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Christmas at the DomQuartier

Small Christmas exhibition in the St. Peter’s Long Gallery and Cathedral Museum

Since the 4th century, the birth of Christ has been celebrated in the roman church on 25 december – according to the julian calendar on the day of the winter solstice, thus affirming the turning point for humanity with the arrival of the Saviour.

The small Christmas exhibition in the Long Gallery St. Peter and Cathedral Museum uses nativity scenes, paintings and sculptures to tell episodes from the Christmas story.


Programme tip: Guided tour (in German) with tower bells and delicacies from the Christmas market.
Guided tour in a foreign language on request

You can expect:

  • a guided tour of the Lange Galerie and the Cathedral Museum with a Christmas focus
  • the traditional Salzburg tower-blowing from an unusual perspective on the DomQuartier’s cathedral terrace
  • Delicacies of the Salzburg Christmas Market


Thursdays from 5.30 p.m. onwards
24 November and 1, 8, 15 and 22 December 2022

Meeting place: Residenzgalerie, DomQuartier at the 3rd floor

Registration required

+43 662 8042 2109  or

>> alle aktuellen Veranstaltungen im DomQuartier finden Sie hier.

Highlights. Residenzgalerie Salzburg

In three rooms, the Residenzgalerie Salzburg exhibits highlights from the baroque Dutch and Flemish collections, together with masterworks of 19th‑century Austrian painting.

The nucleus of this small presentation is Rembrandt’s Old Woman Praying, together with contemporary Dutch and Flemish paintings which were acquired by the Province of Salzburg from the former Viennese collection of Count Czernin, and which are among the Province’s most valuable stocks of paintings. On display are pioneering landscapes by Jan van Goyen, Aelbert Cuyp, Paulus Potter and Salomon van Ruysdael, as well as the famous breakfast still life by Jan Davidsz de Heem.


Selected from the top-quality stock of 19th‑century Austrian paintings are Ferdinand Georg Waldmüller’s Children at the Window and Hans Makart’s Amalie.

Jan Brueghel the Elder (1568 – 1625), Village Landscape with Figures and Cows, 1609



Virtual 3D tour through the exhibition

Foto aus der virtuellen Ausstellung: Highlights. Residenzgalerie Salzburg


Idea, concept & implementation
Mag.a Astrid Ducke, Dr. Thomas Habersatter

Mag. Dr. Wolfgang Richter
Wolfgang Tauderer

The catalogue is available in the shop of the Residenzgalerie in the DomQuartier Salzburg and online in the online shop.

Prince-Archbishop Hieronymus Colloredo (1772–1803/1812)

Exhibition on the occasion of the 250th anniversary

Count Hieronymus Colloredo was elected Archbishop of Salzburg on 14 March 1772. This exhibition on the last ecclesiastical ruler and his epoch marks the 250th anniversary.

Three decades were to remain until the end of the Salzburg Archabbey – a period which the reformist Prince shaped in the spirit of the Enlightenment. His first pressing task was to deal with the high state debt. Ultimately, by means of economies, improved organisation and a more efficient and equitable tax system, it was even possible to achieve surpluses.

Outstanding scholars associated with Colloredo worked to prepare the reforms, which affected all spheres of life. Great importance was attached to education, which was considered a way of making his subjects better citizens. The court library was expanded with more books than it had seen in the previous hundred years. The school system was restructured and the training of both teachers and priests reformed. The development of poor relief was a concern of Colloredo’s, as well as improved medical care and, towards the end of his reign, the propagation of smallpox vaccination.

Not all his innovations met with approval; the ecclesiastical reforms were most vehemently resisted by the rural population. Colloredo’s predecessor Schrattenbach had encouraged or allowed displays of splendour in church services and processions, the veneration of the Virgin and the Saints, pilgrimages and brotherhoods. Colloredo, by contrast, allowed all these only in a very restricted form; various customs, religious plays, nativity scenes and “Wetterläuten” [ringing the church bell to avert a brewing storm] were prohibited altogether. Instead of exaggerated  emphasis on outward appearance, a “purified” practice of religion should concentrate on Bible-reading and German hymn-singing. One of the most unpopular measures was the extension of working hours by a reduction in church holidays. Central to the reform programme was the pastoral letter of 1782, which was talked about all over Europe and translated into several languages .

The speed and radicality of these reforms were too much for many of the subjects. The climate of freedom of opinion and of the press at Colloredo’s court was unparalleled abroad. In Bavaria, for instance, it was a punishable offence to read or distribute the Oberdeutsche Zeitung, a newspaper printed in Salzburg. Before the star of the old Archabbey set, Colloredo’s Salzburg had developed into a centre of progressive thinking, a centre of the Enlightenment in Europe.

In 1800, Colloredo fled to Vienna before the advancing French army; he was forced to abdicate as a secular ruler in 1803, but insisted upon retaining the rank of archbishop until his death in 1812, thus ensuring the continued existence of the archbishopric of Salzburg.


Exhibition and catalogue

The DomQuartier is unquestionably the ideal location for an exhibition on Colloredo. This was his sphere of influence, and it is still evident in the design of the state-rooms – in the Weisse Saal, the stuccoed walls of the Rittersaal, the classicistic tiled stoves and the French suite of seating furniture in the audience chamber. The main exhibition is in the North Oratory, curated by the Cathedral Museum. The Residenzgalerie will show pictures from its own collection in the rooms of Colloredo’s former painting gallery.

Since the exhibition can only touch on individual topics, the catalogue will offer further details and explanations. Published in co-operation with the archive of the Archdiocese of Salzburg, it will contain essays on people and families, state and administration, science and the arts, faith and the church, everyday life and conditions. The authors are mainly academics from the University of Salzburg and the Salzburg Archive.

The exhibition catalogue will be available in the museum shop or in the online shop from November 2022.

Town ∙ Landscape ∙ Mountain
Salzburg and surroundings

Highlights and hidden treasures from the Residenzgalerie collection.

Around 1800, Salzburg underwent radical changes. The economy was weak, and in 1803, through the Napoleonic Wars, Salzburg lost its political independence. Around the same time, writers, scholars and artists discovered Salzburg and its surroundings as an attractive destination, and in the course of the 19th century they shaped an image of Salzburg that has lasted up to the present day.

The exhibition shows highlights and hidden treasures from the Residenzgalerie collection, dating from between 1800 and 1900. The “Rome of the North” is viewed from afar, close up, and in detail. The journey takes visitors from the town into the countryside, focusing on Lake Zell, Bad Gastein, the Salzkammergut, neighbouring Berchtesgaden, and distinctive mountains such as Grossglockner, Untersberg and Watzmann.

The presentation is rounded off with works by Salzburg artist Wolfgang Richter, who has specialised for over 40 years in diverse aspects of Salzburg and its surroundings, as well as historical postcards from the collection of Wolfgang Tauderer, illustrating the motifs portrayed by 19th century artists.

Thomas Ender (1793–1875) Der Großglockner mit der Pasterze, around 1830


Johann Adam KLEIN (1792–1875) Jahrmarkt in Berchtesgaden, 1830



The presentation is rounded off with works by Salzburg artist Wolfgang Richter, who has specialised for over 40 years in diverse aspects of Salzburg and its surroundings, as well as historical postcards from the collection of Wolfgang Tauderer, illustrating the motifs portrayed by 19th century artists.

Wolfgang Richter (* 1953 Zuchering/Ingolstadt), Cloudmountain, 2016, Plastikfolie, Nylon, Blei © Ghezzi/Richter

More works by Wolfgang Richter on:


Virtual Tour through the exhibition


Idea, concept & implementation
Mag.a Astrid Ducke, Dr. Thomas Habersatter

Mag. Dr. Wolfgang Richter
Wolfgang Tauderer

The catalogue is available in the shop of the Residenzgalerie in the DomQuartier Salzburg and online in the online shop.


Guided tours

Guided tours are offered in German and other languagesin on request.  Public tours for this exhibition in German are published in the calendar of events.


TIPP: On backpack tour through Town ∙ Landscape ∙ Mountain

Simply borrow a backpack at the cash desk and off you go! Fun and excitement for the whole family on the adventure hike.

Einfach Rucksack an der Kassa ausborgen und los geht’s! Spaß und Spannung für die ganze Familie auf der Erlebniswanderung.


Highlights. Residenzgalerie Salzburg

30. 7. 2022 till 7. 11. 2022

In three rooms, the Residenzgalerie Salzburg exhibits highlights from the baroque Dutch and Flemish collections, together with masterworks of 19th‑century Austrian painting. >> read more

Christmas in the DomQuartier

Rejoice greatly!

says an Advent hymn on the occasion of the upcoming birthday of the Saviour. Every year it is a joy to delve into the Christmas story through pastoral plays, nativity scenes and other works of visual art. They turn the Christmas event into a sensual experience with details that one looks for in vain in the terse accounts of the evangelists Matthew and Luke. The stable in Bethlehem, the ox and donkey and the kings from three continents are examples of beloved embellishments and interpretations.

The exhibition in the Cathedral Museum (south oratory) uses pictures and sculptures to tell the Christmas story from the Annunciation to the flight to Egypt and the offering in the temple.

Christmas guided tours (in German)

Guided tour through the Christmas exhibition in the Cathedral Museum with brass music played from the Cathedral arcade terrace and local delicacies from the Christkindl market.

Thursdays, 5.30 pm
25.11., 2.12., 9.12., 16.12., 23.12.2021

Booking required

 +43 662 80 42 21 09 or

400 Years of Paris Lodron University of Salzburg

An Exhibition to mark the 400th Anniversary of the Paris Lodron University of Salzburg

The University of Salzburg was founded 400 years ago, a time defined by the momentum of the Baroque. Over the next few decades, the institution’s influence had already stretched beyond country borders. Major political, artistic and cultural figures from history have passed through its halls, and have gone on to achieve the top ranks in science and the arts. Life skills learnt back then still resonate with us today. Treasures from the University’s vaults, which are rarely on display, illuminate the development of science in the heart of Europe, a success story that now points us to the future.

