Staatliche Kunstsammlungen Dresden – författare

Seit dem 8. September 2 4 sind die ersten Kunstschätze des Grünen Gewölbes wieder im Dresdner Schloss zu besichtigen. Der vorliegende Führer erschließt nicht die Sammlung, er vermittelt auch einen umfassenden Eindruck von einem prachtvollen Bestandteil europäischer Kunstgeschichte. Das im September 2 4 eröffnete Neue Grüne Gewölbe vereint in 85 Vitrinen auf 2 Quadratmetern 8 Kunstwerke und Objekte aus dieser ebenso bedeutenden wie traditionsreichen Sammlung. Zwei Drittel der Arbeiten aus Gold und Silber, Elfenbein und Ebenholz, Perlen und Edelsteinen, Bergkristall und Glas konnten bisher aus Platzgründen nicht ausgestellt werden. Der neue Museumsbereich erlaubt einen chronologischen Rundgang durch die Schatzkunst der Renaissance und des Barock bis hinein in den Historismus. Der Führer durch das Neue Grüne Gewölbe erschließt nicht nur eines der bedeutendsten Museen Deutschlands, er vermittelt auch einen umfassenden Eindruck von einem prachtvollen Bestandteil europäischer Kunstgeschichte. Die wichtigsten Exponate, unter ihnen die Arbeiten Wenzel Jamnitzers und seiner Werkstatt, die beschnitzten Kirschkerne des Grünen Gewölbes, die 'Elfenbeinfregatte' von Jacob Zeller, die Meisterwerke von Permoser und Dinglinger, werden ausführlich vorgestellt. Durch zahlreiche exzellente Farbabbildungen wird der Reichtum auch bildlich vor Augen geführt. Gleichzeitig spiegelt der Führer durch das Neue Grüne Gewölbe den aktuellen Forschungsstand zu einer der wenigen Schatzkunstsammlungen der Welt wider.

The Türckische Cammer once owned by the Electors of Saxony is one of the most important collections of its kind worldwide. Unlike the so-called 'Turkish Booty' of the late 7th century, the Electors amassed an exotic collection over several centuries that had little to do with the looting engaged in by Saxon troops on campaigns against the Ottoman Empire. Much more important for this collection, which goes back to the th century, were diplomatic presents, an active acquisitions policy and works executed on commission. With the re-opening of the Türckische Cammer after a lapse of nearly seventy years, Dresden has gained another world-class museum to complement the Gemäldegalerie Alte Meister and the Green Vault. In a survey of the collection, which is, of course, much larger, the catalogue showcases fifty choice pieces from the Ottoman period, featuring costumes, showy weapons and exquisite oriental equestrian accoutrements.

Das Grüne Gewölbe in Dresden wurde von Kurfürst August von Sachsen um 55 als 'Geheime Verwahrung' errichtet. August der Starke machte 723 aus der Schatzkammer das erste öffentlich zugängliche Museum für Schatzkunst. Seine Idee war einzigartig: Raumwände und Pfeiler wurden zu damals hochmodernen Kompositionen von Spiegeln, Ornamentfeldern und Konsolen die kostbaren Kunstwerke verschmolzen mit den Prachtkabinetten. 942 wurde die Sammlung geschlossen und auf der Festung Königstein in Sicherheit gebracht. Das Gehäuse des Museums und drei der acht Räume wurden zerstört. Erst ab 974 war wieder ein Teil der Sammlung im Albertinum zu sehen. 2 4 wurde das modern präsentierte 'Neue Grüne Gewölbe' mit Werken von der Renaissance bis zum Klassizismus im wieder errichteten Residenzschloss eröffnet. Im September 2 kehrte auch das weltberühmte 'Historische Grüne Gewölbe' ins Residenzschloss zurück. Der Band stellt 8 Meisterwerke in großformatigen Abbildungen vor und führt mit knappen Texten durch beide Sammlungen.

