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inverted way. The first two plates of volume I offer plans of the galleries with views of six rooms. The rendering of the paintings is not always very detailed and sometimes parts of paintings are distorted in the prints. According to which criteria the selection of the paintings was made is not clear and the publication does not offer any art historical explanation. The important achievement of von
Prenner and van Stampart was to be the first to include in a publication works from the old German school.
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109:) was a Flemish portrait painter, printmaker and publisher. The artist established a reputation as a portraitist of European rulers, aristocrats and higher clergy. He had an international career, which brought him to the court in Vienna where he worked as court painter of the Imperial court. He is also known as the co-publisher of two publications which depict the Imperial art collection in Vienna and for which he also made some of the engravings.
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gallery. The plan was to publish 30 volumes of prints representing the entire
Imperial art collection in Stallburg. Only four volumes were printed between 1728 and 1733. Each of the four volumes contains 40 full page copper engravings depicting the paintings in the Stallburg gallery in a laterally
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Frans van
Stampart was known mainly as a portrait painter to the elite. His sitters were members of the Imperial family in Vienna and other royal families, German, Austrian and English nobles and higher clergy. His style was initially close to that of Pieter Thijs. His work can be found in museums
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is that the paintings are rendered not in mirror view starting from plate 8. This publication enjoyed support in high places as is shown by the fact that prominent aristocrats engraved some of the plates: Count
Leopold Windischgraetz (plate 9), the counts Anton and Johann Nepomuk Csáky (plates 11
251:(full title: Prodromus, seu Praeambulare lumen reserati portentosae magnificentiae theatri, quo omnia ad aulam caesaream in Augustissimae suae caesareae) in Vienna in 1735. It was intended to give a preview of the volumes of the
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Frans van
Stampart was baptized in the St James Church in Antwerp on 16 January 1675. He was a pupil of the relative obscure Gislein van der Sijpen (or Gielein Peeter van der Sypen) with whom he started his training in 1689.
498:, in: Tobias G. Natter, Alexandra Matzner, Martin Schuster, Sebastian Schütze, Christian Quaeitzsch, Georg Lechner, Deborah Meijers 'Fürstenglanz. Die Macht der Pracht', Belvedere, 2016, pp. 110–121
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who called him to Vienna and appointed him his court painter in 1698. In this role he painted portraits of the
Emperor, his consort and the princes of the realm.
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Kunsthistorische
Sammlungen des Allerhöchsten Kaiserhauses. Gemälde. Beschreibendes Verzeichniss by Kunsthistorisches Museum Wien. Gemäldegalerie
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154:. He also portrayed many Austrian and German nobles. Van Stampart was active as an engraver and collaborated with court painter and engraver
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in the guild year 1693-94 and remained active in
Antwerp for five more years. He painted portraits in the style of fellow Antwerp artist
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and a preview of what the next volumes would offer. It reprises the plans of the galleries with views of six rooms of the
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Plan of the
Stallburg collection with portraits of Frans van Stampart (on left) and Anton Joseph von Prenner (on right)
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Barocke Gemäldegalerien und ihre
Kataloge Galeriewerke, die Erfindung des Kunstbuchs und der Kunstwissenschaft
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After the Emperor's death, he retained his court appointment under the successive emperors Joseph I and
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that had yet to appear ('prodromus' means a preliminary publication or introductory work). The
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162:(1728-1733). The two artists collaborated again in 1735 on another volume of prints entitled
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as well as in German and Austrian castles including in Drosendorf, Greillenstein,
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Due to the difficult preparatory work and prolonged publication history of the
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Emperor Joseph I with armor and general's staff in front of a battle scene
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in: February 2007 Newsletter IT Services, University of St Andrews
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started collaborating on a publication project that was entitled
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Name also written as Frans van Stampaert, Franz van Stampart
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offers an overview of the works already published in the
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Die kaiserliche Stallburggalerie. Prodromus (Vorschau)
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He remained active in Vienna where he died in 1750.
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276:and 13) and Maria Barbara Lemperg (plate 12).
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389:Geschiedenis der Antwerpsche schilderschool
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453:Portrait of Duke von Perponcher-Sedlnitz
221:Publisher of the Imperial art collection
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37:Portrait of Anton III, Count of Montfort
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353:Dictionnaire des Peintures, Sculpteurs
427:Netherlands Institute for Art History
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105:12 June 1675 – died 3 April 1750 in
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373:Dictionnaire des peintres belges
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311:Prodromus: View of the galleries
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131:He became master of the Antwerp
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545:18th-century Flemish painters
371:in: Bernadette Bodson (ed.),
439:Flemish Painters, 1430-1830
406:Eduard Ritter von Engerth,
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550:Flemish portrait painters
285:Selected prints from the
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484:Special Collections news
231:Theatrum artis pictoriae
227:Anton Joseph von Prenner
203:Kunsthistorisches Museum
160:Theatrum artis pictoriae
156:Anton Joseph von Prenner
225:Frans van Stampart and
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565:Painters from Antwerp
522:at Wikimedia Commons
369:"Van Stampart, Frans"
271:in comparison to the
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451:Frans van Stampart,
351:Benezit, E. (1966).
555:Flemish printmakers
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323:Prodromus: Plate 18
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520:Frans van Stampart
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540:1750 deaths
535:1675 births
500:(in German)
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377:(in French)
358:(in French)
76:Nationality
529:Categories
393:(in Dutch)
329:References
148:Charles VI
49:1675-06-12
287:Prodromus
269:Prodromus
257:Prodromus
248:Prodromus
235:Stallburg
164:Prodromus
101:(born in
273:Theatrum
265:Theatrum
261:Theatrum
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199:Brussels
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280:Gallery
207:Orléans
193:in the
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80:Flemish
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107:Vienna
70:Vienna
213:and
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113:Life
61:Died
43:Born
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