Untitled - Albertina

Press kit contents
Exhibition dates
Press review
Texts in the Exhibition
Selected exhibits
Jakob Alt
View from the Artist’s Studio in the Alser Suburb towards Dornbach
Rudolf von Alt
The Dachstein in the Salzkammergut, Viewed from Lower Lake
Lake Gosau
Rudolf von Alt
Tivoli
Eduard Gurk
Hrad
dčany in Prague
At Hra
Press Images
Service
Photographs and information for download at
www.albertina.at under PRESS.
Exhibition dates
Opening
February 9, 2010, 6:30 pm
Press conference
February 9, 2010, 10 am
Duration
February 10 - May 24, 2010
Exhibition venue
Propter Homines Hall
Curator
Dr. Maria Luise Sternath
Catalogue
Jakob and Rudolf von Alt. At His Majesty’s Service
Editor Klaus Albrecht Schröder, Maria Luise Sternath
Texts from Stefanie Chaloupek, Jörg Garms, Eva Michel, Patrick Poch, Maria Luise
Sternath, Werner Telesko
German and English edition available at the Albertina’s museum shop and at
www.albertina.at for 29 Euro
Contact
Albertinaplatz 1, A - 1010 Vienna
T +43 (01) 534 83 - 0
[email protected]
www.albertina.at
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tours last 60 minutes, T+43 (01) 534 83 - 540, [email protected]
Press
Mag. Verena Dahlitz (head)
T +43 (01) 534 83-510, M +43 (0)699 121 78 720
[email protected]
Corinna Queisser (assistant)
T +43 (01) 534 83-511, M +43 (0)699 109 81743
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Partners of the Albertina
Exhibition sponsor
Media partner
Jakob and Rudolf von Alt
At His Majesty’s Service
10 February – 24 May 2010
With its exhibition Jakob and Rudolf von Alt. At His Majesty’s Service, on view from 10 February to 24 May
2010, the Albertina is presenting masterpieces from the heyday of Austrian watercolour painting. The
townscapes and landscapes on display were meant to reveal to Ferdinand I the beauties of the Austrian
Empire and some of its adjacent lands. This is the first time that an overview of this series, which consists of
large-sized and highly finished watercolours and was made by order of His Majesty, is offered on such a
comprehensive scale.
It was the best and most renowned watercolourists that Emperor Ferdinand I of Austria commissioned with
the compilation of a “picture book” of the most beautiful regions and most prominent spots across the
Austrian monarchy and its neighbouring countries. Eduard Gurk was the first to be entrusted with the project,
which was presumably launched in 1830. Soon Jakob Alt, who worked in a team with his son Rudolf, also came
to be involved in the commission, and several years later, the artists were joined by the history painter
Leander Russ. The last watercolours date from 1849, one year after Emperor Ferdinand’s abdication during the
Revolutions of 1848. The Albertina preserves 227 out of these altogether three hundred impressive and highly
decorative works. Further examples are accommodated in the Austrian National Library’s picture archives and
at Konopiště Castle near Prague. That the series was created over a lengthy period of time is also reflected in
the large spectrum of themes addressed in the pictures. The scope of subject matter ranges from depictions of
prominent buildings and panoramic views of towns to exceptionally beautiful scenery and renderings of social
life in rural and urban environments. If the focus was initially primarily on vedute, the thematic variety
widened noticeably when Ferdinand ascended the throne in 1835. No longer did the imperial family function
merely as a patron, but its members also appeared on the scene as protagonists: depictions of coronation
ceremonies or documentations of travels undertaken by the emperor and his entourage were meant to
demonstrate the imperial family’s presence, even in remote territories of the monarchy.
The most splendid contributions to this topographical panorama from the pinnacle of Austrian watercolour
painting were made by Jakob and Rudolf von Alt.
Rudolf von Alt
The Esplanade in Ischl, 1840
Watercolour
© Albertina, Vienna
Eduard Gurk
The Old Town Square and Ferdinand’s
Fountain in Baden near Vienna, 1833
Watercolour
© Albertina, Vienna
Jakob Alt
View of Rome, 1837
Watercolour
© Albertina, Vienna
Texts in the Exhibition
Exhibition
Townscape and Landscape
The Viennese veduta, highly valued as a topographical genre around 1800, served as the artistic
starting point for Emperor Ferdinand’s peepbox series. The term veduta refers to the depiction of a
town, a part of a town, or some scenery done directly from nature. As the “realistic” rending of a
landscape, it is opposed to the subjectively conceived “ideal landscape”.
