{"id":2637,"date":"2020-02-13T20:19:59","date_gmt":"2020-02-13T19:19:59","guid":{"rendered":"http:\/\/merianin.de\/?page_id=2637"},"modified":"2021-11-12T08:52:29","modified_gmt":"2021-11-12T07:52:29","slug":"leseprobe-graff","status":"publish","type":"page","link":"https:\/\/merianin.de\/en\/home\/leseprobe-graff\/","title":{"rendered":"Text Sample Graff"},"content":{"rendered":"
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\n \n Maria Sibylla Merian and Johann Andreas Graff <\/span>\n \t\t\t\t\t

\n\t\t\t\tWHAT THEY HAD IN COMMON \u2013 WHAT SEPARATED THEM\t\t\t<\/h2>\n\t\t\t\t\t<\/div>\n<\/div>
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Outline \u2013 Third Part<\/strong><\/p>\n

3<\/strong> Graff\u2019s Return and Importance as a \u201cPainter and Citizen in Nuremberg\u201d<\/p>\n

3.1<\/strong> Architecture in the Cityscape and in Teaching<\/p>\n

3.2<\/strong> Small \u201cLandscapelets\u201d as Impressions of the Surroundings<\/p>\n

3.3<\/strong> His Lengthy Divorce<\/p>\n

3.4<\/strong> The Series of the \u201cLarge City Prospects\u201d<\/p>\n

3.5<\/strong> Commissions and Surprise Finds<\/p>\n

3.6<\/strong> Masterworks from the Wealth of his Italian Years<\/p>\n

3.7<\/strong> Late Recognition as Artist<\/p>\n

3.8<\/strong> Graff\u2019s Work: Documentation of the Urban Culture of His Time<\/p>\n

Abbrevations of Archives etc.<\/p>\n

Abk\u00fcrzungen f\u00fcr die verschiedenen Sparten im Literaturverzeichnis<\/p>\n

Endnotes<\/p>\n

Additions to the Literature References<\/p>\n\n\t\t<\/div>\n\t<\/div>\n

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Graff drawing: teaching perspective (1689) with construction lines, points, circles and circle segments added <\/em>(1)
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3. GRAFF\u2019S RETURN AND IMPORTANCE AS A \u201cPAINTER AND CITIZEN IN NUREMBERG\u201d<\/h3>\n\n\t\t<\/div>\n\t<\/div>\n
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The last time Maria Sibylla and Johann Andreas Graff met, at the Waltha Estate in the Netherlands, it was a turning point in their lives. For her, the marriage had ended after 20 years because he was not accepted into the Labadist community. She called herself \"Merianin\" again (2), stayed in this religious community for about five years and after the death of her mother started a new phase of her life as an independent businesswoman in Amsterdam together with her daughters.<\/p>\n

She became famous mainly for her extraordinary, courageous expedition to the South American tropics and for the publication of the results of her research in her magnificent, large-format work on the metamorphosis of Surinamese insects.<\/p>\n

Graff, on the other hand, returned to Nuremberg alone in 1686. During last 15 years of his life, he kept working untiringly and continued his established cooperation with the Kraus workshop until the end of his life. He entrusted his designs for the large format City Prospects (\u201cStadt-Prospecte\u201d) and small format Landscapelets (\u201cLandtsch\u00e4fftlein\u201d) to these Augsburg specialists, as he had done with the images of St Lawrence\u2019s Church. He collated the etchings into series and published them, both as monochrome and as hand-coloured (illuminated) prints. (3)<\/p>\n\n\t\t<\/div>\n\t<\/div>\n<\/div><\/div><\/div><\/div><\/div><\/div>

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3.1 ARCHITECTURE IN THE CITYSCAPE AND IN TEACHING<\/h3>\n\n\t\t<\/div>\n\t<\/div>\n<\/div><\/div><\/div><\/div>
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Legend Inscription on the Banner<\/em><\/p>\n\n\t\t<\/div>\n\t<\/div>\n<\/div><\/div><\/div>

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Graff had already prepared designs for the large format \u201cCity Prospects\u201d before he moved to Frankfurt with his family in 1682. A drawing of 1680 is the counterpart to the view from the west of 1681, where the focus was on the Commend of the Teutonic Order, the White Tower and the Church of St James, and which Graff had etched himself. While travellers coming from the west (Ulm, France) got their first impressions of the Imperial City of Nuremberg here, those coming from the south (Regensburg, Vienna), after the \u201cFrauentor\u201d (Ladies\u2019 Gate) saw the Churches of St Claire and St Lawrence, as well as the \u201cMauthalle\u201d (Customs House), then named \u201cUpper Weighing Station or Tax House\u201d. This massive stone building with its six-floor attic in the centre of the view on the left side of the street, was a particularly important building for merchants coming to the city from near and far, because of the customs and staple duties.<\/p>\n\n\t\t<\/div>\n\t<\/div>\n<\/div><\/div><\/div><\/div>\n\t

