Annual Report 2010 - Staatliche Kunstsammlungen Dresden

64
Dr. Hubert Burda delivers
an address during the
international colloquium
“Chambers of Curiosities.
Permanent Modernisation”
inventory of the royal Kunstkammer in Dresden
drawn up in 1741 in the original … … and in the new edition published in 2010
However, the researchers did not only direct their gaze
towards the distant past. In 2010, work also started on
preparing a comprehensive catalogue of the post­1945
works owned by the Dresden Skulpturensammlung.
The Galerie Neue Meister was able to present its new
comprehensive catalogue in time for the reopening of the
Albertinum. It documents more than 2,500 paintings and
other works of art with photographs – recording the entire
holdings of the gallery. This new catalogue had long been
awaited both by the academic community and by visitors,
since its predecessor was published as long ago as 1987. It
provides, among other things, a profound overview of the
many items acquired since the end of the GDR and clearly
presents the collecting profile of the gallery.
example: the Kunstkammer, its inventories and the
history of the Dresden collection
The year 2010 was the anniversary year of the Staatliche
Kunstsammlungen Dresden, because the establishment
of a Kunstkammer in Dresden Palace can be dated to 1560.
At least that was the year cited by the supervisor of the
Kunstkammer Tobias Beutel in 1671, when he published
the first printed description of the Dresden art collections
under the title “Chur­Fürstlicher Sächsischer stets
grünender hoher Cedern­Wald ...” This anniversary was
not only marked by the holding of the major exhibition
“Zukunft seit 1560” (State of the Art since 1560) in the
Residenzschloss; it was also accompanied by numerous
scholarly activities relating to the establishment and development
of the Kunstkammer and the history of the
[ fol. 320v] / pag. 622 [ fol. 321r] / pag. 623
Cap. XXXVI.
An kupfer stichen und holtz-schnitten.
No. Carolus II., könig von Engeland, auf papier
1. in kupfer gestochen. In nußbaumnen Am 30. september 1832 an das kupferstich cabinet abgegeben.
rähmen. Ganz unscheinbar in der rummel kammer.
2. Der dauphin, etwas kleiner. In nußbaumnen – Stehen beyde hinten in die cammer. Und
rahmen. Beydte 1696 einkommen. nachdem beyde so viel möglich repariret worden, sind solche
3. Kayser Rudolphus II., ein holtz-schnitt. In gantz unten in die lange galerie am pfeiler angemacht.
braunen rähmen. – Lieget im birnstein-gewölbe. 2. Et 3. fehlen.
4. Pfaltz-graf Friedrich III., chur fürst und Hat sich bei der im jahre 1831 stattgefundenen
herzog in Bayern. In braunen rähmen. revision nicht vorgefunden. No. 4., 5. et 6. sind ganz zerrißen
5. Gebhardt, churfürst von Cöln. In braunen rähmen. – Sind alle 3 hinten in die cammer. in der rummelkamer,
6. Ernestus, herzog in Bayern. In braunen rähmen. auch ganz schlecht.
7. Eilf illuminierte kupfer-stiche von dem
usque niederländischen und cölnischen kriege. In
Am 30. september 1832 an das kupferstich cabinet abgegeben.
ins
Hiervon 9 stück ganz zerrißen in der rummel kammer, feuer zu werfen.
17. braune rähmen gefaßt.
8. Christus am creutz. In braunen rähmen, worauf
vier von weisen bein eingelegte sterne.
– Liegen zusammen in einen kasten im uhren-gewölbe.
Einkommen 1700. Ist ein kupfer bild. – Hängt am pfeiler in die galerie. Ist im
9. Das portrait seiner königlichen majestät und chur- birnstein gewölbe.
fürstlichen durchlaucht und dero gemahlin Ma-
[ fol. 321v] / pag. 624 [ fol. 322r] / pag. 625
Cap. XXXVI.
An kupfer-stichen und holtz-schnitten.
rien Josephen, in kupfer gestochen.
Beydte also in stücken zerschnitten, daß
sich baldt das eine, baldt das andere
durch schiebung des rähmens zeiget. – Hängt im alabaster-gewölbe am pfeiler.
10. Das portrait Caroli, königs beydter Am 30. september 1832 an das kupferstich cabinet abgegeben.
Sicilien, und dero gemahlin, Marien Die beyde stücke sind ganz verdorben und
Amalien. Auf gleiche aart gemacht, zerrißen, auch schwer zu repariren.
beydte in schwartzen rähmen.
Einkommen anno 1738. – Hänget daselbst bey vorigen.
Staatliche Kunstsammlungen Dresden as a whole. At the
end of this year, it can justifiably be said that significant
progress has been made in the study of the history of the
Dresden institutions.
A particular highlight was the international colloquium
organised jointly by the Grünes Gewölbe and the Humboldt
University in Berlin entitled “Kunstkammer. Die
permanente Modernisierung” (Chambers of Curiosities.
Permanent Modernisation), which dealt with the history
and the various types of Kunstkammers in Europe. As a
result, it became clear that the Dresden Kunstkammer
was not the first of its kind but was nevertheless one of
the earliest and most important ones. It also became evident
that the various chambers of art and curiosities,
which combined products of human craftsmanship and
“wonders” of nature, had very different collecting focal
points. The Dresden Kunstkammer founded by Elector
August of Saxony in the mid­16th century, for example,
reflected this ruler’s predilection for handicrafts and
technology.
The colloquium also provided an ideal setting for the
presentation of an editorial masterwork: scholars from
the Grünes Gewölbe and the Rüstkammer presented the
results of many years of intensive work on a scholarly
edition of the Kunstkammer inventories dating from 1587
(the first Kunstkammer inventory), from 1619, from 1640
and from 1741. This makes it possible for the first time to
trace the development of the Kunstkammer collection
object by object.