The 400-year anniversary exhibition, with its motto of “Back to the Future”, provides an insight into the University’s successful past and present, but also elaborates on its future prospects: its growing appeal on the international stage. Innovative concepts for the challenges of digitalisation. Sustainable solutions for the next 400 years.

The DomQuartier provides the ideal backdrop for this exhibition on the history, present and future of the University of Salzburg. Through this exhibition, the museum and the University hope to work together with visitors to answer the questions of tomorrow and spark ideas for the future!


Virtual 3D tour through the exhibition

>> click into the picture to start the tour

Residenzgalerie Salzburg

Masterworks from the Salzburg Residenzgalerie collection

The presentation centres around Rembrandt’s Old Woman Praying, with Dutch and Flemish paintings from the same period, which the Province of Salzburg acquired from the Viennese collection of Count Czernin, and which are amongst the most valuable painting collections in the Province. On display are pioneering landscape paintings by Jan van Goyen, Aelbert Cuyp, Paulus Potter and Salomon van Ruysdael, as well as the famous breakfast still life by Jan Davidsz. de Heem. The Dutch painting of the age is further represented by portraits and genre paintings, and the exhibition is rounded off with highlights from the French, Italian and Austrian Baroque.

A further focus of the exhibition is the choice collection of 19th-century Austrian paintings, including Ferdinand Georg Waldmüller’s Children at the Window, views of Salzburg by Friedrich Loos and Johann Fischbach, and masterpieces  by Hans Makart.

Virtual 3D-Tour through the exhibition

Ein barocker Raum mit Stuck an der Decke und einem kunstvollen Holzboden, barocke Bilder sind an den roten und grauen Wänden

Davidsz. de Heem, Stillleben

Rembrandt, Betende alte Frau


One of the highlights of the exhibition:

Rembrandt Harmensz. Van Rijn (1606-1669): Praying Old Woman, Residenzgalerie Salzburg, inv. no. 549.

The small early Rembrandt study, which – painted on a gilded copper plate – is a special feature in Rembrandt’s complete works, comes from the collection of Johann Rudolph Graf Czernin von und zu Chudenitz (1757-1845).


The catalogue Masterworks is available (price: € 9.90) in the Residenzgalerie shop in the DomQuartier Salzburg or in our online shop.


More about the collection of the Residenzgalerie Salzburg

John of Nepomuk – Salzburg’s five-star patron saint

Johannes Nepomuk

The 300th anniversary of his beatification

A large private collection acquired by the Cathedral Museum in 2017 includes a remarkable set of objects belonging to the John of Nepomuk tradition. It seems natural, then, to mark the anniversary of the Bohemian martyr’s beatification by showing a selection of these. Since the originally planned  exhibition together with large-scale loans in the North Oratory is not possible in 2021,  at  least a modest show will be held, interspersed in the permanent exhibition in the South Oratory.

The themes are the martyr’s life and the story of his veneration, which surged enormously during the Catholic revival following the Thirty Years’ War. Beatified in 1721 and canonised in 1729, John of Nepomuk became a “fashionable” saint in the Baroque age – particularly in Salzburg, where Prince-Archbishops Franz Anton Harrach and Leopold Anton Firmian promoted his worship. In 1697, long before his beatification and canonisation, Johann Michael Rottmayr placed him among the saints in the Holy Trinity Church fresco. Second patron saint of the diocese (after Rupert and Virgil) since 1736, John of Nepomuk is also very much present in public space. Marble statues by sculptor Josef Anton Pfaffinger stand in several places in the town, and up and down the country there are numerous statues on bridges, as well as pictures and figures in churches and chapels.

The exhibition must also ask what John of Nepomuk can tell us today. He is, after all, not only protector against floods and water hazards, but also against animosity and malicious gossip. Thus he stands for concerns that are more relevant than ever, considering all the hostilities and the “fake news” abounding in social networks.

A booklet accompanying the exhibition in german (€ 11,90) is available in the museum shop or online.

Extract of the paintings and exhibits


All dates listed here are offered in German. For a tour in English, please contact the visitor service in the DomQuartier below:
+43 662 80 42 21 05  or .

Public Tours (German)

  • Samstag, 10.30 Uhr
    22. Mai, 19. Juni, 23. Oktober, 13. November
  • Samstag 11.00 Uhr
    29. Mai (Museumswochenende)
  • Mittwoch, 16.30 Uhr
    21. Juli, 4. August
  • Mittwoch, 15.00 Uhr
    1. September


Treffpunkt Residenzgalerie


Further information on Cathedral Museum

Nature in Image
Austrian Baroque landscapes

Baum im Wind

Austrian landscape painting in the 17th and 18th centuries

Nature as fine art. Landscape as motif. Trees bowed by the wind, the play of colours through the leaves of forests bathed in light, an approaching storm, the hazardous path over a mountain pass, the hunting party resting in a secluded spot, the cheerful bustle of a country fair set in a landscape – Austrian baroque painters between 1600 and 1800 captured all this and much more on canvas, copper plates and wood panels. The formats ranged from postcard-sized cabinet pieces to canvases more than 2m wide. 18th-century collectors from aristocratic, ecclesiastical and bourgeois circles were great admirers of these diverse renderings. The presentation is rounded off by a comparison with Dutch, Italian and French models, and examples of the change in style around 1800.

The first comprehensive exhibition of Austrian baroque landscapes takes into account the increased interest in the subject shown in recent years.

Albert Christoph Dies, Landscape in a thunderstorm, with the Hoher Staufen mountain

Loans from long-standing partners

With special support from:
Belvedere, Wien;
Gemäldegalerie der Akademie der bildenden Künste, Wien;
LIECHTENSTEIN. The Princely Collections. Vaduz–Vienna;
Kunsthistorisches Museum, Wien;
Salzburg Museum and Privatleihgebern.


Ch. H. Brand, J. Ch. Brand, A. Ch. Dies, J. E. Dorfmeister, J. A. Eismann, A. Enzinger, A. Faistenberger, G. J. Faistenberger, F. P. de Ferg, I. Flurer, J. (J. B.) Graf, N. Grund, J. Ph. Hackert, J. J. Hartmann, F. Ch. Janneck, J. Orient, A. Querfurt, J. N. Lauterer, H. C. Memberger, J. Mössmer, M. v. Molitor, A. Nesselthaler, J. G. Platzer, J. Rebell, J. Roos d. Ä., J. M. Rottmayr, C. Ph. Schallhas, F. Scheyerer, M. J. Schinnagl, J. N. Schödlberger, F. G. Waldmüller, M. Wutky

The exhibition catalogue in german is available (price € 18,90) in the museum shop and online.


Landschaft mit Hirten und Herde auf einem Ölgemälde

Anton Faistenberger, Landscape with Shepherds and Herd


Idea and Concept:
Thomas Habersatter

Thomas Habersatter
Astrid Ducke

Guided tours in a foreign language are possible on request.

Registrations required for all events:
+43 662 80 42 21 09


Virtual tour through the exhibition

>> click into the picture to start the tour



Program in German:

Kuratorenführungen 2021/2022

SA 31. Juli, 28. August, 11. September*, 16. Oktober*, 27. November, 11. Dezember* 2021 , 22. Jänner*, 29. Jänner 2022 · jeweils 10.30 Uhr
MI 11. August · 16.30 Uhr
MI 15. September*, 13. Oktober*, 3. November, 1. Dezember* 2021, 12. Jänner 2022· jeweils 15 Uhr

mit Dr. Thomas Habersatter bzw. Mag. Astrid Ducke*
Treffpunkt: Residenzgalerie Salzburg


Gustostückerl 2021

MO · jeweils 16 Uhr
8. November: „Anton Faistenberger“ mit Dr. Thomas Habersatter
15. November: „Jagdbilder“ mit Mag. Astrid Ducke
22. November: „Ideale Landschaft“ mit Dr. Thomas Habersatter
29. November: „Gebirgsansichten“ mit Dr. Thomas Habersatter

Treffpunkt: Residenzgalerie Salzburg


Gesprächsreihe 2022

MI 18 Uhr, Eintritt frei!
12. Jänner: „Italienische Landschaft“ mit Mag. Norbert Grillitsch
19. Jänner: „Flämisch-Holländische Landschaft“ mit Dr. Erika Oehring
27. Jänner: „Französische Landschaft“ mit Dr. Thomas Habersatter

Treffpunkt: Residenzgalerie Salzburg


More about the collection of the Residenzgalerie Salzburg

Music everywhere!
Salzburg – a centre of European musical culture 1587 – 1803

State rooms, North Oratory, Long Gallery and St Peter‘s Museum (music room)

A musical tour of discovery in the original venues: With “Music everywhere!” the DomQuartier focuses on Salzburg’s great musical tradition, which is inseparably bound up with the history and the various rooms in the Residenz and the Cathedral precinct, as well as with Heinrich Ignaz Franz Biber, Georg Muffat, Antonio Caldara, Leopold and Wolfgang Amadeus Mozart and Michael Haydn – long before the inauguration of the Salzburg Festival.

Glorious times, illustrious guests, opulent banquets and wonderful music – even then, during the reign of the prince-archbishops, Salzburg presented an international star-studded cast and major premières.

Knights Hall – a location of debut performances of Mozart-Works.        W. A. Mozart first conducted some of his own works here, such as “Die Schuldigkeit des Ersten Gebots” K35 (1767) or “Il Re pastore” K208 (1775).

