| Austrian and German baroque |
Although political eventsóthe Thirty Years' War in Germany and the Turkish presence in Austriaóprevented baroque art in those countries from truly flourishing until the 18th century, some 17th-century artists of merit did emerge. Two masters of German baroque painting are Johann Liss (c. 1595-c. 1629), who traveled to Venice and absorbed the colorism characteristic of Venetian painting, and Adam Elsheimer, who was also in Italy painting small, elegant pictures on copper in a Caravaggesque manner. Sculpture in 17th-century Germany and Austria retained a late Gothic or Mannerist quality in the 17th century. The Uberlingen altar (1613-19) by J^rg Z[[cedilla]]rn (c. 1583-c. 1635) represents the continuity of the alpine woodcarving tradition. The altar (c. 1623) at the Insterburg Lutheran parish church, by Ludwig Munstermann (c. 1570-c. 1637), epitomizes the Mannerist influence. Balthasar Permoser (1651-1732), a Bavarian, assimilated high baroque styles in Italy and brought them to Dresden, where he became its leading baroque sculptor. His festive sculptures for the Zwinger Pavilion (begun 1711), the Dresden Palace's grandiose extension by Matth[[perthousand]]us P^ppelman (1662-1736), account for much of the structure's beauty. In Vienna, as in Dresden, baroque architecture found favor with the ruling court on a spectacular scale. One of Austria's greatest baroque architects, Johann Bernhard Fischer von Erlach, demonstrated his understanding of Italian forms in his masterpiece, the opulent Karlskirche (1716-37) in Vienna. Its elaborate forms and striking silhouette portend the exuberant rococo style that permeated Austrian and German art for the next hundred years. |
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