Wiener Albertina with the debut exhibition of the new director Ralph Gleis

In the history of art there is little more impressive than Leonardo’s robe studies. He draped extensively for the head and armless floating fabrics-soaked textiles over clay base and thus created monumental wrinkle mountains with deep valleys and meanders; Graphics become painting. Above all, however, he set the wrinkle landscapes on bluish gray shimmering reasons from canvas and paper. Twenty-six of these Leonardo drawings have been flanked by almost 130 other Italian to Titian and Northern Alpine masters in Vienna in Vienna this weekend and on the Dutch side around Jan Gossaert. It is a debt for Ralph Gleis, the new director of the house. From the Royal Collection no longer the Queen, but King Charles’ III. In Windsor Castle alone, an incredible 25 of the 26 Leonardos come. But also the Louvre, the Metropolitan Museum New York, the Uffizi, the Berlin copper stitch cabinet and the British Museum have not been asked for long and always rely on the good cooperation with Vienna so far. You learn an infinitely much topic “Master drawings of the Renaissance on a colored background” also, not only because many of the leaves from the leading stairs and Dürer comes from the latter of which Albertina is known to own one of the world’s largest stocks. Rather, the two artist names embody very different modes of the use of color papers beyond their undisputed rank, so that the Albertina claim, even in popular exhibitions still a shaken degree of current scientific research, is also obvious under the track. Not only is it really emphasized in the show and especially in the catalog, how different the intention of drawing on colored background is emphasized And south of the Alps – Dürer and the Northern Alpine saw the color paper miracle works much more as a full -fledged works of art, thought more from the end as a worthy collector’s item, while the Italians had as a procedural study object in the studios in order to continue working on it – often at Leonardo base the strangest creatures on the papers. In addition, through art technological studies-the Albertina is “Austrian competence center for art on paper”-can now also be said substantial about the technique of coloring, although Cennino Cennini has already revealed a lot in his valuable Bob-Ross-He-like artist tract. ground hematite bloodstone or ocher mixed, for the blacks with burned plant powder. In Italy, the Carta Azzurra prevails, a cheap, quite coarse bluish wrapping paper that has the disadvantage to bleach relatively quickly, as it is colored with the little light -resistant indigo. Why Dürer, after his second trip to Italy in 1506 and after unpleasant surprises in Venice, elaborately primed his much finer papers himself. However, the papers were not allowed too smoothly, otherwise the tip of the fine silver-thousand did not rub off. Achim Gnann and Christof Metzger as curators for Italian and German art through only a few, with a safe hand chosen parade examples. Even with wrinkles. Due to the colored reasons, Grafik from 1400 changes in all tints, from yellow to red, from green and blue to violet-his “worship” study sets Leonardo on purple-to black. The artists opened their expression in the medium of the graphic new continents: if they were previously only able to work into the dark from the bright leaf white, the variance was now sufficient in both directions of the tonality. Various media such as metal pencils (there is not only the silver pen in the Renaissance), spring, brush and deck white increase ensure that vasari’s definition of color papers as “painting in the chiaroscuro”, so in the light dark, at the same time. Colored backgrounds almost always subconsciously a crazy world. Leonardo’s horse studies for the seven-meter-high bronze-riding monument for Francesco Sforza in Milan float in the blue airline of utopia as well as his incredible anatomical study of a horse, a human leg and a Kentaurs-which means nothing more than that in an imaginary excess of the existence of the horse stone and a Mix Both throws on the leaf. Cheeky like Paddington into the world at the world, from the snout to the tail, not only carefully viewed – the Tuscany was still swinging up with bears, Leonardo, as left -handed, also stranded the bear’s fur in the top right, so that the movement of the animal has an even fluid. Already with Leonardos and Botticelli’s teachers, Verrocchio and Filippo Lippi, this color area penetrates the imagination on paper with no further designed backgrounds in “Study for a female head” or Lippis Madonnenhaupt. If the women of both always be polluted and through attached light reflexes in the iris into an indefinite, no-unreal, the dream beautiful heads like his apostle for the Milan’s sacitors through the most subtle modeling, while the rear color lets the silver-collective track iridate. Color Sfumato of the colored papers of all people in a northern alpine master. Around 1480, Hans Murer the Younger put his “temptation to Christ” on dark green paper. The astonishing sheet was later glued into the Ummendorfer Copial Book of the Weißenau monastery because the registrary apparently wanted to nobility by means of art. In the foreground, the leather-shaped devil tries to seduce the fabric of fabric in an opulent fabric after a four-day fasting for the transformation of stones into bread. The Tannenunkle Wald behind it becomes even more scary through the green fund of the paper, the rock spells of the simultaneous temptation on the mountain are becoming even more expressive, like stagmings or the jacket storms from San Gimignano abstractly increases upwards into the sky. But the unicorns, wild men, deer, angels and beasts on the leaf of the so -called Upper Rhine master also look much more mysterious due to their silvery white. The witch images Baldung Griens are continuously placed on hell -glowing color reasons. Pisanello even today, even seductive “allegory of luxuria”, which the painter stored naked naked around 1425 in a much late Gothic form like a James Bond girl, would be-let’s be honest-in a prosaic black on white instead of its tender-colored background for a lot more sober. The fact that Pisanello pulls all the stops of paradoxical artificial ability to make an intentionally deterrent image of one of the seven deadly sins as attractive as possible is supported by the use of the soft -drawing silver pencil on the paper that is dipped in a dim light. Vincis came between 1503 and 1506 “standing male act”. Unlike his vitruvmann in prison in the geometry, this wide -legged heroe radiates the highest virility, since it stands sound in red in red, reputation for this ocher -tone reason, as the forefather Adam, which means nothing more than “red earth”. Striping the anti-icolorist and graphic line huber to strip off almost becomes a color paper fetishist over this paragone competition. For the Frankfurt Heller-Altar alone, he produces no less than twenty of these film queues on blue paper, whereby the outsourced banned hands are particularly striking. Also with its much larger rosary festival altar, they pray or hand over the heavenly ripe. In any case, on the “praying hands”, a main piece of the Albertina with its micropores and veins, you will never see each other. It is no longer a matter of graphics, but elaborate brush painting, as the melon burst, as early as the 16th century, a future Vanitas-Stillleben appears in front of colored paper base. Leonardo-Dürer. Master drawings of the Renaissance on colored background. Albertina Vienna; until June 9. The catalog costs 39.90 euros.

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