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Full Description
After working in Augsburg and Vienna they came to Regensburg in 1663. Their sculptural reliefs for Emperor Ferdinand III on Ovid brought issues of Empire, iconography and artistic creation into focus. The attached catalogue of works deals with the provenance, restauration, iconography, analysis and reception of their oeuvre. This study provides valuable evidence that a re-evaluation of ceroplastics is long overdue within the canon.
Contents
Introduction
The Points of Departure
The Biographies of Daniel and Anna Felicitas Neuberger: A Reconstruction
The Neuberger Œuvre: Allocation within the Canon
Wax as a Material
A Brief History of Ceroplastics
Material and Technique
Proximity to and Alienation from Life
Motifs and Iconographical Aspects of the Neuberger Œuvre
Automata
Transformation and Deformation
Colour and Effect
Modes and Functions
Spatial Composition
Living Conditions and Context
Augsburg
Vienna
Regensburg
Metamorphosis of Thought
Humanism
The ‹Other›
The Patron and the Artist
The Status of the Wax Modeller at Court
Confessional Ties
Of Disease and Contagion
Propaganda at Court: Augustus in Comparison with Ferdinand III
The Death of Ferdinand III as a Vanitas Piece
Connoisseurial Remarks
Conclusion
Plates
Catalogue
The Ceroplastic Œuvre of Daniel Neuberger
The Ceroplastic Œuvre of Anna Felicitas Neuberger
Ceroplastic Works by Ferdinand Neuberger
Other works by Ferdinand Neuberger
Endnotes
Bibliography
List of illustrations and picture credits
Acknowledgements