The addition of intimate renderings of townscapes to bird’s-eye and panoramic views proved to be
essential for the development of the Viennese veduta. In the eighteenth century, close-up views of
the Viennese townscape began to become the subject of engravings, for whose colourization
borrowings from contemporary Viennese landscape painting were made. For vedute, this gradual
approximation between landscape painting and veduta art meant the combination of painterly
qualities and topographical realities within a pictorial unity.
The striving for a truthful rendering of reality and the tradition of the Viennese veduta were the
prerequisites for a group of artists who pursued a new form of landscape art outside of the Vienna
Academy, which was then committed to the ideal landscape approach. The first efforts by Jakob Alt
in the genre of veduta painting were inspired from the works by this generation of artists. As early
as 1817, with his View of Vienna from the Spinner at the Cross, Jakob Alt succeeded in producing a
vista that depicted all the details of the town and simultaneously described its atmospheric
qualities. His son Rudolf von Alt was subsequently able to start from these creative principles and
by developing them further, he had surpassed his father’s artistic accomplishments by the
mid-1830s.
At His Majesty’s Service
The
The “Peepbox Paintings” of Emperor Ferdinand I
It was the leading watercolourists that Archduke Ferdinand (as from 1835, Emperor Ferdinand I of
Austria) entrusted with the compilation of a “picture book” of the most beautiful and outstanding
spots of the Austrian monarchy and its adjacent lands. The first assignments went to Eduard Gurk,
presumably starting around 1830, and soon also involved Jakob Alt, who worked in a team with his
son Rudolf. Later on they were joined by the history painter Leander Russ. The last watercolours
date from 1849, one year after Ferdinand’s abdication during the Revolutions of 1848. The Albertina
preserves 227 out of these more than 300 large-sized and highly finished watercolours; further
examples are accommodated in the Austrian National Library and at Konopiště Castle near Prague.
The lengthy period during which these works were executed goes hand in hand with a broad
thematic scope, ranging from prominent buildings, panoramic views of towns, and scenic beauties
to renderings of urban and rural social life.
That mention was made of a peepbox, which according to Ludwig Hevesi, Rudolf von Alt’s
biographer, was used to view the works, prompted their being referred to as “peepbox paintings” in
art historical literature. The latest research, however, has revealed that the works preserved in
Vienna are unlikely to have been viewed with the aid of an “optical apparatus”, contrary to those at
Konopiště: the former’s condition and brilliant colours are much too perfect. Initially, the works may
have been intended as peepbox paintings. However, in order to experience their effect,
the utilization of an optical device was merely a possibility, but never a necessity, as is
impressively demonstrated by this display of works by Jakob and Rudolf von Alt, Eduard Gurk,
and Leander Russ, the first comprehensive presentation of a well-protected treasure of
Austrian nineteenth-century art.
Emperor Ferdinand I
Ferdinand I was born in Vienna on 19 April 1793, the eldest son of Emperor Francis I and his second
wife, Maria Theresa of Naples-Sicily. He suffered from several illnesses, including epilepsy. His
physical weakness was in contrast to his intellectual open-mindedness. Ferdinand had many talents
and interests: he was musical and had a penchant for the natural sciences, above all botany;
moreover, he had a command of five languages.
In 1805, the crown prince was taken to Košice so that he would be safe from Napoleon’s approaching
troops; in 1809, he was forced to flee from the French army a second time. In 1815, he travelled
through Italy, Switzerland, and France. In 1818, Ferdinand first appeared publicly as the emperor’s
official representative, and in 1830 he was crowned King of Hungary. In 1835, Ferdinand succeeded
his father as Emperor of Austria; however, still during his lifetime, Francis I had installed a regent’s
council that was to run the government on his son’s behalf. Ferdinand’s philanthropic attitude
earned him the nickname “The Benign”, which can also be interpreted as a synonym for his political
incapability. The unrests of the March Revolution in 1848 prompted Ferdinand to flee to Innsbruck
together with the imperial household. He returned to the capital in mid-August, but after
the outbreak of the October Revolt, resorted to Olomouc. He abdicated that same year in favour
of his nephew, Francis Joseph. Ferdinand and his wife withdrew to Hradčany in Prague,
where he died on 29 June 1875.
