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46 Figure 4.3 Pieter Hendricksz, “Schut. Dresden”, coloured etching, ca. 1640 Source: “Der Blick auf Dresden”, Deutscher Kunstverlag Figure 4.4 Johann Alexander Thiele, “Ansicht von Dresden mit der Augustusbrücke” [View of Dresden with Augustus Bridge], Dresden 1746 Source: “Der Blick auf Dresden”, Deutscher Kunstverlag Figure 4.5 Bernardo Bellotto (Canaletto), “Dresden vom rechten Elbufer oberhalb der Augustusbrücke” [Dresden from the Right Bank of the Elbe, above Augustus Bridge] Dresden 1747 Source: “Der Blick auf Dresden”, Deutscher Kunstverlag Figure 4.6 Bernardo Bellotto (Canaletto), “Dresden vom rechten Elbufer unterhalb der Augustusbrücke” [Dresden from the Right Bank of the Elbe, underneath Augustus Bridge], Dresden 1748 Source: “Der Blick auf Dresden”, Deutscher Kunstverlag
in Meißen” by Eberhard Kieser and Daniel Meisner (“Sciagraphia cosmica”, Nuremberg 1678). Matthaeus Merian the Elder similarly referred to Tola’s drawing in his single print “Dresden” (“Topographia Superioris Saxoniae, Misniae et Lusatiae”, Frankfurt/Main 1650). Compared to Tola’s perspective, however, Merian shifted the view of the city to the right. The work conveys a new, equally realistic view of Dresden by omitting a Renaissance park but giving better depth of perspective to the landscape. Like Tola and his successors, Baroque artists also depicted the city from an eastern view and integrated within the surrounding landscape, as is demonstrated by Peter Hendricksz’s coloured etching. Like Merian, Hendricksz diverged from Tola’s perspective and focused more closely on the river’s edge, adopting a slightly elevated view. This em- phasises the landscape in the foreground of the painting, with the river curving towards the more distant outline of the city. In contrast to Tola’s intentionally realistic representation, Merian and Hendricksz shifted the perspective in an attempt to “compose” a relationship between the silhouette of the city and the landscape. In Hendricksz’s painting, this is further emphasised by the group of persons depicted in the foreground. In the 18th-century Dresden paintings of Johann Alexander Thiele, nature and landscape are central themes. Thiele was one of Germany’s most important landscape and perspective painters. His paintings are characterised by a very accurate representation of nature. Both in their tradition and their composition, these works remain true to the 17th-century art they were modelled on. Thiele worked in Dresden between 1738 and 1752 (see “Der Blick nach Dresden, p. 72). The composition of his exemplary painting “Ansicht von Dresden” (1746) focuses on the breadth and openness of the Elbe river bank. The point of view is from the southern bank west of the Altstadt, looking towards the east. The centre of the painting depicts the wide Elbe river, and the foothills of the Sächsische Schweiz mountain range can be made out in the background. The old town on the right edge of the painting and the new town on the left are no more than framing elements for the portrayed landscape. Fittingly, the sky covers more than half of the canvas and serves to emphasise the wide perspective. In contrast, Canaletto’s paintings show several perspectives of Dresden’s Altstadt, in which the outskirts and surrounding environs play a minor role. The most famous of these are the views of the old town from below and above Augustus Bridge on the right bank of the river (level with the Japanese Palace). Evidently, these well-known paintings are of no import to the visual impact study, as they solely depict the inner city of Dresden. The catchphrase of “Canaletto kaputt”, used by some feuilleton journalists and writers 47
Page 1: Visual Impact Study (VIS) of the
Page 5 and 6: 1 Introduction 1.1 Background to th
Page 7 and 8: 1.3 Structure of the study The stud
Page 9: In the time allowed for the study (
Page 12 and 13: 12 1200 Castle on the Taschenberg 1
Page 14 and 15: 14 1694 -1733 Augustus the Strong p
Page 16 and 17: 16 Figures 2.3, 2.4 Boundaries of t
Page 18 and 19: 18 Sites are ‚works of man or the
Page 20 and 21: 20 Figure 3.1 Boundaries of the spe
Page 22 and 23: 22 1850 1910 1940 1992 Figure 3.2 M
Page 24 and 25: 24 Figure 3.3 Dresden city map, 189
Page 26 and 27: 26 Figure 3.6 Adolf Lohse, Schloß
Page 28 and 29: 28 Figure 3.8 Theodor Lehnert, Phot
Page 30 and 31: 30 Figure 3.10 Development plan, No
Page 32 and 33: 32 Figure 3.11 Theodor Friedrich, p
Page 34 and 35: 34 Figure 3.12 Plan of the Elbe riv
Page 36 and 37: 36 Figure 3.13 Festival hall for th
Page 38 and 39: 38 Figure 3.14 Visual relationships
Page 40: 40 Figure 3.16 Lookout points in th
Page 43 and 44: created lookout points must be give
Page 45: 4 Perception and depiction of the s
Page 49 and 50: for the national press when making
Page 51 and 52: Robert Geissler’s lithograph, pro
Page 53 and 54: 4.3 Conclusion Evidently, artists f
Page 55 and 56: 5 The planned “Verkehrszug Waldsc
Page 57 and 58: Plan 1862 Plan 1891 Plan 1898 5.1 H
Page 59 and 60: Plan 1900 Plan 1905 Plan 1934 see f
Page 61 and 62: Plan 1967 “Between 1960 and 1970,
Page 63 and 64: crossing somewhere in the Dresden m
Page 65 and 66: nach 1945 [Road and Traffic History
Page 67 and 68: fare, in particular its gradient. (
Page 69 and 70: 5.3 Building specifications for the
Page 71 and 72: current Käthe-Kollwitz-Ufer route
Page 73 and 74: The bottom chords below the bridge
Page 75 and 76: idge pylons were enlarged by expand
Page 77 and 78: Marien Bridge The Marien Bridge des
Page 79 and 80: The Old Carola Bridge The Old Carol
Page 81 and 82: etween Übigau (Washington Strasse)
Page 83 and 84: 5.5 Conclusion When the longitudina
Page 85 and 86: 6 Analysis of field-of-view impact
Page 87 and 88: c. the 3D model of the design of th
Page 89 and 90: using GPS co-ordinates. This techni
Page 91 and 92: entire panorama. The field-of-view
Page 93 and 94: The best method of realistically si
Page 95 and 96: Source: author’s illustration/aer
Page 97 and 98:
entire panorama. It can be assumed,
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South Bank 09. Dome of the Frauenki
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View Sequences 1. Sequence A Elbe v
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Details 1. Stauffenbergerallee In S
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Waldschlösschen pavilion, the Elbe
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Because of the currently complex si
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7 Conclusions/Recommendations It is
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as the effect of diffuse winter lig
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Nor may the assessors outline any a
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Text sources / Image sources Aussch
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Kultur- und Naturerbes der Welt von
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Imprint Commissioned by Dr. Roland
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