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As in the view from the west, sites are again named on a band. A stork, explaining the cityscape, is flying towards the viewer offering the most important information. Later etchings no longer show this playful motif. It hails from a time when Graff was still surrounded by his family and his older daughter could look over his shoulder.<\/p>\n\n\t\t<\/div>\n\t<\/div>\n

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Prospect of St Claire\u2019s towards St Lawrence\u2019s <\/em>(4)<\/p>\n\n\t\t<\/div>\n\t<\/div>\n<\/div><\/div><\/div>

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Detail of St Lawrence\u2019s Church Towers<\/em><\/p>\n\n\t\t<\/div>\n\t<\/div>\n

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Detail Bottom Centre with Signature<\/em><\/p>\n\n\t\t<\/div>\n\t<\/div>\n<\/div><\/div><\/div><\/div>

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The street is busy, people are doing their everyday chores, but the image is not \u2013 as often in the Baroque period \u2013 an overloaded \u201chidden object puzzle\u201d (\u201cWimmelbilder\u201d) with an excessive amount of activities. The Church of St Claire is still surrounded by the old churchyard wall, and the \u201cB\u201d next to the door at the bottom left for the \u201cEntrance to the Pawnshop\u201d suggests that, in Nuremberg families, too, money could be in short supply. Below the banner the spires of St Lawrence\u2019s Church rise to the sky, today as then. But Graff shows a special detail: in 1680, the top of the south spire was surrounded by a scaffold (5), and we can see how dangerous repairing work was so high up at that time.<\/p>\n

The signature on the right reveals that in fact this design by Graff was etched in the Kraus workshop (6), but not until eight years later.<\/p>\n\n\t\t<\/div>\n\t<\/div>\n<\/div><\/div><\/div><\/div><\/div><\/div>

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A second drawing of 1682 which was not etched until 1685 or even later radiates the same everyday serenity. On the right-hand side of Dillinghof (today\u2019s Egidienplatz), between the Romanesque church and the tower house, is the work place of Johann Andreas\u2019 father, headmaster Johann Gravius: the Egidiengymnasium (St Giles\u2019 Latin School). The headmaster and his family lived in this group of buildings, and it can therefore be assumed with certainty that Johann Andreas was born here.<\/p>\n

This view of the Dillinghof, drawn \u201cfrom life\u201d by Graff (\u201ddel. ad Vivum\u201c) is particularly valuable for city historians, because this square underwent fundamental changes in the course of subsequent decades. The property of the noble family of councillors, Imhoff (then \u201cIm Hoff\u201d) and of the immensely rich Peller merchant family, each comprising several houses, as well as the old Tetzelhof (Tetzel Estate) which was soon to give way to a new building is all named in the legend above the view, and marked with letters in the picture. The distinguished Peller House, completed 20 years before Graff\u2019s birth in the style of Mannerism, dominates the square, and the old, venerable Church of St Giles which was to burn down completely before the turn of the century (1696), is still intact.<\/p>\n\n\t\t<\/div>\n\t<\/div>\n

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Egidien square, then called Dillinghof<\/em> (7)<\/p>\n\n\t\t<\/div>\n\t<\/div>\n<\/div><\/div><\/div>

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Rebuilding of the Church 1711-1718<\/em> (8)<\/p>\n\n\t\t<\/div>\n\t<\/div>\n

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New Baroque Church and New Tetzel City<\/em> (9)<\/p>\n\n\t\t<\/div>\n\t<\/div>\n<\/div><\/div><\/div><\/div>

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Graff\u2019s view with the perfect depth of his perspective construction was repeatedly taken as the basis for further copperplate etchings. Two etchings by his famous successor, Johann Adam Delsenbach (1687-1765), provide the rare opportunity to follow the architectural changes, right through to the rebuilding of St Giles\u2019 Church which burnt down in 1696.<\/p>\n\n\t\t<\/div>\n\t<\/div>\n