To start off, listen to Claudio Monteverdi’s Toccata (L’Orfeo”):

The DomQuartier explores this illustrious musical history, starting from the reign of Prince-Archbishop Wolf Dietrich von Raitenau who, with his new regulations for the musicians at the court, created the basis of a long-flourishing music scene in the historic venues. This exceptional situation affords a vivid impression of the frequent festivities once held here.

The designers of the exhibition – Virgil Widrich of checkpointmedia and Hans Kudlich of Studio Kudlich – devised selective, modern architectural interventions to bring alive for visitors’ imagination the historical scenes of festivities and music-making. It is the field of tension generated by the commentaries recreating these scenes that renders the authenticity of these historical venues all the more immediate.


Virtual tour through the exhibition in the State Rooms


Impressions from “Everywhere Music!



Musical Program

Besides audio and video stations in the exhibition rooms, in order for the motto “Music everywhere!” to resonate throughout the Residenz, there is a live-music track co-ordinated with the themes and content of the exhibition.

The exhibition catalogue will be available (price € 14,90) in the Residenzgalerie shop in the DomQuartier and online.



All dates listed here are offered in German. For a tour in English, please contact the visitor service in the DomQuartier below:
+43 662 80 42 21 05  or .

Guided tour »Überall Musik!« in German

Wednesday, 15.00 Uhr
29. Mai (Salzburger Museumswochenende), 18. August, 22. September, 27. Oktober, 17. November, 8. Dezember, 29. December 2021

Saturday, 10.30 Uhr
9. Juni, 26. June, 24. July, 7. August, 4. September, 9. October, 6. November, 18. December 2021
Meeting point: Carabinierisaal


Musical programme »Music everywhere!«

Wednesday, 7 pm
8. September, 13. October, 1. December, 22. December 2021
Tickets: Salzburg-Ticket-Service, Tel. +43 662 840 310,

Cooperation between DomQuartier Salzburg and Johann Michael Haydn Society Salzburg.
Concept and artistic direction: Stiftskapellmeister Peter Peinstingl

Further cooperation partners:
Universität Mozarteum Salzburg, Musikum Salzburg Stadt, Salzburger Bachgesellschaft



Thursday, 24. Juni, 15.00 Uhr
Meeting point: Residenzgalerie, Kunstlabor

Further information as well as other events and children’s and youth programs  (in German) at:

>> Veranstaltungen & Führungen

Subject to change.

The Muses‘ kiss
A Festival of divine inspiration

Project of the Residenzgalerie at the DomQuartier Salzburg on the occasion of the 100th anniversary of the Salzburg Festival. 

Idea, concept, curator: Astrid Ducke
exhibition design & organisation: Astrid Ducke, Thomas Habersatter

In 2020, the Salzburg Festival celebrates its centenary. The Salzburg Residenzgalerie, three years its junior, represents a second main focus – the visual arts.

“Kissed by the Muse”, Ovid wrote the Metamorphoses and Homer the Odyssey – both of them sources of inspiration for great painters and dramatists. Paintings are often populated with gods and heroes. Likewise theatre stages, with great love stories, or the dramatised life of an archbishop or even a saint. When have these roles been staged in the 100-year history of the Salzburg Festival? How have the protagonists been represented on stage – and how in the visual arts? 

Heinrich Friedrich Füger, Die Musen der Tragödie und der Komödie © RGS/Ghezzi

Heinrich Friedrich Füger, Die Musen der Tragödie und der Komödie

Works from the collection of the Residenzgalerie form the nucleus of the exhibition. Photographs and reproductions of Salzburg Festival performances offer an opportunity for comparison.



All dates listed here are offered in German. For a tour in English, please contact the visitor service in the DomQuartier below:
+43 662 80 42 21 05  or .

Curator guides with Mag. Astrid Ducke in German

  • Mittwoch, 15.00 Uhr 
    2020: 18. März, 1. April, 6. Mai, 3. Juni, 1. Juli, 5. August, 30. September, 28. Oktober, 18. November & 9. Dezember 2020
    2021: Jänner, 24. Februar, 24. März, 28. April, 26. Mai 2021, 23. Juni 2021
  • Mittwoch, 16.30 Uhr
    7. Juli 2021
  • Samstag, 10.30 Uhr
    2020: 29. Februar, 14. März, 18. April, 23. Mai, 13. Juni, 25. Juli, 22. August, 12. September, 10. Oktober, 14. November, 19. Dezember 2020
    2021: 9. Jänner, 13. Februar, 13. März, 10. April, 8. Mai, 12. Juni, 10. Juli 2021

Treffpunkt: Residenzgalerie

Discussion Series
Jeweils Mittwoch, 18.00 – 19.00 Uhr 

  • 4. März 2020, „Küsst die Muse auch heute?“ mit Univ. Prof. Thomas Schirren, Künstler und Werbetexter Hieronymus Kloss
  • 8. Juli 2020, „Schau nicht zurück, Orfeo!“ mit Sängerin Frances Pappas
  • 15. Juli 2020, „Nausikaa hat einen Traum und Odysseus hat Heimweh“ mit Schauspielerin Katharina Wawrik
  • 9. Juni 2021, “Die wundersame Reise des Tobias. Eine Abenteuer-, Zauber-und Liebesgeschichte.” Mit Univ. Prof. Dr. Kristin de Troyer
  • 16. Juni 2021, „Hättest du mich angesehen, Jochanaan, du hättest mich geliebt.“ (Salome). Mit Univ.-Prof. Dr. Marlis Gielen und Dramaturgin und Regisseurin Dr. Martina Gredler.

Treffpunkt: Residenzgalerie


Jeweils Donnerstag, 15.00 – 16.30 Uhr

2020: 27. Februar, 19. März, 21. Mai, 16. Juli, 10. September & 5. November 2020
2021: 21. Jänner, 4. März, 6. Mai, 24. Juni 2021

Treffpunkt: Residenzgalerie


Virtual 3D tour of the exhibition


Extract of the paintings and exhibits

Further information as well as other events and children’s and youth programs  (in German) at:

Veranstaltungen & Führungen.

From Bernini to Rubens.
Roman Baroque from the Rossacher Collection

Allegorie der Justitia (Gerechtigkeit und Frieden küssen sich) Giovanni Battista Gaulli, gen. il Baciccio, Werkstatt, nach 1670 Öl auf Leinwand © DQS/Salzburg Museum, Sammlung Rossacher RO 0056

Rome is regarded as the birthplace of the Baroque, the last art movement to spread throughout Europe. It was to be powerful, classical and impressive – and an eloquent ambassador for Catholicism. The Rossacher Collection includes some sketches for paintings that were to become key works of this period.

Dr. Regina Kaltenbrunner

Allegorie der Justitia (Gerechtigkeit und Frieden küssen sich)
Giovanni Battista Gaulli, gen. il Baciccio, Werkstatt, nach 1670
Öl auf Leinwand, Salzburg Museum Sammlung Rossacher RO 0056


Archduke Ludwig Viktor.
Emperor Franz Joseph’s youngest brother and his Kleßheim Palace

Portrait von Ludwig Victor, dem Bruder Kaiser Franz Josephs

Emperor Franz Joseph’s youngest brother and his Kleßheim Palace No comprehensive biography of Archduke Ludwig Viktor (1842–1919) – considered the enfant terrible among the Habsburgs – has yet been published. Although he took part in the life of the Viennese court, he liked to spend the summer months in Salzburg. From 1861 until 1904 he had an apartment in the Salzburg Residenz (now rooms in the Residenzgalerie), and in 1866 he became the owner of Klessheim Palace, where in 1880/82 he had a winter palace built in the grounds. For health reasons, he dissolved his Viennese household in 1904 and moved permanently to Klessheim, where he died in the winter palace on 18 January 1919.
To mark the 100th anniversary of his death, details will be published for the first time concerning his life in Klessheim and the unusual sale of the palace and its entire contents.
One chapter of the catalogue is devoted to the art-works which came from Ludwig Viktor’s collection, and which since his death have been the property of the Town and Province of Salzburg.

Dr. Roswitha Juffinger

The exhibition catalogue is available in the Residenzgalerie shop in the DomQuartier and in our online shop.


Heinrich von Angeli (1840 – 1925), Erzherzog Ludwig Viktor von Österreich, 1874, Öl/Leinwand (Detail)
© Land Salzburg Neue Inv. Nr. 111111 9300467, Aufnahme Fotostudio Ulrich Ghezzi, Oberalm


Guided Tours

With Dr. Roswitha Juffinger, Curator: saturday, 10:30 a.m. 2019.2.2., 2019.4.20., 2019.6.15.

With Mag. Astrid Ducke: saturday, 10:30 a.m.  2019.1.19 and wednesday, 15 p.m. 2019.2.27, 2019.3.20., 2019.5.15

Golden Times. 17th-century Dutch painting

Cornelis de Heem, Stillleben mit Austern, Zitronen und Trauben, (Ausschnitt), Residenzgalerie Salzburg, Inv.-Nr. 561 © 2019 RGS/Ghezzi

Holland is celebrating its Dutch Golden Age. The Residenzgalerie Salzburg follows suit, presenting highlights of European painting.

Seventy masterpieces from the Paintings Gallery of the Academy of Fine Arts Vienna and the Residenzgalerie Salzburg will be presented.

Exceptional economic and socio-political conditions provided fertile ground for the heyday of Dutch painting in the 17th century. During this period, known as the Gouden Eeuw/Golden Age, the art of painting attained a quality unprecedented in this range of genres. An exquisite selection of still lifes, landscapes, marine pieces, portraits and much more offers insights into an exceptional phenomenon of European art.

