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Draft:Portraits of Wolfgang Amadeus Mozart

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See also: Appearance and character of Wolfgang Amadeus Mozart
Detail of Wolfgang Amadeus Mozart from the family portrait by Johann Nepomuk della Croce

The Portraits of Wolfgang Amadeus Mozart are various paintings in which the classical composer Wolfgang Amadeus Mozart is portrayed. The posthumous 1819 painting by Barbara Krafft is the best known of all, but several others also exist, by and after Mozart's own lifetime. According to Robert Bory, sixty-two portraits of Mozart and pictorial representations of all kinds exist[1], but they vary widely in the pictorial representation of the physical characteristics of the composer, showing little fidelity to the model.

Several musicologists and Mozart experts, such as Arthur Hutchings, Arthur Schurig and Alfred Einstein have examined the portraits of the composer, expressing various degrees of dissapointment on the quality of the artworks, manifesting an opposition between the enormous amount of artworks that represent the genius and the scarce iconographic value of them.[2]

Schurig stated in 1923 the following: "Mozart has been the famous composer of whom most fictitious portraits have been made, pictorial material that has contributed, not a little, to confuse later generations about his appearance."[3] For his part, Alfred Einstein expressed his opinion about these portraits in the following statement: "No earthly remains of Mozart survived save a few wretched portraits, no two of which are alike."[4]

These statements led the musicologists and art historians to undertake a rigorous analysis of all existing paintings, sketches, drawings, cameos and engravings of the composer. The conclusion of this was that only eight works of art,[5] all of them of unequal interest, were produced by authors who knew Mozart directly, or by sketches taken from drawings made from life. From this selection, Mozart's "biographical paintings" have been published with more care, generally following the criteria that emerged from this analysis.[6]

Detail of the unfinished Lange portrait. Considered by Constanze to be the best of all her husband's portraits.[7][8][9] [10]

Thus, it seems appropriate to point out a list of authors, contemporaries of the composer, who signed loose portraits of Mozart:[11][12] Pompeo Girolamo Battoni, François Joseph Bosio, Breitkopf, Joseph Duplessis, Nicolò Grassi, Jean-Baptiste Greuze,Giambettino Cignaroli, Louis Carrogis Carmontelle, Johann Nepomuk della Croce, Dominicus van der Smissen, Johann Eusebius Alphen, Martin Knoller, Dora Stock, and Pietro Antonio Lorenzoni. Nevertheless, the study of these portraits can be interesting since, although they are not faithful to the physical features of the composer, they provide important iconographic data, either on musical instruments, or on other personalities that appear in them.[13]

Beyond the small number of authentificated portraits, we find a broad number of dubious and outright inauthentic paintings that supposedly represent Mozart. We find three types in the latter category; first are the portraits (most often young male musicians) of other people, which are claimed later on to be Mozart. Second are the fabricated forgeries of various kinds (created to either earn money or gain notoriety) which then some claim to represent Mozart. And the third category is formed by fantastical paintings, produced by the artist's pure imagination with no basis in Mozart's actual extant iconography. These are inspired by common myths and legends about Mozart, crossing the line from art to kitsch[14]

Authentic portraits of Mozart

[edit]
  • Anonymous Salzburg portrait is considered to be the earliest authentic portrait of Mozart. It was commissioned by Leopold Mozart himself. It shows a six-year old Mozart in court costumes given to him in 1762 as a gift from Empress Maria Theresa, coming from the wardrobe of Archduke Maximilian[15], as documented in Leopold's letter of October 19, 1762. It is attributed to minor Austrian painter Pietro Antonio Lorenzoni.[16] The technique used is oil on canvas, being currently owned by the Mozarteum in Salzburg (inherited directly from the Mozart family)[17] and displayed at Mozart's birthplace.
  • Louis Carrogis Carmontelle's Mozart family portrait shows the seven-year old prodigy at the harpsichord, with his father Leopold behind playing the violin and Wolfgang's sister Maria Anna Mozart is in front of him, holding the page of a score. It was painted by French artist Louis Carrogis Carmontelle during the stay of the Mozart family in Paris between 1763-64[18], part of the grand family tour through most of Western Europe. It was commissioned by Baron Melchior von Grimm, patron of the Mozarts at the time.[19] The subsequent drawing and print made from it are documented in a letter from Leopold Mozart to Lorenz Hagenauer on 1 April 1764. A large number of copies of the engraving were made, which Leopold used for advertising and gift purposes, and some of which he also sold.[20]

