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Adoration of the Virgin
new9/MAULBERTSCH, Franz Anton-272345.jpg
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Adoration_of_the_Virgin
mk86
1757
Heiligenkreuz-Guttenbrunn,Orgelchor
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Joseph and his Brothers
new16/MAULBERTSCH, Franz Anton-985648.jpg
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Joseph_and_his_Brothers
1745-50
Oil on canvas,
73 x 90,5 cm
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Mary Magdalene
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Mary_Magdalene
1754 Oil on canvas Cistertian Church, Zirc The picture shows the influence Piazzetta's painting. Artist: MAULBERTSCH, Franz Anton Painting Title: Mary Magdalen , 1751-1800 Painting Style: Austrian , , religious
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The Trinity - Oil on canvas
new21/MAULBERTSCH, Franz Anton-797738.jpg
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The_Trinity_-_Oil_on_canvas
62,5 x 33 cm Museum of Fine Arts, Budapest It was as a master of fresco-painting and as a most prolific decorator of churches and palaces in Austria, Czechoslovakia and Hungary that Franz Anton Maulbertsch was most appreciated by his contemporaries. Perhaps nowadays greater value is placed on his surviving bozzetti - sketches painted in gloriously fresh colours with brilliant technique. His late works, such as The Holy Trinity, a sketch for an altar-piece, are fluid in their handling, and the light colours give a silvery effect. In these sketches Maulbertsch captured his subjects with a few unbelievably light strokes of the brush and some spots of colour permeated with light. When he elaborated these sketches in their final form, however, particularly in the case of the later altarpieces, the spontaneity was often lost, the forms becoming heavier and the hues muted. This sketch from the late period of the artist was identified as a study for the altarpiece in the Parish Church in Wien-Reindorf. Artist: MAULBERTSCH, Franz Anton Painting Title: The Trinity , 1751-1800 Painting Style: Austrian , , religious
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Decoration of the Cupola
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Decoration_of_the_Cupola
1783 Fresco Parish Church, P?pa Artist:MAULBERTSCH, Franz Anton Title: Decoration of the Cupola, 1751-1800, Austrian , painting , religious
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MAULBERTSCH,_Franz_Anton
Austrian Painter, 1724-1796
Austrian painter. His work as a painter of both oil paintings and frescoes on religious, mythological and occasionally worldly themes spanned the second half of the 18th century, adapting a Late Baroque training to the onset of Neo-classicism but remaining strikingly individual throughout. His fresco work, mostly still in situ in widespread central European locations, came at the end of an artistic tradition and was for long neglected, being far from major cultural centres; but it is now seen to establish him as one of the leading painters of his century
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