Eduard Gurk
The Pilgrimage to Mariazell
There are several themes within the group of the peepbox paintings that are treated in more than
one sheet. This also holds true for the watercolours dealing with the pilgrimage church of Mariazell,
which, in terms of both chronology and subject matter, are closely related to Eduard Gurk’s famous
series of watercolours entitled Mahlerische Reise von Wien nach Maria Zell in Steyermark…
[Picturesque Journey from Vienna to Mariazell in Styria…]. Thus the selection of the peepbox
paintings on display here has been complemented by three examples from the latter, which partly
served as direct models for the peepbox watercolours.
The pilgrimage to Mariazell, the Via Sacra, is considered a climax of Marian worship in Central
Europe. The sheet depicting a distant view from the Großer Höllstein, a mountain in the
Hochschwab range to the southwest of Mariazell, is meant to encourage the spectator to study the
morphology of the landscape and rock formations while trying to spot the pilgrimage church
announced in the work’s title amidst the widely unpopulated landscape. The interior of the church
can finally be admired in a further watercolour of the series. Other vedute show Mariazell from the
Bürgeralpe in the northeast and from the west. The artistic achievement of the sheets lies in the
visualization of the charming scenery and cultural landscape, as well as in the numerous views of
the basilica they offer.
The Vienna Flood Disaster of 1830
These five watercolours by Eduard Gurk deal with a historical incident that entailed dramatic
consequences for Vienna: the inundation occurring in late February and early March 1830 because of
sudden thaw and which took on catastrophic dimensions, devastating, for example, the suburbs of
Roßau and Leopoldstadt, as well as the area near the Augarten. The choice of the subject is singular
within the series of the peepbox paintings, although this group is insofar related to other sheets
addressing topical historical events as they present members of the imperial family, namely the
Archdukes Francis Charles and Ferdinand, who participated in the rescue activities, thereby
demonstrating Habsburg charity. Crown Prince Ferdinand gave orders that he be taken to the
disaster zone on 1 March 1830. On 2 March he attended to the orphaned eleven-year-old boy Joseph
Leykam of Roßau – a scene depicted in two watercolours and subsequently also disseminated by
way of prints. The watercolour Leopoldstadt, Jägerzeile, on 2 March 1830 impressively combines
topography and a historical event: the course of the Jägerzeile (today’s Praterstraße), directly
leading to St Stephen’s Cathedral, is clearly recognizable.
Jakob and Rudolf von Alt
The Journeys to Italy
In 1828, a journey to the Alpine lands took Jakob and Rudolf Alt to Upper Italy. Their first extensive
journey to Italy, during which they visited Verona, Vicenza, Padua, and Venice, followed in 1833. In
those days, however, the destination proper of travellers to Italy was Rome, with its ancient sites
and “classical” landscape surroundings. Father and son Alt were only to reach this city two years
later, when they primarily sought out those monuments and spots that were considered worth
depicting according to a canon that had been established in the seventeenth and eighteenth
centuries. In fact, the sights of Rome and Tivoli – antique edifices, sacred places, and squares and
buildings in great natural surroundings – had been the subject of many thousands of views since the
fifteenth century. Naples, the Sorrentine Peninsula, and Capri were the southernmost points of Italy
that Jakob and Rudolf reached.
Today Rudolf and Jakob Alt are mainly valued as watercolourists who studied their motifs in situ.
However, there was no such appreciation for studies at the beginning of their careers. They
undertook their travels primarily in order to produce sketches of new motifs. Many of these studies
served as designs for the peepbox paintings, which they frequently only completed years later in
their studio in Vienna. In the case of these large-sized and highly finished sheets, it is particularly
difficult to distinguish between the two artists’ hands, and only the protocol of 1892, in which Rudolf
claimed his authorship for some works signed “J. Alt”, has made it possible to attribute them with
certitude.
The yield from these journeys to Italy proved to be enormous, with both father and son
experiencing a “high”: Rudolf produced the best works of his early period, and Jakob arrived
at the pinnacle of his career.