    Mozart's sister was referring to the engraving when she wrote to Breitkopf & Sohn on November 24, 1799: "I am also sending you a copperplate engraving that was engraved when we were in Paris. From this you can see that my brother was a very pretty child. It was only after the smallpox [1767] that he became so disfigured: and even more so when he returned from Italy [1771], he acquired the Italian yellow color that made him completely unrecognizable. He was a small but well-proportioned child."[21][22] The technique used is watercolour, with subsequent copies being made of griffel, sanguine, gouache paint and engraving. The original is currently owned by and exhibited at the Musée Condé in the Château de Chantilly[23]
  • Anonymous Verona portrait showcases a thirteen-year old Mozart looking at the viewer while playing the dubious molto allegro in G major (K.72a)[24], in a harpsichord made by Giovanni Celestius in Venice (1583). It was painted in Verona between January 5-6 of 1770[25], commissioned by Venetian tax collector Pietro Lugiati, who also housed Mozart and his father during their stay in the city.[26] Leopold Mozart reports the origins of this picture in his letter of January 7, 1770[27][28] The autorship is disputed between Saverio Dalla Rosa and Giambettino Cignaroli.[29] Arthur Schurig considered it to be the best and most faithful portrait of Mozart as a young man.[30] The technique employed is oil on canvas. It was previously owned by the descendants of pianist Alfred Cortot[31], but it was sold to an anonymous art collector in 2019 at a Christie's auction house in Paris. Valued at around one million euros, the price reached over four million[32], making it not only the most valuable portrait of Mozart, but any artifact related to the composer.
  • Salzburg family portrait shows Wolfgang and his sister Maria Anna playing four hands on a keyboard, with Leopold by the side holding a violin. In the wall hangs a medallion with the picture of Anna Maria Mozart, who had died suddenly in 1778 while accompanying Mozart in a travel to Paris.[42] The small statue of Apollo in the background symbolizes the musical nature of the Mozart family.[43] The family portrait was painted between 1780-81, traditionally attributed to Austrian painter Johann Nepomuk della Croce, but it is disputed by scholars such as Simon Keefe, who claims it was created in an anonymous Salzburg workshop,[44] and George Dieter, who points a name confusion as the origin of the supposed attribution.[45] The painting was commissioned by Leopold himself,[46] and is referenced in a series of letters between Mozart, Maria Anna Mozart and Leopold[47] [48][49][50][51][52] After Mozart's death, Barbara Krafft used his portrayal as a basis for her own posthumous portrait.[53] In 1829, when Mary and Vincent Novello met with and interviewed Constanze Mozart, she stated that the image of Wolfgang in this painting was "one of the best likenesses" of him.[54] The technique used is oil on canvas, being currently owned and exhibited at the Mozarteum in Salzburg.[55]
  • Joseph Lange's unfinished portrait shows the bust of Mozart (without wig) with a somewhat melancholic expression. It was painted between 1782-83[56] by Austrian actor and amateur painter Joseph Lange, who was brother-in-law of Mozart. It was originally a miniature before being affixed to a larger painting, possibly with the intention to portray Mozart seated at the keyboard, but the enlarged painting was never completed,[57][58] fostering false theories that it was begun shortly before the composers death in 1791. This miniature origin was rediscovered in 2009 by musicologist Michael Lorenz, after a very intensive restoration in the early 1960s had blurred the limits. In the spring of 1783, Mozart had the miniature sent to his father in Salzburg, alongside with a similar one of Constanze, both referenced in a letter.[59][60]Lange had a personal relationship with Mozart beyond family ties,[61] both were masons and socialized around the same circles.[62] He had a couple of roles in Mozart's works, most notably the Musik zu einer Pantomime (K.446/416d)[63] and the comic singspiel Der Schauspieldirektor[64]

