Painted scene and feigned architecture in the ceiling paintings of the late-Baroque

  • János Jernyei Kiss

Abstract

In the workshop practice of the Baroque ceiling painters, when executing large mural compositions, the architectural details were painted by specialists. However, we cannot consider it as a simple trimming independent from figural frescoes; it is not just a required contribution but a dominant element of the composition also from the artistic point of view.
This paper illustrates the complex role of architecture-painting through the analysis of the frescoes of Maulbertsch, Kracker and Winterhalder. It shows that the former decorative painting of the cathedral in Vác worked as a tool for accomplishing an architectural concept. The study revealed that in the case of the ceiling painting belonging to the Lyceum of Eger, the reason for choosing a Gothic structure was the specific perspective problem that arose from applying a central focus in the ceiling decoration of the synod meeting room, which is a closed, rectangular interior.
It discusses the representation problems of the painted scenes when arranged in a ‘board-painting’ way (Székesfehérvár, Carmelite Church), and by analysing the different versions (Pápa, Parish Church; Szombathely, Cathedral) it sketches the typical stages of the late-Baroque metamorphosis of the feigned dome in Pozzo.
Keywords: Baroque ceiling painting, feigned architecture, illusionism, perspective
Published online
2014-04-08
How to Cite
Jernyei Kiss, J. (2014) “Painted scene and feigned architecture in the ceiling paintings of the late-Baroque”, Periodica Polytechnica Architecture, 45(1), pp. 1-8. https://doi.org/10.3311/PPar.7471.
Section
Articles