Monday, 29 July 2024

Swiss Travel Posters - Part 1

On his first trip to Switzerland in 1878, Mark Twain noted that "regions which were unvisited and unknown remoteness a hundred years ago, are in our days a buzzing hive of restless strangers." Though most of Switzerland looks completely untouched by man, Twain was likely noting the tremendous feat of Swiss infrastructure that includes railways, trams, funiculars, cablecars, and endless hiking trails. While World War I raged on, Switzerland focused its efforts on drawing the population to its bountiful beauty.


This is part 1 of a 6-part series on Swiss Travel Posters:


1890 Lac de Thoune

1890 Switzerland
Jura-Simplon Railway

1892 Chemins de Fer électrique du Salève Près Genève
artist Auguste Viollier

1892 Pilatus Bahn Railway
artist Johannes Weber

c1893 Montreux, Chemin de fer Territet-Glyon aux
 Rochers de Naye
artist Peter Balzer

1895 Schweiz, Rhône-Thal, Jura - Simplon Bahn
artist Frédéric Hugo d'Alési

1895 VI Schweizerische Landwirthschaftliche Ausstellung
Bern 1895
artist Hermann Abegg

1896 Schweizerische Landesausstellung
Genf. 1 Mai - 15 October
artist Emile Auguste Pinchart

1897 Interlaken Schynige Platte-Bahn
Chemin de Fer Schynige-Platte

1897  Schweiz, Jura-Simplon-Bahn
Oberland
artist Frédéric Hugo d'Alési

1899 Vevey
Lac Lemen Suisse
artist Dreyma

1898c Lac de Thoune
Chemon de fer P.L.M.
 artist Frédéric Hugo d'Alési

1898c Chemin de Fer de l'Est, Hte. Engadine, (Suisse)
artist Frédéric Hugo d'Alési

1900 Kant-Landwirtschaftliche
Ausstellung Brig.

1900 Electrische Bahn
Stansstad Engelberg

c1900 Brides-les-Bains et Salins-Moutiers
P.L.M. Savoie
artist Henri Tanconville

c1900 Haldstatt
Hotel & Kurhaus Kirschen

1901 Chemin der fer Montreux-Oberland-Bernois
artist Anton Reckziegel

1903 Rochers de Naye sur Montreux
artist Anton Reckziegel

1903 Sur Le Lac Leman
artist Anton Reckziegel

1904 St. Gothard Railway, Lucerne-Milan
artist Frédéric Hugo d'Alési

c1905 Chemin de Fer
Funiculaire
Territet Mont-Fleuri

1906 Chemin de fer électriques de la Gruyère
artist Anton Reckziegel

1906 Wengernalp & Jungfraubahn
artist Anton Reckziegel

1908 Harder-Bahn Interlaken

1908 Wetterhorn Aufzug
artist A. Gugger

c1909 Ferrovia Electtrica Lugano-Tesserete
artist Luigi Rossi

1910 Luzern - Stansstad - Engelberg
artist Anton Reckziegel

1910 Zug Berg-u. Stassenbahn
 artist Walther Koch

c1910 Berner Oberland Wengernalp-Bahn

1910c Berner Oberland
Wengernalp Bahn
artist Anton Reckziegel

c1910 Lugano Grand & Palace Hotel

c1910 Rigi-Bahn
Luzern-Vitznau-Rigi-Kulm

1912 Chemins de fer du Nord
Lucerne et ses Environs

c1912 Chemin de Fer Electrique
Montreux Oberland Bernois
artist Mario Borgoni

1913 Davos Internationale Eiswettlaufen

1913 Gstaad Suisse
Royal-Hôtel & Winter-Palace
Ski-Bob-Curling
artist Carlo Pellegrini

1913 Jeschken Rodelbahn
bei Reichenberg in Bohmen
artist Heinrich Honich

1913 Tell-Aufführungen Altdorf 1913

1914 Exposition Nationale Suisse 
Berne 1914
artist Plinio Colombi

1914 Brigue-Furka-Disentis
Chemin de Fer de la Furka
artist François Gos

1914 Elektrische Strassenbahnen im Kanton Zug, Schweiz
artist Ernst Emil Schlatte
r

1914 Oberland Schützenfes 1914
Thun

1914 Zahnradbahn Brunnen = Morschach
Axenfels und Axenstein
artist Wilhelm Gimmi

Friday, 26 July 2024

Franz Messerschmidt - part 3

Franz Messerschmidt, the leading sculptor at the court in Vienna in the 1760s, was forced, for personal and professional reasons, to leave for the provinces and by 1777 had settled in Pressburg (today Bratislava). There he concentrated on a private series of heads, completing more than sixty in his preferred medium of tin alloy or in alabaster.

While acknowledging the artistic tradition of exploring facial expressions and emotions, these Kopfstücke, or head pieces, as he called them, were highly original for their combination of realism and abstraction. Visitors to his studio observed the artist studying himself in a mirror. Some of the heads are straightforward self-portraits, smiling or frowning; others are satirical or comic, the sitter reacting to a strong odour or yawning widely. A few, called “refusers” by an early critic for the way they deny contact with their surroundings, are deeply introspective.


The meaning of the series has been long debated. The titles were conferred after the sculptor’s death, when forty-nine works were exhibited in 1793. Messerschmidt was aware of contemporary medical theories, such as Johann Caspar Lavater’s 1775

study of physiognomy’s relation to human character, and he certainly knew his Viennese neighbour the physician Franz Anton Mesmer, who believed that outward senses connect to inner emotions and developed related therapies to treat his patients. However one assesses it, the series of is exceptional in eighteenth-century sculpture, stylistically advancing beyond Neoclassicism to a reductive

simplicity, forecasting modern minimalism, and psychologically rendering serial states of mind in a project that was novel for the pre-Freudian world.


This is part 3 of 3-part series on the works of Franz Messerschmidt:


1777-83 Quiet, peaceful sleep
tin 43 x 22.5 x 24 cm
Museum of Fine Arts, Budapest

1780-83 Capuchin
lead-tin cast
Palais Mirbach, Galerie de la Ville, Bratislava


c1780-83 Alabaster Medallion reliefs:


Albert of Saxony, Duke of Teschen

Emperor Joseph II as Hungarian King
9.5 cm diameter
Museum of Fine Arts Budapest

Emperor Joseph II as Hungarian King

Joseph Kiss

Self-portrait

Self-portrait

Self-portrait
14.5 cm diameter
Staatliche Museum, Berlin

Self-portrait with wig
9.5 cm diameter
Museum of Fine Arts, Budapest

Self-portrait
8 cm diameter
Museum of Fine Arts, Budapest

Unknown female

1782 Márton György Kovachich
 tin cast 44 cm high
Museum of Fine Arts, Budapest

n.d. A grievously wounded man
(details not found)

n.d. Emotions 2
(details not found)


n.d. Emotions 3
(details not found)

n.d. Emotions 4
(details not found)

n.d. Emotions 10
(details not found)

n.d. A young man and young woman
(attributed to Messerschmidt)
lead, on carved ebonised wood socles 

n.d. Seated Male Nude Holding a Staff
black and white chalk on blue paper 41.8 x 26.7 cm
The Metropolitan Museum of Art, New York

n.d. Sketches of Character Heads
Österreichische Nationalbibliothek, Vienna, Austria

n.d.  Anger 1
(details not found)

n.d.  Anger 2