Willem van Aelst, Jan Asselijn, Gerrrit A. Berckheyde, Abraham van Beyeren, Leohard Bramer, Pieter Codde, Dirk van Deelen, Gerard Dou, Karel Dujardin, Allaert van Everdingen, Barent Fabritius, Aert de Gelder, Jan Davidsz. de Heem, Jan van Goyen, Nicolaes Maes, Aart van der Neer, Reinier Nooms, Adrian van Ostade, Paulus Potter, Rembrandt, Salomon van Ruysdael, Jacob I. Ruisdael, Godfried Schalcken, Simon de Vlieger, Hendrick van Vliet, Emmanuel de Witte, Jan Weenix.

Erika Oehring, Residenzgalerie Salzburg

Exhibition Catalogue
The exhibition catalogue will be available (price € 18,90) in the Residenzgalerie shop in the DomQuartier and in our online shop.

Image Gallery

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Curator Tours “GOLDEN TIMES”

Wednesday, 16.30 pm with Dr. Erika Oehring: 7. August 2019
Wednesday, 15.00 pm with Dr. Erika Oehring: 4. September 2019

Meeting point: Residenzgalerie Salzburg.



Saturday, 10.30 a.m with Mag. Astrid Ducke:
24. August, 12. October & 7. December 2019
Saturday, 10.30 a.m with Dr. Thomas Habersatter:
14. September, 2. November 2019 & 11. January 2020

Wednesday, 15.00 p.m with Mag. Astrid Ducke:
2. October & 18. December 2019
Wednesday, 15.00 p.m with Dr. Thomas Habersatter:
20. November 2019

Meeting point: Residenzgalerie Salzburg.


Tasting Pieces “GOLDEN TIMES”

Monday, 16.00 p.m

4. November: Genre, Dr. Erika Oehring
11. November: Still Life, Dr. Erika Oehring
18. November: Landscape, Dr. Erika Oehring
25. November: Architechture, Dr. Thomas Habersatter
2. December: Marine, Dr. Thomas Habersatter

Meeting point: Residenzgalerie Salzburg.

Subject to Change.


26 paintings from the Gemäldegalerie at the Residenzgalerie

With friendly support

Art to wonder at. Treasures from the Würth Collection

The appeal of most of the small artefacts from the golden age of the princely “cabinets of curiosities” has always lain in the sheer inventiveness and artistic virtuosity of their creators. The combination of natural and artistic forms was popular; rare and costly items from the natural world were transformed into amazing new creations – such as the precious nautilus shell, shaped into a splendid goblet.

The exhibition shows predominantly 17th-century works in alabaster, amber, boxwood, ivory, horn and silver. On display, besides imaginatively ornamented goblets and drinking-vessels, are carved allegorical, mythical and biblical figures fashioned by distinguished sculptors of the age, such as Leonhard Kern, Georg Petel and Matthias Steinl. One of the outstanding exhibits is a magnificent cabinet with the finest intarsia.

Aristocratic collectors kept such masterpieces in “cabinets of curiosities”, like that of the Salzburg prince-archbishops. In addition to viewing the exquisite objets d’art of the Würth Collection in the south arcade, visitors to the DomQuartier will experience the historical ambience of a 17th-century cabinet of curiosities.

Vier Knäblein aus einer Gruppe von Allegorien der fünf Sinne, 1690/1700
Balthasar Permoser (Kammer b. Traunstein 1651 – 1732 Dresden) zugeschrieben
Elfenbein, Sammlung Würth, Inv. 16738
Picture: Blumka Gallery, New York

Ultramarine & Shell Gold. How the Pictures were made

Ultramarin und Muschelgold

The creative act begins with the choice of material. The sensuous quality of the material and the traces left by the tools are an integral part of the artistic expression.

Before meaning comes making. The exhibition focuses on the artistic practice of the Old Masters. Selected paintings from the Residenzgalerie collection offer an insight into the production process of art-works, providing information on choosing the picture support, preparing the ground, on pigments and painting tools, sometimes with optical aids.

The visitor, equipped with a special key to approaching painting, sets out in quest of evidence: the naked eye can detect distinct traces of painting tools, picture supports, the artist’s signature and his own corrections (pentimenti).

At the centre of the presentation is a splendid spectrum of pigments obtained from minerals and plants.


The exhibition catalogue is available in the Residenzgalerie shop in the DomQuartier and in our online shop.


Pigment Manufaktur Teisendorf


Ultramarin, Copyright: Fotostudio Ulrich Gehzzi


Dies, Hohensalzburg

Highlights of this small presentation are the series of Salzburg pictures painted by Albert Christoph Dies for the collection of Prince-Archbishop Hieronymus Colloredo, and the Noah’s Ark series by Prince-Archbishop Wolf Dietrich’s court painter Kaspar Memberger the Elder. Shown in addition are paintings transferred to the Province of Salzburg (on the initiative of Provincial Governor Dr. Wilfried Haslauer, in the course of partition of assets between the Federation and the Province) in 2017 and now curated by the Salzburg Residenzgalerie.

Artists include Elias van den Broeck, Pompeo Calvi, Albert Christoph Dies, Anton or Gabriel Joseph Faistenberger, Gregorio Fidanza, Kaspar Memberger the Elder and August Theodor Schöfft.

Concept & Curator: Astrid Ducke


Albert Christoph Dies, Hohensalzburg, 1797 © 2017 RGS/Ghezzi

Logo 20.16

Logo 20.16

Prince Archbishop Maximilian Gandolph Graf von Kuenburg
A man of direction and many facets · 1668–1687

Max Gandolph Portrait

350 years ago, on July 30th 1668, the Cathedral Chapter elected Maximilian Gandolph Graf von Kuenburg, originally from Graz, to become the Salzburg Archbishop.

The coat of arms and inscription on many buildings such as the Cajetan Church in Salzburg,the Abbey in Seekirchen and the Maria Plain Pilgrimage Church
attest to his role as founder and constructor. The former court library (“Max-Gandolph Library”), the Hohensalzburg castle’s Kuenburg bastion and the Kuenburg Palace are also associated with his name. He particularly made his mark in music history:

His patronage of Heinrich Ignaz Franz Biber and Georg Muffat, both excellent court musicians, helped Salzburg advance to become a musical epicenter of European ranking. During his reign, Max Gandolph engaged himself in many areas of everyday life. New public agencies and improved safety regulations ensured that the State became decidedly more involved. He was uncompromising in questions of religion with the Protestant expulsion and the persecution of witches overshadowing his reign. The personality of this highly educated baroque ruler and his long-term tenure are being addressed in this exhibition for the first time.

Supplementary information in the form of an accompanying book that covers numerous topics from the Max Gandolph era was produced in cooperation with the University of Salzburg.
Concept and editing: Dr. Christoph Brandhuber, Universitätsarchiv Salzburg, und Ass. Prof. Dr. Ingonda Hannesschläger, Fachbereich Kunst-, Musik- und Tanzwissenschaft.

Image: (c) Dommuseum Salzburg/J. Kral

Logo Universitaet Salzburg

Exhibition “Wolf Dietrich von Raitenau. In the footsteps of the Prince-Archbishop”

Fuersterzbischof Wolf Dietrich von Raitenau

2017 sees the 400th anniversary of Prince-Archbishop Wolf Dietrich’s death on 16 January 1617. One of the most brilliant personalities in the history of Salzburg, at the emergence of a new era, von Raitenau endowed the archiepiscopal seat in the heart of the town with new splendour – Italianate lightness in architecture, painting and sculpture, complemented by a magnificent court household. Thus, around 1600, Salzburg rose to become one of the principal centres of art in Central Europe, together with the royal court in Prague, and Munich, which was elevated to the status of electoral residence in 1623. Parts of the building complex now house the Salzburg DomQuartier, which marks the year with an exhibition commemorating the Prince-Archbishop. Wolf Dietrich von Raitenau stands at the beginning of Salzburg’s opulent progress into the European Baroque.

The exhibition offers a comprehensive presentation of Wolf Dietrich – man, secular prince and archbishop – in the entire DomQuartier premises; on Saturdays, Sundays and holidays also in the Map Gallery in the Toskanatrakt (University of Salzburg; access via the DomQuartier premises).


Subject areas
Builder, prince, ceremonial, antiquity, absolutism, Italy, coat of arms, person, collector, artist, visionary, archbishop, patron of the arts, economy, music, private life, imprisonment and death.


These come from the DomQuartier museums and other Salzburg lenders. Objects from all fields of the fine arts will be on Display.
Thanks to the co-operation of Salzburg University, the Map Gallery in the Toskanatrakt will be accessible via the state rooms in the Residenz on Saturdays, Sundays and holidays during the DomQuartier opening hours. Following the exact date:

Sa. 25. 11., So. 26. 11. 2017
Sa. 2. 12., So. 3. 12. 2017
Fr. 8. 12., Sa. 9. 12., So. 10. 12. 2017
Sa. 16. 12., So. 17. 12. 2017
Sa. 23. 12. 2017 (So. 24. 12. ist das Museum geschlossen) – Mo. 1. 1. 2018
Sa. 6. 1., So. 7. 1. 2018
Sa. 13. 1., So. 14. 1. 2018
Sa. 20. 1., So. 21. 1. 2018
Sa. 27. 1., So. 28. 1. 2018
Sa. 3. 2., So. 4. 2. 2018
Sa. 10. 2., So. 11. 2. 2018
Sa. 17. 2., So. 18. 2. 2018
Sa. 24. 2., So. 25. 2. 2018
Sa. 3. 3., So. 4. 3. 2018
Sa. 10. 3., So. 11. 3. 2018
Ostern sowie die beiden Wochenende davor scheiden wegen der Antiquitätenmesse aus
Sa. 7. 4., So. 8. 4. 2018
Sa. 14. 4., So. 15. 4. 2018
Sa. 21. 4., So. 22. 4. 2018


The route begins in the courtyards of the Residenz and leads through the state rooms, Map Gallery, Residenzgalerie, North Oratory and Long Gallery to the museum of St Peter’s. Subject areas consisting of objects associated with Wolf Dietrich line the route through the DomQuartier. Core areas are focused on in both the Residenzgalerie and the North Oratory. Individual visitors and groups can follow the life and work of the Prince-Archbishop at close quarters.