The permanent exhibition in the north wing of Dresden’s Royal Palace presents the surviving, magnificent vestments from the possessions of the Saxon electors, dating from around 1550 to 1650. This unique treasure trove of European fashion and textile history from the Renaissance and early Baroque has now been re-opened to the public after more than 80 years in storage and many years of conservation and restoration measures. This exhibition guide is the first work to do justice to a collection rich in silk, gold and silver. It covers all the rulers' robes on display, including complete costume ensembles, suits with doublet and trousers, ladies' dresses, and individual garments. There are also introductions to the many portraits, accessories and sumptuous armoury on display. Clothes make the man - clothes make politics: rulers' costumes and haute couture from the period 1550 to 1650

The " Rifle Gallery" in the " long corridor" of Dresden's Royal Palace presents around 5 unique handguns from the collections of the Saxon electors and kings. The magnificent rifles and pistols from the th to 9th centuries were used for hunting, target shooting and courtly representation. The new museum guide presents the history of the collection as well as the architecture and furnishings of the Lange Gang. With its ancestral gallery, the approximately -metre-long Renaissance building embodied the dynastic memorabilia of the ruling family and housed the elector's " personal rifle" from 733. A richly-illustrated selection of objects presents a journey through three centuries of European gunsmithing and decorative art the exhibits are elucidated in their complex cultural and historical contexts. Masterpieces of the gunsmith's art from one of the leading collections of royal weaponry in Europe Permanent exhibition of the Armory, in the Dresden Royal Palace, Dresden State Art Collections

They fascinate us today as they did 500 years ago: elaborate compositions of exotic fruits or platters with oysters, floral arrangements and skulls, exquisitely decorated musical instruments and scientific instruments. Magical things testify to exuberant wealth and hedonism as well as to the enlightened curiosity and religious fervour of the Baroque era. This lavishly illustrated book that even features a pictorial glossary sets the stage for the internationally renowned collection of still lifes housed in Dresden’s Gemäldegalerie (Picture Gallery). Focusing on the dazzling masterpieces of Dutch and Flemish painting, this book examines the genre in all its diverse facets. What meaning, what content, and what function did still lifes have, what allegories and symbols are concealed in their coded messages? How did the artists take the game of optical illusion to extremes? More than 70 still lifes from the Dresden collection by painters such as Cornelis de Heem, Abraham Mignon, Rachel Ruysch, and Frans Snyders provide a unique insight into the golden age of this magical genre.

Adrian Ghenie is one of the most acclaimed artists of his generation. He is interested in the dangers and catastrophes caused by the ideologies of the 20th century, which the artist describes as the century of “humiliation.” The gloomy setting of his paintings and the deformed figures reveal the physical and psychological injuries caused by dictatorship and war. In the group of current charcoal drawings, Ghenie transfers his theme to the present and deals with the effects of digital media on people. The now extensive oeuvre of drawings and collages plays a central role in the pictorial alienation through motif montage and abstraction, which is presented for the first time in the Dresden Kupferstich-Kabinett in its development from the beginnings to the present day.

Stannaki Forum: Art and Research in Conversation is a research format at the Staatliche Kunstsammlungen Dresden that facilitates conversations that fosters dialogue across different horizons of knowledge. Each forum begins with a specific object, which acts as both a witness and an interlocutor. These objects, shaped by their material provenance, acquisition and trading history, visual grammar, cultural techniques, or biography, reflect contexts ranging from colonialism, enslavement, dispossession, and cultural appropriation to diplomacy, exile, migration, economic relations, and education. The Stannaki Forum aims to acknowledge these contextual entanglements, thereby evoking the diasporic histories of the 500-years old state collections, which are conjured through contemporary conversations that seek to instigate shared futures.

Giambologna (1529 – 1606) is regarded as the most important European sculptor between Michelangelo and Bernini. How did he achieve this status? This volume investigates this question and examines above all Giambologna’s study of Michelangelo, his all-powerful role model, and how he successfully prevailed.The young Flemish artist Giambologna most probably embarked on his study trip to Rome in 1550. On his way home he visited Florence, decided to stay and became the star at the Medici court. They sent his sculptures to the princely courts of Europe, where they became sought-after gifts. Although we know a great deal about his success, we know little of his early years in Italy, because he first appeared on the scene as a sculptor from about 1560. The alabaster figures after Michelangelo’s “Times of Day” in Dresden, hitherto largely ignored, seem to be early works by the master sculptor. An examination of these sculptures promises to shed fresh light on the development of a genius.