    Lange also painted a small portrait of Constanze in 1782 which was later enlarged. During Leopold Mozart's visit to Vienna in 1785, Lange drew a portrait of him as well, but it was lost.[65] After Mozart's death, when Constanze was interviewed by Vincent and Mary Novello, she said that Lange's portrait was "by far the best likeness of him".[66][67] Musicologist H.C. Robbins Landon described this portrait as "the most intimate, most profound of all the mature Mozart portraits – the only one, really, to catch the ambivalent nature of Mozart’s mercurial mind and to show the profoundly pessimistic side of his many-sided genius." On the other hand, Shurig described it as "of little artistic value, but despite the intention to beautify it, it is not without charm."[68] Its adherence to the romantic artistic trope of the musical genius lost in his own world, oblivious to his surroundings, has made it increasingly popular.[69] The technique used is oil on canvas, being currently owned and exhibited at the Mozarteum in Salzburg.[70]
  • Anonymous 1783-85 portrait shows a side profile of Mozart, dressed in a red tunic and a white ruff, with a wig of grey hair and an elegant but slightly hooked nose. It is dated circa 1783-85 and attributed to Joseph Hickel, who was part of the Austrian Imperial Court. The painting was in posession of the Hagenauer family, which had strong ties with the Mozarts.[71] It was bought in 2005 by an American collector and rediscovered in a 2008 auction in London, which began an authentification process. It is considered authentic by the Mozarteum in Salzburg, supported by experts Cliff Eisen,[72] Simon Keefe[73] and Martin Braun[74] among others. Eisen pointed out that the red coat of the painting matched with the description of a coat Mozart desired and obtained in two letters.[75][76] Braun realised an extensive study of the painting, comparing with the authentic ones and analyzing the facial features, coming to the conclusion it was authentic.[77] The technique used is oil on canvas, currently being owned by a private collector.
  • Dora Stock's miniature shows an elegant side-profile of the composer with a notably exhausted expression, perhaps reflecting the increasingly desperate financial situation of the composer.[78] It was realised during Mozart's stay in Dresden in April of 1789, as part of of his last series of travels. Mozart paid a visit to the consistorial councillor Christian Gottfried Körner, a friend of Friedrich Schiller. Körner's sister-in-law Dora Stock was a talented artist and took the occasion to sketch a portrait of Mozart.[79][80][81] It is considered the last authentic portrait of Mozart before his death in 1791. Some doubts are casted by Cliff Eisen[82] and other experts,[83] most notably the lack of mentions in the Mozart correspondence, but its still widely considered to be authentic. The technique used is silverpoint on ivory board, being currently owned by the Mozarteum in Salzburg. Due to its fragily and the potential harm of the sun, the original is protected in the museum vault, only a copy being exhibited.

Dubious portraits of Mozart

[edit]
  • Jean-Baptiste Greuze's portrait supposedly shows the upper-half of a six-year old Mozart as painted by French artist Jean-Baptiste Greuze, the only major painter in this list. Like the Carmontelle's watercolour, it was painted during the stay of the Mozart family in Paris between 1763-64. The picture is titled simply as "Portrait of a boy", and the signature of the author was unknown when it was catalogued in 1933.[84] However, the identification of the sitter as Mozart has never been fully confirmed, and therefore should be treated with scepticism. We find no mention of the painting in the correspondence of the Mozart family, nor the biographers of Mozart or Greuze mention it.