Jakob and Rudolf von Alt
Dalmatia
In 1840, Jakob and Rudolf von Alt travelled along the Dalmatian Coast. They went there separately
and only met in Zadar (Zara), with Rudolf having come by way of Trieste, while Jakob probably chose
the route via Slovenia. Jakob only seems to have reached Dubrovnik (Ragusa), whereas Rudolf
travelled on to Kotor (Cattaro). Their undertaking had not only been prompted by the peepbox
project, but also and primarily by an assignment from the Viennese publisher Heinrich Friedrich
Müller, for whose topographical compilation Picturesque Austria, published between 1840 and 1846,
they produced numerous vedute.
Dalmatia had only been part of the monarchy since 1815 and was being developed for commerce and
transport following the foundation of the Austrian Lloyd’s in Trieste in 1833. However, the region
was no new discovery for the arts, for it had been well documented since Venetian times.
Zadar (Zara), Sibenik (Sebenico), Trogir (Traù), Split (Spalato), Dubrovnik (Ragusa), and Kotor
(Cattaro) numbered among the main destinations on the eastern coast of the Adriatic Sea.
The compilation of Dalmatian motifs turned out to be particularly comprehensive and systematic,
and the imposing rigour and coarseness of both nature and architecture, in their contrast to the
Mediterranean flair of the coast, are impressively conveyed by the watercolours made during that
journey.
The sheets from the journey to Dalmatia constitute the last homogeneous group Rudolf contributed
to the series of the peepbox paintings. His marriage to Hermine Oswald in 1841 and the couple’s
move to their own living quarters seem to have loosened the collaboration between father and son,
which had once been so close.
Rudolf von Alt
From Biedermeier to the Vienna Secession
Rudolf von Alt lived to be 93 years old, but his creativity did not decline even in old age. The works
dating from the last years of his life still display a high degree of expressiveness and monumentality,
as well as an unconventional treatment of the motifs he tackled. From the 1870s onwards, he was
interested in the manifestations of nature in changing light conditions and the rendering of
atmospheric impressions, similar to the French Impressionists. His late works were highly valued by
the avant-garde surrounding Gustav Klimt and exhibited at the Vienna Secession, whose honorary
president he was.
The high points he experienced from the 1860s onwards had been preceded by a profound crisis.
The artist was demoralized by his enormous workload and downhearted because he felt that he was
not receiving the recognition that would have been his due. Moreover, he was obliged to maintain a
large family. All of these burdens were reflected in his artistic expression. The remedy was found in
a change of scenery: he travelled to the Crimea. Thanks to the unfamiliar landscape and the unusual
light atmospheres, he arrived at a generous rendering of what he perceived. Further travels – first
and foremost to Italy – followed, which resulted in large-sized works studied directly from nature.
Rudolf von Alt spent the last two decades of his life primarily in Vienna and in the summer resorts of
Bad Gastein and Bad Goisern. His imagery comprised motifs from his immediate surroundings: the
view of the Kitschelt iron foundry from his apartment in Skodagasse or the scenic beauties observed
from his living quarters when he was on holiday.
With his oeuvre, Rudolf von Alt made a substantial contribution to Austrian art, his life and work
spanning from the Biedermeier period to the Vienna Secession.
Jakob Alt
1789
Jakob Alt was born on 27 September in Frankfurt am Main, the son of a
cabinetmaker. He received his first training as an artist from two miniature painters.
1810
Moved to Vienna. In 1811 married his young landlady, Anna Schaller.
1812
Son Rudolf was born. In the following years, his wife Anna gave birth to seven
further children. Forced to maintain his family, Jakob had to abandon his plans to
travel to Italy and study at the Vienna Academy. Compilations of topographical
prints secured the large family’s existence.
1819–22
Worked on a series of views of the Danube, which comprised 264 lithographs. This
compilation turned out to be his first major success.
1828
Started work on his third lithographed series, devoted to Alpine vistas from the
Austrian monarchy (Vorzüglichste Ansichten aus den Alpen der österreichischen
Monarchie). In the context of this commission, the artist travelled to Salzburg, Tyrol,
and Upper Italy in the company of his son Rudolf. This marked the beginning of the
“teamwork” between father and son Alt.
1830–49
Project of the peepbox paintings for Archduke Ferdinand (as from 1835, Emperor
Ferdinand I). The commission was to secure the Alt family’s income for a period of
more than fifteen years.
