well as painted windows in The Swiss House in Maksimir Park in Zagreb. The windows were painted by A. Kothgasser according to the plan by Eduard Gurk (1801 – 1841), a Viennese landscape painter, and were modeled after the Luxemburg Castle outside Vienna as a symbol of romantic inspiration. The purpose of this paper is to shed some light to objects in Zagreb and the connection between Biedermeier artists and their clients from Zagreb.
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