A small catalogue will be published to accompany the exhibition, with contributions from the DomQuartier curators and experts on the individual subject areas. The contents will follow the exhibition concept.


Guided tours
In addition to the exhibition, guided tours will be offered through the DomQuartier and the adjacent parts of the buildings. An educational programme for children and young people is envisaged.


Overall experience
30 years after the major Regional Exhibition, this exhibition is devoted to one of the most important chapters in the history of art and culture in Salzburg. Much of the DomQuartier premises was built under Wolf Dietrich’s rule, and houses many art treasures dating from the period around 1600.


Idea, concept and organisation
Astrid Ducke, Thomas Habersatter

Exhibition “Masterworks” – Residenzgalerie

Niederländisches Gemälde

The studio exhibition “Rembrandt. Unter der Farbeˮ is part of a presentation showing the Residenzgalerie collection which, with its outstanding 16th-19th-century European paintings, is one of the most valuable art treasures of the Province of Salzburg.

On view are works by the great landscape painters Jan van Goyen, Aelbert Cuyp, Salomon van Ruysdael, as well as by animal painter Paulus Potter and Jan Davidszoon de Heem, master of the still life during the Dutch Golden Age.

Jan Davidsz. de Heem (1606-1683/84), Stillleben, Frühstück mit Champagnerglas und Pfeife, 1642, © RGS 2016/Ghezzi


Exhibition “Allegorie. The language of pictures”

Allegories are fascinating renderings of concepts such as love, transience or death. The summer exhibition, in the Residenzgalerie and the DomQuartier, shows art-works rich in wit and Fantasy.

Giacomo del Pò, Allegorie der Künste, © 2016 RGS/Ghezzi

Exhibition “MENSCHENBILDER – GÖTTERWELTEN. The Worlds of Gods and Men” – Residenzgalerie and North Oratory


The Worlds of Gods and Men

An exhibition by
LIECHTENSTEIN. THE PRINCELY COLLECTIONS in collaboration with the Residenzgalerie and the Paintings Gallery of the Vienna Academy of Fine Arts

Concept and design: Johann Kräftner


The Salzburg Festival is unquestionably one of the leading events in the international musical calendar. With the major exhibition MENSCHENBILDER – GÖTTERWELTEN. The Worlds of Gods and Men, to be held in the DomQuartier Salzburg, music and fine art will encounter each other on an equal footing during the 2016 Festival season.

With the ten rooms of the Residenzgalerie Salzburg and the North Oratory we have two superb exhibition spaces at our disposal to devote to one of the most sublime themes in the fine arts: the portrayal of gods and men over more than three centuries of classic European painting and sculpture. This will be illustrated with sixty-seven superlative paintings and twenty-one masterpieces of sculpture.

The Book of Genesis contains the famous sentence that is almost programmatic for the entire history of the fine arts: ‘So God created man in his own image, in the image of God created he him; male and female created he them.’ (Gen. 1: 27) This stands in opposition to the other commandment of the Bible: ‘Thou shalt not make unto thee any graven image, or any likeness of any thing that is in heaven above, or that is in the earth beneath, or that is in the water under the earth’ (Exod. 20: 4–5), which in Western Christian culture, however, was only obeyed and implemented during the brief periods of iconoclasm.



The paintings with which the exhibition begins in the Residenzgalerie of the DomQuartier Salzburg are wholly informed by the Christian faith and its exegesis, and intended both for its propagation and for private devotions: from the majestic image of the risen Christ seated on his sarcophagus by Marco Palmezzano (1458/63–1539) to the scenes with Mary and the infant Christ that increasingly reflect the play of the relationships between the figures and ultimately also include the onlooker in the events depicted (Francesco di Cristofano, called Franciabigio, 1484–1525, Virgin and Child with the Young St John the Baptist).

By the High Renaissance the ideal of the powerfully formed image of man derived from classical models began to make itself felt in depictions of Christian subjects, with artists basing their figures on their study of the great sculpture of antiquity and its idealizing approach to the human body. Cornelisz. Cornelis van Haarlem’s (1562–1638) St Sebastian with its saint who stands powerfully before us displays the physical ideal of the Mannerist movement on the cusp of its transition to the Baroque, as also reflected in the sculpture of Adrian de Fries (1556–1626) representing the same saint which will be presented in the North Oratory.

Another example is provided by the first picture that the young van Dyck (1599–1641) painted, probably aged just seventeen, which shows St Jerome in a similarly robust pose, here already indebted to the dynamism of the High Baroque.

This dynamism continues in the work of Peter Paul Rubens (1577–1640), first evident in the exhibition in his Lamentation (c. 1612), in which the diagonal axis of the composition is dominated by the lifeless body of Christ, around which the mourners are gathered in attitudes expressive of the profoundest grief.



In the Assembly Room of the Residenzgalerie in Salzburg the exhibition brings an explosion of Baroque dynamism and movement in a plethora of large-format paintings by Rubens never before displayed together in this concentration in a single room in any Austrian museum or exhibition. Boreas and Oreithya (c. 1615) from the Paintings Gallery of the Vienna Academy of Fine Arts, Mars and Rhea Silvia (c. 1616/1617) and the Discovery of the Infant Erichthonius (c. 1616) from the Princely Collections together with the Ganymede (1612) from the Fürstlich Schwarzenberg’sche Kunststiftung in Vaduz make a dazzling display demonstrating how the cultures of antiquity and the Baroque merge in a dynamic synthesis.

A generation later Sebastiano Ricci (1659–1734) executed his two monumental paintings treating the Rape of the Sabine Women and the Battle of the Romans and the Sabines (both c. 1700), which were translated by Giambologna (1529–1608) in an almost iconic manner into the medium of sculpture, bronze reductions of which will be displayed in the North Oratory.

In the following rooms the themes of classical mythology continue seamlessly into the nineteenth century with works by Angelika Kauffmann (1741–1807), Heinrich Friedrich Füger’s (1751–1818) The Creation of Men by Prometheus (1817), and the latest work in the exhibition, the Death of Cleopatra (1875) by the Salzburg-born artist Hans Makart (1840–1884).



No less interesting than the section of the exhibition featuring classical and Christian mythology and history is the series of paintings that explore the depiction of the human form in portraiture from the sixteenth to the nineteenth century.

The selection starts with iconic images from the Princely Collections such as the pair of portraits (c. 1515) by Bernhard Strigel (1461–1528) from north of the Alps, or those by Bernardino Zaganelli da Cotignola (1460/1470–1510) and Francesco di Cristofano from the Italian cultural sphere.

Quentin Massys’s (1466–1533) genre portrait The Tax Collectors (late 1520s) enriches the exhibition with an example of the narrative documentation of daily life.

Further landmarks in this genre are provided by examples of Flemish and Dutch portraiture, including the early Portrait of Jan Vermoelen (1589–1656) dating from 1616 by Rubens, the likeness of his young daughter Clara Serena Rubens (1611–1623; c. 1616), that of Maria de Tassis (1611–1638; c. 1629/3) by van Dyck or Frans Hals’s (1580–1666) masterly portrait of a hitherto unidentified man of advanced years (c. 1650/52).

Other undoubted highlights of the exhibition in this field are the small-format Sleeping Child by Bernardo Strozzi (1581–1644) and Rembrandt’s Old Woman Praying, two exquisite treasures from the Residenzgalerie Salzburg.

This section of the exhibition concludes with a brilliant display of Biedermeier painting, an era that is of equally great importance in the Princely Collections, the Residenzgalerie Salzburg and the Paintings Gallery of the Vienna Academy of Fine Arts. All the major painters of this period that was so productive in Vienna and Austria are represented with several intimate and touching portraits: Ferdinand Georg Waldmüller (1793–1865) with his extraordinarily lively – and for this epoch almost monumental – Children at the Window (1853), Franz Eybl (1806–1880) with his Strawberry Seller from Hallstatt (1844), and finally Friedrich von Amerling (1803–1887) with his Young Girl (1834), the latter two constituting the most recent new acquisitions by the Princely Collections, which as such will be presented at Salzburg for the first time.



The exhibition of sculpture from the Princely Collections in the North Oratory forms a cosmos in its own right. Decorated with unique, heavy acanthus stucco from the seventeenth century, the oratory offers an ambience that forms a clear contrast with the works on display.

Ranging from the fifteenth to the eighteenth century, the focus here is on works such as the exquisite little St Sebastian (or Marsyas; c. 1500), the only documented sculpture conceived and made by Andrea Mantegna (1431–1506), to the monumental works of Massimiliano Soldani-Benzi (1656–1740), who copied classical works of art as well as the famous Bacchus (1695–1703) by Michelangelo (1475–1564) for Prince Johann Adam Andreas I von Liechtenstein, thus triggering the wave of copies from the collections of the Medici in Florence and the Roman collections such as the Capitoline.

The chapel of the North Oratory will display High Baroque sculptures from the circles of Roman artist, including a Bust of Maria Annunciata (c. 1670) by Domenico Guidi (1625–1701) executed in white Carrara marble, and his bronze bust of Pietro Vito Ottoboni, Pope Alexander VIII (c. 1700) with its original and extremely rare patination (in this case painted), and on the altar a Christ on the Cross by Alessandro Algardi (1598–1654).