1833
First extensive journey to Italy. Father and son visited Verona, Vicenza, Padua, and
Venice. Just as they did during their subsequent journeys, they made preparatory
studies for the peepbox paintings, which they finished at home in their studio during
the winter months.
1835
Their second journey to Italy took father and son Alt to Rome, Naples, and Capri.
1838/39
Journeys to Hungary.
1840
In late autumn, Jakob and Rudolf von Alt travelled through Dalmatia.
1843/44
The collaboration between Jakob and Rudolf ended.
1848
Completed a series of oil studies depicting views along the Danube, from
Engelhartszell to Vienna, a commission he had received from Emperor Ferdinand I,
and took up his botanical studies. Eventually, Jakob Alt’s “herbarium” comprised
some 400 watercolours of flowers.
1855/56
Travelled to Moravia and Silesia.
1872
Jakob Alt died in Vienna on 30 September.
Rudolf von Alt
1812
Rudolf von Alt was born in Vienna on 28 August, the son of the painter Jakob Alt.
1825–31
Studied at the Vienna Academy, although he was actually trained as a landscape
painter and watercolourist by his father. Their travelling and working together
started in 1828.
1829/30
Rudolf travelled alone for the first time, visiting Salzburg and the Salzkammergut.
1830–44
Travelled and worked together with his father Jakob, producing the watercolours for
the emperor’s peepbox series, with father and son creating a total of 170 works. All
of the watercolours bear Jakob Alt’s signature, since it was he who had been
entrusted with the project. Only in 1892 was a protocol recorded, pointing out which
works were done by the son, according to information supplied by Rudolf. The last
works Rudolf supplied for the peepbox series date from 1843/44. This was when the
close cooperation between father and son ended.
1848
Year of Revolution. Rudolf joined the civic guard and finally fled from Vienna. In the
years to come, severe travel restrictions hampered his work as a vedutist.
1861
Rudolf became a member of the Vienna Society of Visual Artists and in 1873 was
elected its president.
1867
Rudolf von Alt declined an offer to work as a professor at the Vienna Academy.
Participated in the Paris World Fair.
1874
Awarded the Order of the Iron Crown, Third Class, which entitled him to apply for
knighthood. The artist only did so in 1897.
1886
From now on, Alt spent the summer months in Gastein and Goisern, his extensive
travelling thus coming to a halt.
1892
Appointed honorary member of the Vienna and Berlin Academies and the Société
Royale Belge.
1897
Left the Society of Visual Artists and became honorary president of the Vienna
Secession.
1905
Rudolf von Alt died of bronchitic influenza in his apartment in Vienna on 12 March.
Eduard Gurk
1801
Eduard Gurk was born at No. 14 Lange Gasse in the Viennese suburb of
Josefstadt on 17 November.
c. 1819
Eduard returned from a journey he had undertaken with his father through
Sweden, Denmark, the Netherlands, France, and England.
Having studied English watercolour painting with his father, who had been
his first teacher, Gurk was trained to become an engraver in Vienna.
as from 1822
Participated in the Vienna Academy’s exhibitions.
1822
Together with his father, Gurk worked on a topographical compilation
devoted to Vienna’s most prominent buildings and monuments, Wien´s
vorzüglichste Gebäude und Monumente [Vienna’s Most Excellent Buildings
and Monumens]. Further series were to follow in its wake.
1820s
Through the intermediation of the court and chamber painter Johann Baptist
Hoechle and his son, Johann Nepomuk, Gurk came into contact with the
imperial family and soon became Crown Prince Ferdinand’s companion and
chronicler.
1830
Documented Ferdinand’s coronation as King of Hungary in Pressburg. That
same year Gurk did the first sheets for the future emperor’s peepbox series.
1833
Produced a series of forty watercolours documenting Ferdinand’s pilgrimage
to Mariazell.
1836
Documented Ferdinand’s coronation as King of Bohemia in Prague.
1838
Documented Ferdinand’s coronation as King of Lombardy in Milan.
1840
With the emperor’s approval, Gurk set out from Mariazell to travel to Saida
and Jerusalem via Italy in order to capture the events of the Oriental Crisis.
1841
Gurk died of typhoid fever in Jerusalem on 31 March.
Leander Russ
1809
Leander Russ was born in Vienna on 25 November, the son of the renowned
history painter Karl Russ.
