Stephan Koja – författare

The mechanisms and phenomena of the modern and contemporary art market have existed for centuries. The production of copies and series was already a proven strategy for increasing efficiency in ancient Rome, a strategy that reached its peak in the 19th century. Mass-produced goods were exported on a large scale as early as 17th-century Antwerp, with dealers profiting from international networks and shipping their wares worldwide. Focusing on centers of innovation, influential figures, and important trade and art centers, this standard work traces the key developments that shaped the art market. For the first time, this volume tells the history of the art market from antiquity to the 19th century through essays by leading experts in the field. Exhibition Gartenpalais Liechtenstein, Vienna January 30, to April 6, 2026A richly illustrated overviewAn introduction to the history of the art market for a broad audienceWith contributions from international experts

The mechanisms and phenomena of the modern and contemporary art market have existed for centuries. The production of copies and series was already a proven strategy for increasing efficiency in ancient Rome, a strategy that reached its peak in the 19th century. Mass-produced goods were exported on a large scale as early as 17th-century Antwerp, with dealers profiting from international networks and shipping their wares worldwide. Focusing on centers of innovation, influential figures, and important trade and art centers, this standard work traces the key developments that shaped the art market. For the first time, this volume tells the history of the art market from antiquity to the 19th century through essays by leading experts in the field. Exhibition Gartenpalais Liechtenstein, Vienna, January 30, to April 6, 2026A richly illustrated overviewAn introduction to the history of the art market for a broad audienceWith contributions from international expertsMechanismen und Phänomene des modernen und zeitgenössischen Kunstmarkts exisitieren seit Jahrhunderten. Das Anfertigen von Kopien und Serien war schon im antiken Rom eine bewährte Strategie zur Effizienzsteigerung, die im 19. Jahrhundert auf die Spitze getrieben wurde. Massenware wurde bereits im Antwerpen des 17. Jahrhunderts im großen Stil exportiert, Händler profitierten von internationalen Netzwerken und verschifften ihre Waren weltweit. Fokussierend auf Innovationszentren, prägende Persönlichkeiten und bedeutende Handels- und Kunstzentren zeigt dieses Standardwerk die wichtigsten Entwicklungsschritte auf, die den Kunstmarkt prägten. Erstmals erzählt dieser Band anhand von Essays führender Expertinnen und Experten eine Geschichte des Kunstmarkts von der Antike bis ins 19. Jahrhundert Ausstellung Gartenpalais Liechtenstein, Wien, 30. Januar bis 6. April 2026Reich bebildertes ÜberblickswerkEinführung in die Geschichte des Kunstmarkts für ein breites PublikumMit Beiträgen internationaler Experten*innen

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.

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.

The publication focuses on Prince Johann Adam Andreas I of Liechtenstein (1657–1712). His skilful economic policies enabled him to increase his fortune. He purchased important artworks, invested in building projects and their artistic design, founded a city district and developed Italian art and architecture in Vienna in around 1700. Prince Johann Adam Andreas I of Liechtenstein was an important individual for his dynasty and a great patron and builder. He reorganised administrative structures and invested in businesses and innovative production techniques. He thus created the financial basis for the expansion of the art collection and the construction and furnishing of imposing buildings. To this day, the Gartenpalais and Stadtpalais in Vienna bear witness to the activities of this prince who was a Hercules of the arts.

One of the most extraordinary male nudes of Mannerism, Giambologna's bronze statuette of Mars (c. 1574) is among the most impressive depictions of the god of war. It combines ancient ideals with artistic innovation. This symbol of sovereignty is masterfully realized in the statuette's monumental and powerful appearance.Giambologna's Mars is the only known gift the artist gave to a prince. Symbolically, he stands between war and peace, destruction and renewal. Why the gift to the prince depicts the god of war not in full armor, but in a nude form, is one of the fascinating questions explored in the book. Starting with Mars as the central figure, the volume illuminates Giambologna's oeuvre and artistic environment, whose creations had a lasting impact on late Renaissance art. ARTISTS: GIAMBOLOGNA, ANTONIO SUSINI, GIOVANNI FRANCESCO SUSINI, PIETRO TACCA, ADRIAEN DE VRIES