This exhibition has been made possible by the hospitality of the Residenzgalerie Salzburg, the good will of the DomQuartier Salzburg and by the generous loans of works from the partners of the Private Art Collections (LIECHTENSTEIN. The Princely Collections, Vaduz–Vienna, Residenzgalerie Salzburg, the Paintings Gallery of the Vienna Academy of Fine Arts, Hohenbuchau Collection, Fürstlich Schwarzenberg’sche Kunststiftung, Vaduz). The exhibition in the Residenzgalerie Salzburg is sponsored by the LGT, the international Private Banking and Asset Management group of the Princely House of Liechtenstein, represented in Austria with branches in Salzburg and Vienna. The exhibition in the North Oratory is supported by the Austrian Federal State of Salzburg.




Exhibition “Space. Time. Identity” – Residenzgalerie and Nordoratorium


For exhibition theme

In the framework of a participatory exhibition project the DomQuartier Salzburg presents video projections, creative photo studies and multi-media installations with interactive elements made by students at the Mozarteum University and the University of Applied Sciences Salzburg. The works are shown in four halls of the Residenzgalerie and in the rooms of the North Oratorio. The current themes of space, time and identity are set in relationship with the outstanding works of art and historic experiences in these spaces; art-historical subject matter is transformed into an individual pictorial language, thereby allowing new sensual experiences.



Exhibition room I


Claudia Kohlmann
Welcome to Austria!
Interactive wall

What identity does a country have, what philosophy of life or characterisation in regard to society, culture or politics?

Austria consists of more than merely mountains, lakes and a splendid landscape. Welcome to Austria deals with the image shaped by worldwide media and formed in people’s minds. The various illustrations, referring to certain biased opinions, are an attempt to take a different angle. Inspired by paintings in the Residenzgalerie, diverse themes and figures were adopted and integrated into the works. The interactive wall invites the viewer to get to know Austria in a different way.


Judith Zaunschirm
I happened to meet two oft hem when I was buying juice

Our idea of a “portrait” is generally the representation of an individual, a person with an identity. On closer inspection of some pictures which purport at first glance to be portraits, we recognise that many of them do not fulfil this criterion.

Judith Zaunschirm’s photographic work deals with the representation of people in Residenzgalerie paintings whose titles contain no indication of the identity of the protagonists. Where a person is accorded no great importance as an individual, he/she nevertheless retains identity in the form of a pose. The pose is fashion, is gender, is role model, and dependent in its connotation on the viewer’s concepts and appreciation, which are in turn the result of his/her socio-cultural origin.


Nicco Harzig
Scramble Suit
Video installation

The self-portrait. The search for the intrinsic, the authentic – that which constitutes one’s own person as distinct from all others.
The subject is not really looking at himself, however, but rather at himself through the eyes of others. So if we ask: “Who am I”, we are automatically asking a further question: “Who are the others?”
The installation Scramble Suit deals with precisely this question, seeking the answer in the style of self-portraits in the baroque period, in conjunction with contemporary literature.



Exhibition room II


Katrin Froschauer, Valentin Backhaus and Christian Zwerschina
Print on Alu-Dibond

White is not a colour, says the physicist. Are we talking about white light?
In their photo series WHITE, artists’ collective Katrin Froschauer, Valentin Backhaus and Christian Zwerschina explore the effect of disorientation and lack of contrast. They use white light as their central scenic element. Rembrandt made many of his figures glow “from the inside”, using no specific light-source. This indeterminacy, which causes vitality to overflow, provides the starting-point for these photographic studies.



Exhibtion room III


Julia Zehethuber
Print on Alu-Dibond

The starting-point for this work was the painting The Flight to Egypt by Louis Licherie de Beuron, which has been reinterpreted and realised as a digital illustration, the chosen style intended as reminiscent of cut gemstones. This is a reference to the elaborate process for making the pigment ultramarine, originally made by grinding lapis lazuli into a powder. The message of the historical painting is reversed, so that in the contemporary adaptation the angels are interpreted not as a symbol of protection, but as turning against the protagonists. The angels’ protective cloak is transformed into a wire-mesh fence, emphasising the menace and alluding to the current refugee problems – demonstrating the helplessness and vulnerability of those forced to flee.


Magdalena Heller and Navid Hogatti
Refuge and escape from reality
Video room Installation

 Here Magdalena and Navid offer an insight into their world of ideas. Everything centres on memories, fears and the attempt to come to terms with this world and with their experience. Both of them have created a secure place of refuge from reality. Magdalena paints a world of her own; Navid orders his thoughts in poems and song texts. Childhood always plays a major role.

While Navid, in Afghanistan, had to grow up quickly and work, here in Austria Magdalena enjoyed the luxury of remaining a child. Thus, having grown up under such contrasting circumstances, they now realise that, in Austria, they are nevertheless living in the same world and trying in a similar way to understand this world.


Marlen Mairhofer
Running the gauntlet
Walk-in room installation

This installation refers to the mass assaults on women in the night of New Year’s Eve 2015/16. On the station square in Cologne, as well as in other German and Austrian towns, women taking part in the celebrations were deliberately surrounded by groups of men under the influence of alcohol and drugs and subjected to sexual attacks. Media reports on the situation of the women frequently used the expression “to run the gauntlet”. The installation invites viewers – irrespective of gender, age or origin – to place themselves physically and psychologically in a vulnerable situation, exposed to uncontrollable groping and with limited scope for action.


Sarah Oswald
An Arabic course
Sound installation

In an extreme situation, such as when fleeing, one is soon confronted with the question of identity and belonging. You’ve had to leave your home. So is home identity? You’re confronted with a new language. Is language identity? You come into contact with a strange culture. Is culture identity? And with each new experience, a person’s identity changes.

This work focuses on fleeing and the concomitant question of identity, demonstrating at the same time that people of the most diverse origins have had to flee and to develop new identities. The Bible verse translated into Arabic, in the form of a language course, represents a rapprochement between people of different language, culture and religion.



Exhibition room IV


Angelika Hütter und Daniel Hollinetz
Unendliche Reise eines Flüchtlings
Stop Motion Loop

 The starting-point of the work is the people-smuggling scandal in Austria. Based on refugees’ true stories, the Stop Motion film is designed to show selected stages during their flight. The very simplicity of the illustrations reveals their constructed quality, since the flight was not experienced by the designer, who merely attempts to recreate it. The film – shown in a kind of box – plays on the viewer’s senses, feelings and imagination. In the darkness of this (smuggler’s) box, we can find nothing to hold on to. The work is backed by Caritas Salzburg and refugee families Kurdia and Alkhatib.


Egon Stocchi
The Pagoda Bridge
Graphic realisation: Isabella Samhaber
3D animation, pictures on paper, mirrors, music in the context of paintings in the Residenzgalerie

The 19th-century views of Salzburg in the Residenzgalerie give a romanticised rendering of the town. While the paintings show an idyllic Salzburg, the town has meantime been faced with the major challenge of the huge influx of refugees. Both physically and mentally, bridges have to be built and barriers removed.

The video shows a modifiable bridge structure consisting of individual pagodas. Based on Buddhism, where this architectural form symbolises the Lord’s body, the pagodas are constructed on the principle of the human body. Just as DNA links us as human beings, the pagodas can be linked to form a bridge.

The aim of this unification is to create a durable link between immigrants and local inhabitants.

Backed by the Diakoniewerk refugee accommodation in the Straniakstrasse in Salzburg.


Viva Alagic
Vera Lux

The interplay between warm gold and cold silver reveals an incorporeal, non-real feminine person who, wrapped in a protective safety blanket, merges into her surroundings, thus becoming a paradisiac phenomenon detached from space and time.

Inspired by the radiant splendour of the precious metals used in the baroque and other periods to decorate buildings, the  excessive use of the shining blankets  draws attention to exaggeration in a kind of aestheticisation with unpleasant effects.

Are today’s humane values dazzled by this utopian paradise? Is not this utopia already becoming  the operative principle of a ruthless Society?





Exhibition room I


Stefanie Zimmer
Gilt-edged security
Material: paper, poured beewax, wood

What is the value of a work of art? This question is answered with four gilded strips of wood framing a canvas. Also outside the field of art, our society is based on a system of evaluation; the boundaries between the symbolic designation of value and the perception of it as something that actually exists are increasingly blurred. Where does the value of a person begin? How does a person in a society experience humane treatment – when does he/she become a “person” in the eyes of that society? A system that attempts to evaluate a person with a piece of paper interchanges the person’s true value – which gives him his identity – with a purported expediency.


Exhibition room I–II


Yvonne Schäfer
Between 2 and 12 stools
Installation with 12 stools(chairs) and light

What is a ‘gap’? An unfilled space denoting the negative form, the imprint of being; it is an ever-present stage appropriated for performance, and in every situation actively shaped by interacting positive forms of being. It serves as the conscience of our natural limitation, as well as the assurance of our absolute integrity. When people gather to pray in the North Oratory of Salzburg Cathedral, then what takes place there is the most intensive possible form of filling a gap creatively: the attempt to connect limited, subjective beings with an abstract, unlimited idea. If today we have the opportunity of shaping the space between ourselves and others, what form can we give to this physical and psychological threshold?


Exhibition room III


Michael Perl and Christian Zwerschina
IF – dealing with perception
Light, mirrors

A gate between reality and illusion? An invisible border between inside and outside? The walk-in installation IF exaggerates both subjective and objective sensory and spatial perception, offering us time to find a standpoint.

One of the principal features of baroque architecture is the extravagant use of mirrors. The two artists take this feature as the starting-point for their work in the St. Rupert Oratory of Salzburg Cathedral.