1823–29
Studied at the Vienna Academy under Carl Gsellhofer and Joseph Redl and
subsequently travelled to Venice and Rome.
1828
Awarded the Gundel Prize for his drawings after antiquities. Took part in the
Academy’s exhibitions between 1828 and 1839.
1831
Commissioned by Emperor Francis I, Russ participated in the decoration of the
Lotharingian Hall of the Franzensburg in Laxenburg.
1832
The imperial envoy Count Anton von Prokesch-Osten chose Russ as his artistcompanion during a diplomatic mission to Italy.
1833
Russ accompanied Prokesch-Osten on a journey to Egypt, which led them to
Alexandria and the Upper Nile Valley as far down as Giza, as well as through
Greece on their way back.
After his return, Russ followed in his father’s footsteps, devoting himself to
subjects of Austrian history.
1838
Russ’s painting The Turks Taking Löwel Bastion by Assault in 1683, which was
also disseminated in the form of a lithograph, was acquired for the imperial
picture gallery.
as from 1840
Russ started to produce watercolours for the emperor’s peepbox series, with
motifs ranging from allegories relating to members of the imperial family and
descriptions of historical events to fantastic primordial landscapes. Russ seems
to have worked exclusively for the imperial court until 1848.
as from 1848
Russ took part again in the Academy’s yearly exhibitions.
as from 1850
Russ worked primarily as a draughtsman and graphic artist.
1864
Russ died in Vienna-Rustendorf on 8 March after a long illness.
Jakob Alt (1789 – 1872)
Dornbach,, 1836
View from the Artist’s Studio in the Alser Suburb towards Dornbach
Watercolor ©Albertina, Vienna
This view from the artist’s studio from 1836 is probably Jakob Alt’s most outstanding and well-known work. In
terms of motif, the watercolor is a combination of a studio scene and a view out of a window into the distance.
The work presents the artist’s living environment as well as his personal “vista”: the suburb of Dornbach, with
the hills of the Vienna Woods in the background.
The easel and the drawing table in front of the wide-open window, beyond which the light-flooded landscape
and the suburban rows of houses are discernable, are rendered with much affection. The chair, casually
pushed back, symbolizes the physical presence of the artist, who seems to have just risen from his work place.
Jakob Alt juxtaposed the quiet and calm atmosphere of his studio with a piece of nature depicted in great
detail and subtly nuanced colors. The work shows him at the acme of his artistic expression.
Rudolf von Alt (1812 – 1905)
1905)
The Dachstein in the Salzkammergut, Viewed from Lower Lake Gosau, 1840
Watercolor ©Albertina, Vienna
The spectacular view across Lower Lake Gosau to the Dachstein mountain range ranks among Austria’s most
beautiful Alpine panoramas. The motif of the Dachstein Glacier in combination with the Gosau Mill was
repeatedly tackled by various artists and thus evolved into a prominent “standardized” view that had a longlasting impact on the treatment of the Dachstein motif. For the present peepbox painting, Jakob Alt relied on
a watercolor he had done on a journey to the Salzkammergut in 1838.
Rudolf von Alt (1812 – 1905)
Tivoli, 1836
Watercolor ©Albertina, Vienna
Situated on a rock ledge above the cascade and grotto of the Aniene River on the outskirts of Rome, this
round temple was the most popular subject in the city’s environs, especially among artists from the North.
However, before the late eighteenth century, i.e., the beginnings of Romanticism, the building’s natural
surroundings were of secondary importance, and the artists chose a point of view closer to the temple in order
to be able to study its architecture in detail. The building from late Republican times, which had originally
comprised eighteen columns, only ten of which survived, was usually identified as a temple of the Sibyl, but
had probably been consecrated to Vesta.
Eduard Gurk (1801 – 1841)
At Hradcany in Prague, c. 1838
Watercolor ©Albertina, Vienna
The watercolor At Hradčany in Prague shows the view from Hradčany Square into the castle’s first courtyard,
with old St. Matthew’s Gate (1614) integrated into the eighteenth-century architectural ensemble. On the lefthand side is the Archbishop’s Palace, whose façade was adapted to the Rococo style in 1765. Looking down
Castle Hill, one can discern the famous St. Nicholas Church on the Lesser Side in the right midground, a work
by Christoph and Kilian Ignaz Dientzenhofer (1655–1722 and 1689–1751).
