'Peintre de Sa Majesté Britannique'. Franz Adolph of Freenthal
and his portrait of Maximilian Hamilton, Prince-Bishop of
Olomouc

J 2012

'Peintre de Sa Majesté Britannique'. Franz Adolph of Freenthal and his portrait of Maximilian Hamilton, Prince-Bishop of Olomouc

SUCHÁNEK, Pavel

Základní údaje

Originální název

'Peintre de Sa Majesté Britannique'. Franz Adolph of Freenthal and his portrait of Maximilian Hamilton, Prince-Bishop of Olomouc

Autoři

SUCHÁNEK, Pavel

Vydání

RIHA Journal, 2012, 2190-3328

Další údaje

Jazyk

angličtina

Typ výsledku

Článek v odborném periodiku

Obor

60401 Arts, Art history

Stát vydavatele

Německo

Utajení

není předmětem státního či obchodního tajemství

Odkazy

http://www.riha-journal.org/articles/2012/2012-jul-sep/suchanek-freenthal-portrait-of-maximilian-hamilton

Označené pro přenos do RIV

Ano

Kód RIV

RIV/00216224:14210/12:00060729

Organizační jednotka

Filozofická fakulta

EID Scopus

84884143564

Klíčová slova anglicky

Franz Adolph von Freenthall; Maximilian Hamilton; bishops of Olomouc; portrait; 18th century

Štítky

rivok

Příznaky

Mezinárodní význam, Recenzováno

Změněno: 7. 6. 2018 14:27, doc. Mgr. Pavel Suchánek, Ph.D.

Anotace

V originále

This essay examines the portrait of Maximilian von Hamilton (1714-1776), the last Prince-Bishop of Olomouc/Olmütz, painted between 1769 and 1772 by Franz Adolph of Freenthal (1721-1773), a former painter to the British royal court. The study focuses in turn on three visual motifs in Hamilton's portrait: the rhetorical gestures of the sitter, his attire and the way he is depicted, and the form of presentation and the function of the painting in the ceremonial space of the princely residence. In examining each of these motifs, account is taken of the specific visual conventions applied in this genre, and of the contemporary rules of visual rhetoric. By referencing the classical motif of modesty and moderation from antiquity, Adolph underlined the importance of the ideal of antiquity and with it "natural" speech and behaviour. He attempted to express the spirit of antiquity by comparing contemporary clothing and rhetorical gestures to those of the orators or other public figures of antiquity. In a similar way to contemporary British painters, he thus referenced models taken from antiquity, with the aim of evoking a noble past and representing the ideal of the virtue of antiquity.

Citovat

SUCHÁNEK, Pavel. 'Peintre de Sa Majesté Britannique'. Franz Adolph of Freenthal and his portrait of Maximilian Hamilton, Prince-Bishop of Olomouc. RIHA Journal. 2012, Neuveden, červenec-září, s. nestránkováno, 18 s. ISSN 2190-3328.

@article{990791,
   author = {Suchánek, Pavel},
   article_number = {červenec-září},
   keywords = {Franz Adolph von Freenthall; Maximilian Hamilton; bishops of Olomouc; portrait; 18th century},
   language = {eng},
   issn = {2190-3328},
   journal = {RIHA Journal},
   title = {'Peintre de Sa Majesté Britannique'. Franz Adolph of Freenthal and his portrait of Maximilian Hamilton, Prince-Bishop of Olomouc},
   url = {http://www.riha-journal.org/articles/2012/2012-jul-sep/suchanek-freenthal-portrait-of-maximilian-hamilton},
   volume = {Neuveden},
   year = {2012}
}

TY  - JOUR
ID  - 990791
AU  - Suchánek, Pavel
PY  - 2012
TI  - 'Peintre de Sa Majesté Britannique'. Franz Adolph of Freenthal and his portrait of Maximilian Hamilton, Prince-Bishop of Olomouc
JF  - RIHA Journal
VL  - Neuveden
IS  - červenec-září
SP  - nestránkováno
EP  - nestránkováno
SN  - 21903328
KW  - Franz Adolph von Freenthall
KW  - Maximilian Hamilton
KW  - bishops of Olomouc
KW  - portrait
KW  - 18th century
UR  - http://www.riha-journal.org/articles/2012/2012-jul-sep/suchanek-freenthal-portrait-of-maximilian-hamilton
L2  - http://www.riha-journal.org/articles/2012/2012-jul-sep/suchanek-freenthal-portrait-of-maximilian-hamilton
N2  - This essay examines the portrait of Maximilian von Hamilton (1714-1776), the last Prince-Bishop of Olomouc/Olmütz, painted between 1769 and 1772 by Franz Adolph of Freenthal (1721-1773), a former painter to the British royal court. The study focuses in turn on three visual motifs in Hamilton's portrait: the rhetorical gestures of the sitter, his attire and the way he is depicted, and the form of presentation and the function of the painting in the ceremonial space of the princely residence. In examining each of these motifs, account is taken of the specific visual conventions applied in this genre, and of the contemporary rules of visual rhetoric. By referencing the classical motif of modesty and moderation from antiquity, Adolph underlined the importance of the ideal of antiquity and with it "natural" speech and behaviour. He attempted to express the spirit of antiquity by comparing contemporary clothing and rhetorical gestures to those of the orators or other public figures of antiquity. In a similar way to contemporary British painters, he thus referenced models taken from antiquity, with the aim of evoking a noble past and representing the ideal of the virtue of antiquity.
ER  -

SUCHÁNEK, Pavel. 'Peintre de Sa Majesté Britannique'. Franz Adolph of Freenthal and his portrait of Maximilian Hamilton, Prince-Bishop of Olomouc. \textit{RIHA Journal}. 2012, Neuveden, červenec-září, s.~nestránkováno, 18 s. ISSN~2190-3328.

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