Description
Book SynopsisAfter working in Augsburg and Vienna they came to Regensburg in 1663. Their sculptural reliefs for Emperor Ferdinand III on Ovid brought issues of Empire, iconography and artistic creation into focus. The attached catalogue of works deals with the provenance, restauration, iconography, analysis and reception of their oeuvre. This study provides valuable evidence that a re-evaluation of ceroplastics is long overdue within the canon.
Table of ContentsIntroduction The Points of Departure The Biographies of Daniel and Anna Felicitas Neuberger: A Reconstruction The Neuberger Œuvre: Allocation within the Canon Wax as a Material A Brief History of Ceroplastics Material and Technique Proximity to and Alienation from Life Motifs and Iconographical Aspects of the Neuberger Œuvre Automata Transformation and Deformation Colour and Effect Modes and Functions Spatial Composition Living Conditions and Context Augsburg Vienna Regensburg Metamorphosis of Thought Humanism The ‹Other› The Patron and the Artist The Status of the Wax Modeller at Court Confessional Ties Of Disease and Contagion Propaganda at Court: Augustus in Comparison with Ferdinand III The Death of Ferdinand III as a Vanitas Piece Connoisseurial Remarks Conclusion Plates Catalogue The Ceroplastic Œuvre of Daniel Neuberger The Ceroplastic Œuvre of Anna Felicitas Neuberger Ceroplastic Works by Ferdinand Neuberger Other works by Ferdinand Neuberger Endnotes Bibliography List of illustrations and picture credits Acknowledgements