Pressebilder | Press Images
Rechtlicher Hinweis:
Diese Bilder dürfen nur in Zusammenhang mit der Berichterstattung über die Ausstellung
Jakob und Rudolf von Alt (Albertina, 10. Februar – 24. Mai 2010) abgebildet werden.
Legal notification:
Following images are only to be used for press purposes and coverage related to the exhibition
Jakob and Rudolf von Alt (Albertina, February 10 – May 24, 2010).
Jakob Alt
Blick auf Rom | View of Rome, 1837
Aquarell | Watercolor
© Albertina, Wien | Vienna
Jakob Alt
Blick aus dem Atelier des Künstlers in der
Alservorstadt gegen Dornbach | View from
Jakob Alt
Der Dom in Regensburg | The Cathedral of
Regensburg, 1837
Aquarell | Watercolor
© Albertina, Wien | Vienna
Jakob Alt
Hofburg und
Franziskanerkirche in Innsbruck | The
Jakob Alt
Ansicht von Spalato | View of Spalato, 1841
Aquarell | Watercolor
© Albertina, Wien | Vienna
the Artist’s Studio in the Alser Suburb
towards Dornbach, 1836
Aquarell | Watercolor
© Albertina, Wien | Vienna
Imperial Palace and the Franciscan Church
in Innsbruck, 1845
Aquarell | Watercolor
© Albertina, Wien | Vienna
Jakob Alt
Der Tegernsee | Lake Tegern, 1839
Aquarell | Watercolor
© Albertina, Wien | Vienna
Jakob Alt
Steyr in Oberösterreich | Steyr in Upper Austria,
1844
Aquarell | Watercolor
© Albertina, Wien | Vienna
Jakob Alt
Blick auf das Goldene Dachl in Innsbruck | View of
the Golden Roof in Innsbruck,
1845
Aquarell | Watercolor
© Albertina, Wien | Vienna
Rudolf von Alt
Der Dachstein im Salzkammergut vom Vorderen
Gosausee | The Dachstein in the Salzkammergut,
Viewed from Lower Lake Gosau,
1840
Aquarell | Watercolor
© Albertina, Wien | Vienna
Rudolf von Alt
Die Esplanade in Ischl | The Esplanade in Ischl,
1840
Aquarell | Watercolor
© Albertina, Wien | Vienna
Rudolf von Alt
Blick auf Salzburg | View of Salzburg, 1844
Aquarell | Watercolor
© Albertina, Wien | Vienna
Rudolf von Alt
Der Residenzplatz in Salzburg | The Residenzplatz
in Salzburg, 1844
Aquarell | Watercolor
© Albertina, Wien | Vienna
Rudolf von Alt
Der Hauptplatz in Linz | The Old Town Square
in Linz, 1839
Aquarell | Watercolor
© Albertina, Wien | Vienna
Rudolf von Alt
Tivoli, 1836
Aquarell | Watercolor
© Albertina, Wien | Vienna
Rudolf von Alt
Der Traunsee | Lake Traun, 1840
Aquarell | Watercolor
© Albertina, Wien | Vienna
Rudolf von Alt
Das Pantheon und die Piazza della Rotonda in
Rom | The Pantheon and the Piazza della
Rotonda in Rome, 1836
Aquarell | Watercolor
© Albertina, Wien | Vienna
Rudolf von Alt
Der Domplatz in Cattaro | The Cathedral
Square in Cattaro, 1841
Aquarell | Watercolor
© Albertina, Wien | Vienna
Rudolf von Alt
Der Bazar von Ragusa | The Bazaar in Ragusa, 1841
Aquarell | Watercolor
© Albertina, Wien | Vienna
Eduard Gurk
Der große Höllstein mit der Ansicht gegen
Mariazell | View from the Großer Höllstein
Mountain Range towards Mariazell, 1835
Aquarell | Watercolor
© Albertina, Wien | Vienna
Eduard Gurk
Mariazell vom Annaberg | Mariazell Viewed
from the Annaberg, um | ca. 1833
Aquarell | Watercolor
© Albertina, Wien | Vienna
Eduard Gurk
Der Hauptplatz mit dem Ferdinandsbrunnen in
Baden bei Wien | The Old Town Square and
Ferdinand’s Fountain in Baden near Vienna, 1833
Aquarell | Watercolor
© Albertina, Wien | Vienna
Eduard Gurk
Leopoldstadt, Jägerzeile am 2. März | on 2
March 1830, 1830
Aquarell | Watercolor
© Albertina, Wien | Vienna
Eduard Gurk
Laxenburg, um | ca. 1838
Aquarell | Watercolor
© Albertina, Wien | Vienna
Eduard Gurk
Am Hradschin in Prag | At Hradcany in Prague, um
| ca. 1838
Aquarell | Watercolor
© Albertina, Wien | Vienna
Eduard Gurk
Am Damme nächst dem k. k. Augarten, am 3.