    Arthur Schurig described the portrait as a forgery in 1920[85], before the signature and other details were discovered. Composer and neurobiologist Martin Braun realised an extensive study of the portrait, analyzing the facial features and compared them with the known authentic portraits of Mozart. He came to the conclusion that not only the painting was authentic, but that the model was effectively Mozart himself.[86] This claim is supported by Mozart lecturer Daniel N. Leeson. The technique used is oil on canvas. It is currently owned by Yale University and exhibited at Yale University Art Gallery[87]
  • Anonymous's miniature dual portrait supposedly represents a young Mozart and his sister Maria Anna Mozart (Nannerl). There are multiple and conflicting dates, ranging from 1763 to 1767, atributted to the Austrian court miniaturist Johann Eusebius Alphen (1741–1772). Alphen met the Mozart family on several occasions in those years in Brussels, Paris and Vienna.[88][89] Arthur Schurig included the miniature in his list of inauthentic Mozart portraits, but without bringing any concrete evidence as of why.[90] On the other hand, Canadian musicologist and Mozart expert Cliff Eisen came to the conclusion that the miniature is authentic[91]. The technique employed is watercolour and opaque or poster paint on ivory, being currently owned by the Mozarteum in Salzburg.
  • Anonymous 1768 portrait supposedly shows a twelve-year old Mozart holding a score while looking at the viewer. It was apparently painted in 1768 in Vienna, although it is also dated in 1763 by Cliff Eisen[92] Also being attributed either to Johann Eusebius Alphen or Pietro Antonio Lorenzoni. According to Mozart expert Manfred Schmid, the painting was in posession of the Hagenauer family (whose members were very close to the Mozart family and frequently appear in their correspondence),[93] Their Mozart collection was sold circa 1920 in Cologne. However, lack of provenance with this piece has kept researchers divided as to its authentication. Mozart musicologist Rudolph Angermüller has expressed postive views on the portrait. It is currently owned and displayed at the Mozarteum in Salzburg.[94]
  • Anonymous Florence portrait apparently shows a fourteen-year old Mozart at the harpsichord, surrounded by the Gavard des Pivets family and Thomas Linley playing the violin. Giuseppe Maria Gavard des Pivets was the finance administrator of the court of Grand Duke of Tuscany Leopoldo I (later Holy Roman Emperor Leopold II). It was supposedly painted in Florence, where Leopold and Wolfgang encountered violinist Pietro Nardini, whom they had met at the start of their grand tour of Europe.[95] Wolfgang also met Thomas Linley, an English violin prodigy and a pupil of Nardini's. The two formed a close friendship, making music and playing together "not as boys but as men", as Leopold remarked.[96][97] However, we find no mention of a painting being made for the occassion, or any reference to a pictorial representation in the correspondence of the Mozart family, and thus the portrait is considered dubious. The technique used is oil on canvas. It was previously owned by the descendants of pianist Alfred Cortot, being currently owned by a private collector after it was sold in an auction in 2019.[98]
  • Anonymous 1773 miniature supposedly shows a seventeen-year old Mozart looking at the viewer with a happy, yet somewhat solemn expression. It was apparently painted in Milan in 1773, during the third journey of Mozart in Italy. It is attributed to the Austrian-Italian Franz Martin Knoller, who was a teacher in the academy of arts of Milat at the time.[99] Knoller was known to the Mozarts even before the first trip to Italy, according to a letter by Leopold to his wife on 17 February 1770[100][101] The portrait was in posession of Wolfgang's sister Maria Anna Mozart, possibly given by Mozart himself. The dating of this picture derives from a letter of 2 July 1819, in which she reffered to the painting.[102][103][104] Barbara Krafft took it, alongside the 1780 family portrait as a basis for her own posthumous portrait. Despite this, some experts still cast doubts on the authenticity of the portrait[105] The technique used is watercolour on ivory, surrounded by a leather frame. It is currently owned by the Mozarteum in Salzburg.[106]
  • Anonymous 1775 portrait apparently shows a young Mozart confidently looking at the viewer while wearing a valuable diamond ring in the pinky, which he received as a gift from Empress Maria Theresa on October 3, 1762.[107] It is dated circa 1773-75, and no firm authorship of any artist has been established yet. Schurig included it in his list of aunthentic portraits, remarking the similarity of the facial features with those paintings.[108] Despite this, it is still conidered doubtful due to a lack of research and consensus between experts. The technique used is oil on canvas, being currently owned and exhibited at the Mozarteum in Salzburg.[109]
  • Anonymous 1780-83 miniature supposedly shows Mozart in profile to the right (gallery picture is mirroed), with powdered wig, blue coat and white ruff.[110] It is dated circa 1780-83 and attributed to Johann Nepomuk della Croce. Its considered dubious and its not mentioned in the correspondence of the family. Surich included it in his list of inauthentic portraits, pointing at physical differences in the ears when compared with the authentic paintings.[111] The technique used is gouache on parchment, being currently owned by the Vienna Museum.[112]
  • Vogel's 1783 portrait seems to portray Mozart around 1783. It is attributed to German painter Christian Leberecht Vogel. Little is known about the painting itself, as no studies have been made and no expert has adressed it directly. We find no reference or mention in the correspondence of the Mozart family. Its entirely possible the sitter has been wrongly atributed to be Mozart long after the painting was made The technique used is oil on canvas, being apparently owned by a private collector. A copy of the painting is exhibited at the Beethoven House in Bonn.[113]
  • Grassi's 1785 portrait apparently represents Mozart dated circa 1783-85. It is attributed to Austrian painter Josef Grassi, being supposedly lost and rediscovered in Moscow in 1988. As with most of the dubious portraits, we find no reference or mention in the family correspondence, nor other direct source from the period. The painting also has not been analyzed by Mozart experts, nor studied to determine its authenticity. The technique used is oil on canvas or cardboard. It is currently part of the collection of the Glinka Music Museum in Moscow.[114][115]
  • Edlinger 1790 portrait is, by far, the most controversial and divisive of the doubtful Mozart portraits. The (supposed) composer appears noticeably aged and sickly, greatly contrasting with the more idealized iconography. It was supposedly painted in Munich on 1790 by Austrian artist Johann Georg Edlinger, during Mozart's stay in that city just a year before his death. The composer wrote in a letter that he only intended to stay for one day in the city, but was persuaded by the Elector to stay for six days to entertain his court guests, also visiting many of his friends.[116][117] The portrait was bought from a Munich art dealer in 1934, and remained in a gallery warehouse for 70 years.[118] It remained there both the sitter and the author being unknown until 1981, when Rolf Schenk identified the painting as a work of Edlinger[119]Subsequently in 1995, Wolfgang Seiller, a descendant of Edlinger, noticed a similarity of the person depicted with that in the Bologna portrait of Mozart. Four years later, Rainer Michaelis and Wolfgang Seiller confirmed this attribution based on biographical data of Mozart and Edlinger, as well as on a detailed comparison of the portrait with the authentic 1777 Bologna portrait.[120]This claim was also supported by Schenk.