Monika Fermin-Vaez
Studierende der Universität Mozarteum und der Fachhochschule Salzburg


Guides tour by the curatores
Guided tour by the curators on Saturday, 11 June 2016 at 10.30 p.m.



Exhibit “Vedi Napoli e poi muori – Grand Tour of the Monks” – Nordoratorium

The exhibition documents the many trips to Italy made by Benedictine monks from the early Middle Ages to the present day. Through the cooperation of St. Peter‘s
Abbey with the monastery archive of St. Gallen, the Einsiedeln Abbey and the Michaelbeuern Abbey, Benedictine travel culture is presented to the public by means
of exhibit objects from over the course of more than 1200 years.

Among the main destinations of the early Middle Ages was the city of Rome, whose importance is underlined by its designation as “caput mundi” – the capital of the
world. In addition to the routes and destinations of the traveling Monks, the motivation of the travelers is also addressed, ranging from pilgrimages to study trips,
“Grand Tours” to official journeys.

Business Travel

The function of each monk within the community is a determining factor of their business travel. The abbot or a representative of the monastery takes care of administrative and canonical matters in the Curia (for example receiving an indulgence) or takes part in assemblies of the Benedictine Confederation.

Additionally young monks are sent to Rome to study.   Beginning in the 17th century, the Benedictine Monastery of St. Paul Outside the Walls constituted the scientific center of the Benedictine order in Italy. Today the international Benedictine University (Pontificio Ateneo Sant’Anselmo) founded on the Aventine in 1888 continues this function. Beginning in the second half of the 19th-century Salzburg Benedictine monks have regularly spent time as students in Rome.  Many of them are even ordained as priests there.


Holiday Travel

Holiday travel only became possible after the feudalistic social system of the Middle Ages became obsolete in the 19th century. The new periods of work-free leisure time made it possible for various social classes to go on holiday for the first time.
Holiday travel for Benedictine monks does not contradict their vow of stability. The current statutes of the Austrian Benedictine Congregation foresee ample, meaningfully planned leisure time and recommend three weeks of holiday per year.


The Grand Tour

The form of travel known as the Grand Tour developed in the 17th-century as an educational journey through Europe for young upper class wealthy men and was later adopted by lower social classes during the 18th century. The journey was usually a time of study combined with a trip to visit important sites of interest dependent on each traveler’s focus. The southernmost point of the journey was Naples with an ascent of Mount Vesuvius and a visit to the excavations of Herculaneum. The journey also made it possible to develop a network of international social connections. One especially well documented example is the journey taken by Padres Alois Stubhahn OSB und Albert Nagnzaun OSB from St. Peter in the years 1804–1806.



Three important Italian pilgrimage sites of Catholic Christianity are found in Rome, Assisi and Loreto and have brought a steady flow of pilgrimages into the country since the early Middle Ages. Rome became the center of travel with the first pilgrims frequenting the graves of Peter and Paul and the churches built above them. With the introduction of the Holy Year of Jubilee in 1300, a spiritual path through Rome to the seven main churches was set. (San Giovanni in Laterano, San Pietro, San Paolo fuori le Mura, Santa Maria Maggiore, San Lorenzo fuori le Mura, San Lorenzo and San Sebastiano).

For members of the Benedictine order, important travel destinations are places on the Apennine peninsula where their founder St. Benedict (about 480–547) was active, especially Subiaco and Montecassino.

Exhibition “Sensuous Delights” – Residenzgalerie Salzburg


Sensuous pleasures lend colour, enjoyment and glamour to everyday life. Some fifty selected works from the Salzburg Residenzgalerie collection portray amusing diversions and convivial gatherings. Music, dance and gaming were popular entertainments, and – reserved for the nobility – also hunting. Besides the favourite theme of hunting with hounds, there are some choice examples of still lifes with hunting trophies. The presentation is rounded off with highlights from still-life painting, showing richly-decked tables and splendid flower arrangements.


exhibition room 1 | Life – a revel

The five senses – hearing/auditus, sight/visus, touch/tactus, smell/odoratus and taste/gustus – are among the most popular subjects in secular genre painting.

In series depicting the five senses, wine-drinking and smoking represent taste and smell. Smoking tobacco in a clay pipe was a common, inexpensive pleasure, enjoyed in the 17th century northern Netherlands not only in well-to-do society, but also by peasants – as shown in many a tavern scene. In Roman Catholic Europe, consumption of tobacco was prohibited.

French painting showed bathers in the nude; in sunlit scenes, the cool, refreshing water offered moments of sensuous pleasure, arousing desire in the observers of naked bodies.

Pleasure-loving companies in search of entertainment and conviviality would gather in salons, at woodland picnics or at a fair. Passionate encounters were often accompanied by indications of the imminent abyss. The paintings show an interplay of desire and admonition; innocence is found only in a sweetly sleeping child.


exhibition room 2 | A feast for the eyes

Prestigious opulence is the tenor of the baroque still life. Initially an incidental accompaniment within larger compositions, in the course of the 16th century the genre gradually asserted itself as an independent – and popular – subject. Select fruits, costly glass and shining pewter – all ingredients of a refined style of living – were displayed in sumptuous, overflowing abundance. Meticulously rendered objects and reflected light offered a feast for the viewer’s eyes. The paintings contained a wealth of more or less encoded content, culminating in the admonition: Remember, life is transitory!

In the still-life painting of the 18th and 19th centuries, the allegorical dimension gradually disappeared from the pictures.

Viennese flower-painting, which originated in the 17th century Dutch flower-piece, enjoyed incomparable success until around 1850.


exhibition room 3 | Happy hunting

Hunt motifs and corresponding scenes from antique mythology in paintings commissioned by the aristocracy reflect their passion for hunting and their desire for entertainment. Hunting was reserved exclusively for the upper echelons of feudal society, whose craving for amusement required lavish diversions.

Thus the so-called chasse à force, or coursing with horses and packs of hounds was extremely popular. To hunt down a single stag – which, days previously, had been encircled by hunters

and servants – anything up to 100 horses and 300 hounds would assemble; the hunt itself often took no more than two or three hours.

The privilege of dealing the death-blow to the completely exhausted animal was reserved for the prince. There was generally no risk involved, since the piqueur would have severed the tendon in its hind leg. The hunt was accompanied by signals on the hunting-horns, which served as communication between the hunters, and sounded at the end in honour of the slain animal.


exhibition room 4 | Contemplation

Contemplation is represented by the painting Old Woman Praying by Rembrandt.


exhibition room 5 | Dance and music

From the aristocracy through the bourgeoisie to the peasantry – all levels of society enjoyed music and dancing.

Apart from martial skills, an aristocrat’s training focused on the arts – particularly on dance. At the court of “Roi-Soleil” Louis XIV, professionalisation culminated in 1661 in the founding of the Académie Royale de Danse. Dances served as both entertainment and communication, and above all, as demonstrations of prestige. A ball was an occasion to display courtly splendour.

Every country had its favourite dance forms, and developed its own couple and group dances, where the exchange of partners and the trend towards couples dancing closer offered opportunities for flirtation. Festivities would always include music and dancing, since rhythm and melody encouraged joie de vivre and conviviality. Within the family, domestic music-making was common, with singing and instrumental playing.

As an idle pastime, music was considered by some a foolish pursuit, contrary to a God-fearing way of life.


exhibition room 6 | Gaming

Depictions of card and board games were a popular motif in Dutch genre painting. The paintings had high entertainment value, such games being popular among all levels of society.

Diverting and entertaining as these games might be, they were frowned upon in ecclesiastical circles. The negative consequences, in particular, were a thorn in the flesh of the moralists. On the one hand, games were considered a distraction from the important things in life, such as church and work; on the other, a connection was seen with swearing, stealing, physical violence and squandering money.

Card-playing – particularly popular among the poorer classes – was associated with idleness and quarrelling. In the paintings, the reprehensibility of gaming is further emphasised by the consumption of tobacco and alcohol, by music or scenes of wanton dalliance.



Rembrandt. Unter der Farbe

Präsentation der wissenschaftlichen Ergebnisse aus dem Forschungsprojekt „Rembrandt und Rembrandt-Schule“

Das Gemälde von Rembrandt Harmensz. van Rijn „Betende alte Frau“ – auch „Rembrandts Mutter“ genannt – ist hinsichtlich der Maltechnik eine Besonderheit. Auf einer vergoldeten Kupferplatte gemalt, zeigt das Bild die herausragende technische Versiertheit des Künstlers. Zudem ist das kleine Bildnis eine Charakterstudie, Tronie, genannt. Die Empathie, mit der Rembrandt das Modell zeigt, ist einzigartig. Das Bild wurde Anfang der 1980er-Jahre gemeinsam mit 69 anderen wertvollen Gemälden aus der Wiener Adelssammlung Czernin für die Salzburger Landessammlung erworben.

Die Ergebnisse der technischen Untersuchungen, die erstmals an diesem Gemälde durchgeführt wurden, werden nun in einer Ausstellung präsentiert. So wird dem Publikum ein Blick tief unter die Farbschichten und damit unter die „Haut“ des Rembrandt-Bildes gewährt. Neue Fragen und Untersuchungsmethoden dokumentieren den ursprünglichen Gedanken ebenso wie die Idee des Meisters, da sie den ersten und später verworfenen Entwurf zum Vorschein bringen. Materialanalysen geben Auskunft über die Wahl von Pigmenten und Bindemitteln.



Kuratorin: Gabriele Groschner

Kooperationspartner: naturwissenschaftliche Labor des Kunsthistorischen Museums Wien.