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This third part of the essay (53 pages) by Margot L\u00f6lh\u00f6ffel has been published in German together with other essays dealing with Nuremberg topics in the annual \u201cN\u00fcrnberger Altstadtberichte\u201d of the \u201cN\u00fcrnberger Altstadtfreunde\u201d, no. 42\/2017.<\/p>\n

Altstadtfreunde N\u00fcrnberg e.V.
\nWei\u00dfgerbergasse 10
\nD-90403 N\u00fcrnberg
Germany
\nTelefon: +49 911 50 72 36 0
\nE-Mail: info@altstadtfreunde-nuernberg.de<\/p>\n<\/div>\n<\/div><\/div><\/div><\/div><\/div><\/div>

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    \n
  1. Graff, Johann Andreas, \u201cThurm, Fenster, auff oder zu, Quadrant und Cir[c]keligt, samt Stiegen und Rundung Perspectiva!\u201d, drawing, brown ink, 33,0 x 40,8 cm, 1689, courtesy of Staatliche Museen zu Berlin, Kunstbibliothek, Inv. No. Hdz 1000<\/li>\n
  2. Study book \/ Beer (Lit 1976), facsimile fol. 1, transcription p. 141, signature<\/li>\n
  3. All etchings of these two series are illustrated in the Graff catalogue (Lit 2017). The chapter \"Building blocks for a catalogue raisonn\u00e9\" (p. 54 ff.) contains additional technical information on presentation, inventory in collections, etc.<\/li>\n
  4. Graff, Johann Andreas (draftsman) and Kraus, Johann Ulrich (etcher), Prospect von St. Clara gegen St. Lorenz<\/em>, coloured etching, plate: 33.5 X 44.5 cm, 1682 [+ 1688]; courtesy of St\u00e4dtMN, Inv. No. Gr.A. 12732<\/li>\n
  5. Even in the late 20th century, the master builder of St Lawrence\u2019s Church presented the Graff-Kraus-etching as a proof for that repairing work: Stolz, Georg, Die Sch\u00e4tze der Kirche, N\u00fcrnberg 1993, p. 127 (o. ISBN): \u201cSo he [Graff] gave a report exactly related to this special time.\u201d<\/li>\n
  6. cf. curriculum vitae of Kraus in online-Stadtlexikon Augsburg, keyword: Kraus, Johann Ulrich<\/li>\n
  7. Graff, Johann Andreas (draftsman) und Kraus, Johann Ulrich (etcher), \u201eTemplum S: Egidy cum Gymnasio, Domusq.\u201c coloured etching, copperplate: 35,2 X 48,1 cm, 1682, courtesy of St\u00e4dtMN, inv. no. Gr.A. 12683<\/li>\n
  8. Delsenbach, Johann Adam, \u201eProspect des Platzes der Dilling=hof genant zu N\u00fcrnberg\u201c 1714, (square towards the north during the reconstruction of the St. Giles Church), etching, copper plate 22,5 x 32 cm); courtesy of St\u00e4dtMN, inv. no. Nor.K. 7000-26<\/li>\n
  9. ibid. Dillinghof \u201eProspect des Platzes der Egidien- oder Dillinghof genant zu N\u00fcrnberg\u201d, 1718, (square towards the north after the reconstruction of the St. Giles Church), etching, copper plate 23 X 32 cm; courtesy of St\u00e4dtMN, inv. No.. Nor.K. 7000-28; large new building left side belonging to Tetzel family, today:\u201cTuchersches Stiftungshaus\u201c (famly of councillors Tetzel, extinct 1736)<\/li>\n<\/ol>\n<\/div>\n<\/div><\/div><\/div><\/div><\/div><\/div>","protected":false},"excerpt":{"rendered":"Maria Sibylla Merianin und Johann Andreas Graff Gemeinsames und Trennendes \u00dcbersicht \u2013 Dritter Teil 3 Graffs R\u00fcckkehr und Bedeutung als \u201eMahler und Burger in N\u00fcrnberg\u201c 3.1 Architektur im Stadtbild und im Unterricht 3.2 Kleine \u201eLandtsch\u00e4fftlein\u201c als Impressionen des Umlands 3.3 Graffs langwierige Scheidung 3.4 Die Serie der \u201eGro\u00dfen Stadt-Prospecte\u201c 3.5 Auftragsarbeiten und \u00fcberraschende [...]","protected":false},"author":3,"featured_media":0,"parent":23,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"full-width.php","meta":{"footnotes":""},"class_list":["post-2637","page","type-page","status-publish","hentry"],"yoast_head":"\nLeseprobe Graff - 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