März | The Embankment near the Augarten on 3
March 1830, 1830
Aquarell | Watercolor
© Albertina, Wien | Vienna
Leander Russ
Ansicht des Hafens von Beirut | View of
Beirut Harbour, 1842
Aquarell | Watercolor
© Albertina, Wien | Vienna
Leander Russ
Die Sonnenfinsternis am 8. Juli |The Solar Eclipse
of 8 July 1842, 1842
Aquarell | Watercolor
© Albertina, Wien | Vienna
Sie haben die Möglichkeit diese Fotos auf www.albertina.at im Bereich Presse abzurufen |
You have the possibility to download these pictures and press material from
www.albertina.at
Service
Your way around the ticket queue
AdvanceAdvance-purchase tickets for a visit to the Albertina are available in the Albertina Online Ticket Shop,
Shop
through WienWien-Ticket and OeTicket/eventim, or as MOBILE Tickets. AdvanceAdvance-purchase tickets admit to all
current exhibitions of the Albertina and its Staterooms.
Albertina Online Ticket Shop
The Albertina Online Ticket Shop offers a simple and comfortable way to buy a ticket with your credit card
via www.albertina.at.
How to get your ticket: you can have the ticket directly printed via print@home, have it sent to a mailing
address in or outside Austria (for a charge), or collect it in the ticket pavilion next to the Vienna State
Opera or in the TUI ReiseCenter, Mariahilfer Straße 20.
Reduced-price admission tickets are available from the Albertina Online Ticket Shop for senior citizens,
students, groups of 10 or more, and visitors with disabilities. The ticket price is the same as for tickets sold
directly in the museum.
WienWien-Ticket
Tickets* can be ordered from the Wien-Ticket Call Center, via its web portal, or at about 90 locations in
and around Vienna.
T: (+43-1) 588 85, www.wien-ticket.at
OeTicket
Tickets* can be ordered from the OeTicket Call Center, via its web portal, or at 2,500 locations throughout
Austria, such as Libro and Saturn stores, Erste Bank/Sparkassen branches, Blaguss Reisen, Verkehrsbüro
Reisen, and Trafik/Trafik Plus outlets.
T: (+43-1) 96 0 96, www.klassik.oeticket.com
eventim
Tickets* are available at numerous advance-sale outlets in Bulgaria (www.eventim.bg), Croatia
(www.eventim.hr), Germany (www.eventim.de), Hungary (www.eventim.hu), Italy (www.ticket-one.it),
Poland (www.eventim.pl), Romania (www.eventim.ro), Serbia (www.eventim-yu-com), Slovakia
(www.eventim.sk), and Slovenia (www.eventim.si).
MOBILE Tickets
Send an SMS with the word ALBERTINA to 0828 20 200.
After having chosen the number of tickets and confirmed your purchase request, you will receive your
personal access code by SMS. For all private A1, Orange, T-Mobile and tele.ring clients, the amount due will
be debited to their mobile account; business clients and clients of other network operators pay via paybox
(information and registration: www.paybox.at).
Further details at www.albertina.at.
Albertina Combination Ticket
The Albertina, Wiener Linien, Vienna’s public transit company, and ÖBB, the Austrian Federal Railways,
offer perfect conditions for a trip to Vienna and a visit to the Albertina without any stress and parking
problems.
The Albertina Combination Ticket comprises:
a second class roundround-trip train ticket from any ÖBB station in Austria to Vienna;
a day pass for “Zone
“Zone 100“ public conveyances in Vienna, for one or three days (night buses not included);
an admission ticket to the Albertina (valid for a visit of all its current exhibitions and its Habsburg
Staterooms).
Prices, further information, and booking: www.oebb.at.
* In addition to the ticket price, an advance-purchase fee will be charged.