Gestaltung der Ausstellung: Markus Huber, Visuelle Medien, Salzburg

Claudia Hell, Restauratorin und Vergoldermeisterin, Salzburg



Forschungsleiterin: Gabriele Groschner

Kooperationspartner: Naturwissenschaftliches Labor des Kunsthistorischen Museum Wien Verband für Experten der niederländischen Kunst)

Sponsor: XGLab. X and Gamma Ray Electronics, Mailand

Förderung: Land Salzburg (Abt. 2; Referat 2/04)


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Harmensz. van Rijn Rembrandt, Betende alte Frau (Ausschnitt)
© RGS/Ghezzi





Christmas Exhibition – Residenzgalerie

Let Christmas and Marian depictions from the collections of Salzburg’s Residenzgalerie ring in Advent and Christmas.
Artists: Joos van Cleve, Kaspar Memberger d. Ä., Anton Mozart, Simon de Vos, Carlo Saraceni, Battista Dossi, Pierre Subleyras, Sébastian Bourdon, Michel Corneille

Illustration: Pierre Subleyras, Anbetung der Heiligen Drei Könige, Residenzgalerie Salzburg Inv. Nr. 293, Photo: Ulrich Ghezzi, Oberalm, © RGS/Ghezzi

Exhibit “Beyond Veiling. New Interpretations of Baroque Materiality” – Residenzgalerie & State Rooms

The State Rooms of the Salzburg Residenz Palace are feature sumptuous interiors, historical fabrics and valuable tapestries. The proximity between art and textiles is also illustrated by the exquisite paintings exhibited at the Residenzgalerie, for example in the materials surrounding those portrayed: from artfully painted delicate silks to rough linens and furs, from painstakingly manufactured and starched ruffs to upholstery made of velvet and heavy draperies. For centuries, the structure and visual idiom of textile art forms served as inspiration for the composition of a picture and the choice of forms, demonstrating how textiles shape our human existence, and continue to do so.
Students of textile design at the Mozarteum explore the historical artefacts and constellations, creating their own textile artworks (objects, installations, clothes) in the context of the historical works and including contemporary components, e.g. light, new media etc., for the State Rooms of the Residenz Palace and the Residenzgalerie. The selection of the textile material itself and the formal design influence the viewer’s sensual experience, inevitably triggering a multitude of associations.
A cooperation between Residenzgalerie Salzburg, Salzburger Burgen und Schlösser and Mozarteum/Textile Design.
Concept: Monika Fermin-Vaez

Illustration: Barent Graat, Gentleman and Lady on a Garden Terrace, Residenzgalerie Salzburg, Inv. No. 537, Photo: Ulrich Ghezzi, Oberalm, © RGS/Ghezzi

Exhibit “Second Hand. Reused Jewellery on Baroque Monstrances” – Cathedral Museum

It is not rare to find valuable older pieces of jewellery used in Baroque monstrances. The pendants, brooches, rings or other insignia stand out due to their sumptuous enamels, precious stones and pearls. The pieces, which had gone out of fashion or whose owners had died, were donated to the churches and then reused by goldsmiths.
The exhibition unites monstrances, jewellery and portraits of the former wearers of the jewellery.

Illustration: Detail of the Ursuline Monstrance, Salzburg Cathedral Museum

Exhibit “Dazzling colours on Parchment. Gothic illuminated manuscripts from Salzburg” – Northern Oratory


The Salzburg University Library and the Cathedral Museum display illuminated manuscripts from late medieval scriptoria and libraries in Salzburg. To commence with there are books

from Ulrich Schreier’s immensely productive workshop as well as other gothic scriptoria in Salzburg. The archbishops however also collected Italian and French manuscripts. Monasteries in turn engaged their own or outside scribes for their libraries.

Books were not a basic commodity in the Middle Ages. Producing them required considerable time and money: each individual exemplar had to be written by hand and the material was very costly.

Illuminated manuscripts were considered objects of prestige in the Middle Ages with only noblemen and high clergymen financially capable of purchasing them. Salzburg’s prince archbishops were known as collectors of rare and valuable books.

It was the duty of a book illustrator to illuminate manuscripts or to literally “set them alight”. The dazzling colours of the chosen exhibits attest to the artistic achievements that Salzburg and international studios were capable of.

This exhibition is meant to give the viewer an impression of the great significance that the magnificently embellished manuscripts held for the archbishops as well as the Salzburg monasteries in the 14th and 15th centuries.


Cycles – Video Presentation of the Residenzgalerie’s Collection

Cycles – Video-Präsentation zum Sammlungsbestand der Residenzgalerie

The paintings of Salzburg’s Residenzgalerie are brought to life on film, joined together in a narrative context to tell a coherent story about transience and new beginnings.
A butterfly, symbol of the human soul, brings the paintings to life, fluttering through various stages of life. From birth to death, the butterfly remains a subtle protagonist in the background and a silent observer at the same time.
Concept: Dr. Gabriele Groschner
Production: OMORI Film, Markus Huber

Illustration: Cycles, © RGS/

Exhibit “The Paramour’s Clothes” – The Residenzgalerie in the Northern Oratory

The Paramour, the lover’s role in the drama “Jedermann” by Hugo von Hofmannsthal (1874–1929), has been played by many renowned actresses since the work’s premiere in 1911. Ever since the founding of the Salzburg Festival in 1920 by Max Reinhardt (1873–1943), famous directors have been responsible for the tragedy of the “life and death of the rich man” outside Salzburg’s Cathedral.
Jedermann’s Paramour embodies the flowering of life itself; she is seduction personified and a vivacious counterpart for the man dying on Cathedral Square.
Year after year, no costume shown at the Salzburg Festival has garnered so much public curiosity, guessing and attention as the Paramour’s dress. – These sumptuous gowns are created in the Festival’s workshops and form part of the Festival’s history.
The exhibition in the splendid rooms of the newly adapted Northern Oratory of the Salzburg Cathedral, part of the DomQuartier, presents a special selection of gowns and accessories for the Paramour from various productions of the Salzburg Festival. These are complemented by sketches, notes and photographs from the Salzburg Festival Archives. A film featuring excerpts from relevant stage scenes completes the show.

The exhibit “The Paramour’s Clothes” is presented as a cooperation between the Residenzgalerie and the Salzburg Festival.
Concept: Dr. Erik Oehring
Curators: Dr. Erika Oehring, Dorothea Nicolai (Director of Costumes and Make-Up, Salzburg Festival)

Illustration: All on one clothes-rack, © Salzburger Festspiele/Dorothea Nicolai

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Exhibit “Seduction. Tempting Beauty – Deadly Attraction” – Residenzgalerie

Ausstellung „Verführung. Verlockende Schönheit – tödlicher Reiz“ – Residenzgalerie

Seduction always tempts us with something attractive, irresistible or even mysterious – working by magic and enchantment. It promises or demands.
For more than 2,000 years, antique writings, the Bible and modern histories have offered a multitude of stories of seduction scenes: stories that are mainly about power and influence, but also about love, and in which the sensual and the illicit exert an irresistible attraction.
Selected works illuminate seducers and the seduced, as well as the objects of temptation. The often deadly consequence of such passionate encounters is of central importance.
Artists: Leandro Bassano, Ferdinand Alexander Bruckmann, Lucas Cranach the Elder, Luca Giordano, Anton Hickel, Ernst Klimt, Max Liebermann, Koloman Moser, Andreas Nesselthaler, Johann Georg Platzer, Carl Rahl, Rembrandtschool, Peter Paul Rubens, Francesco Solimena, David Teniers the Younger, Johann Zick …
Idea & concept: Dr. Thomas Habersatter, Mag. Astrid Ducke

The exhibition will be accompanied by a catalogue.

Illustration: Francesco Solimena, Bathseba im Bade, Residenzgalerie Salzburg, Inv. Nr. 197, Photo: Ulrich Ghezzi, Oberalm, © RGS/Ghezzi

Exhibit “Life-Worlds. Baroque Europe” – Residenzgalerie

Five important artistic centres of Baroque Europe are the focus of this exhibition: Italy, France, Holland, the Austrian Netherlands and Austria.
Differences and similarities are nowhere so noticeable as in painting. Selected masterpieces from the collection of the Residenzgalerie give insight into the living and working conditions of the painters and their position in the socio-political structure.
It is essential for art in Catholic and feudalistic countries, such as Italy or Austria, that orders come from the clergy or aristocracy; in the Protestant Republic of Holland, however, a free market for art already exists.
Apparent in the high-profile paintings are influences, inspiration and deciding developments, as well as freedom of art that knows no boundaries.
The presentation is rounded out by the video “Frankendael 2001” by the Dutch duo Erwin Driessens & Maria Verstappen. Their subtle video work shows footage of the historical park of the “Huize Frankendael” (Frankendael House), the only country house from the 17th century that has been preserved in the city of Amsterdam. Over the course of a year, a photo series was created which was assembled into an animation that in nine minutes visualises the changes of the seasons in a fascinating way.
Artists: Hendrik van Balen, Federico Barocci, Franҫois Boucher, Aelbert Cuyp, Gerard Dou, Gaspard Dughet, Frans Francken III., Luca Giordano, Jan van Goyen, Jan Davidsz. de Heem, Charles Le Brun, Jacques Philipp de Loutherbourg, Franz Anton Maulbertsch, Kaspar Memberger the Elder, Giovanni Battista Piazzetta, Johann Georg Platzer, Paulus Potter, Rembrandt, Johann Michael Rottmayr, Peter Paul Rubens, Bernardo Strozzi, Jacob Isaacksz. van Ruisdael, Salomon van Ruysdael, Paul Troger, Jan Weenix the Younger, Emanuel de Witte, Erwin Driessens & Maria Verstappen.
Concept: Dr. Erika Oehring
Curators: Dr. Thomas Habersatter, Dr. Erika Oehring, Mag. Astrid Ducke

DomQuartier Übersichts-Karte