    After a restoration in 2004, he portrait was exhibited to the public on Januaru 27 of 2005, on the occasion of Mozart's 249th anniversary,[121] and the discovery quickly spread onto the news.[122][123][124] Most of these focused on the unflattering physical portrayal of Mozart. Several Mozart scholars, historians and musicologist examined the portrait and division formed between those who supported the aunthenticity of the painting, and those who denied it. Rudolph Angermüller and Gabriele Ramsauer questioned that the sitter was Mozart, instead being a local bussinessman called Joseph Anton Steiner.[125][126] This issue was adressed by Braun and Michaelis, both of whom pointed out that there were two different portraits that got mixed up.[127] Braun also realised a detailed comparison with the Bologna portrait, further solidyfing his defense on the authenticity of the sitter being Mozart.[128] On the other hand, scholar Volkmar Braunbehrens pointed that, while Mozart did stay in Munich in 1790, there is no mention in his letters of any portrait being realised, nor does the name Edlinger appear.[129]

    John Jenkins is also cautious on the Mozart attribution, pointing at multiple differences with Lange's portrait as an example.[130] Volker Hagedorn was also critical of the attribution and its inconsistencies.[131] However in 2006, the Mozart attribution was confirmed by four well-known art historians at the Austrian State Gallery in Vienna: Gerbert Frodl, Sabine Grabner, Michael Krapf, and Udo Felbinger. Sculptor Wolfgang Eckert realised a bust based on the painting, and during the project he came to the conclusion that the 1789 miniature made by Dora Stock, shows the most similarity Edlinger's portrait, which also would substantiate the attribution of a Mozart image created by Edlinger.[132] During this controversy, the painting has attracted much attention because of its high artistic quality and for being a strong candidate for the last portrait of the composer. The technique used is oil on canvas, being owned and exhibited by the Gemäldegalerie Museum.[133]

Inauthentic portraits of Mozart

[edit]
  • Franz Thaddäus Helbling's portraitsupposedly shows a young Mozart looking at the viewer while playing the keyboard. It is dated circa 1765-67, painted by Austrian artist Franz Thaddäus Helbling.[134] For a long time it was considered to be authentic, being included in Schurig's list of authentic portraits of Mozart.[135] However, on further inspection, it was discovered that the sitter is actually Count Karl Maximilian Graf Firmian.[136][137] The technique used is oil on canvas, being currently owned by the Mozarteum in Salzburg.[138]
  • Dominicus van der Smissen's portrait apparently shows an eleven-year old Mozart. It was allegedly painted in Holland in the spring of 1766 by German artist Dominicus van der Smissen. On the back of the portrait there is the handwritten note: "Mozart as a youth, painted by van Smissen." This is impossible because Smissen died on January 6, 1760 in Altona, which was apparently unknown to the person who put the inscription on the front.[139] It also has been attributed to a non-existant J. Vander Smissen, or even Domenicus son Jakob van Smissen (1735–1813) the ridiculous idea of ​​explaining the signature as "Devotus van Smissen" was born, because Smissen was supposed to have been a devout Mennonite.[140] The portrait itself is lacking in any fidelity to the model, specially in the face features and eye colour. In the face of the evidence, the painting is probably a forgery created to capitalize on the name of the composer. The technique used is oil on canvas, currently located in the Mozarteum in Salzburg.
  • Anonymous 1767 portrait supposedly shows a nine-year old mozart at the keyboard and wearing a Chinese coat. Looking at the viewer while laying score pages in his lap. It was apparently painted in 1767, being attributed either to Jean-Baptiste Perronneau or Joseph Duplessis. However, there is no evidence that connects the boy in the picture with Mozart.[141] We find no reference to the painting in the correspondence of the Mozart family, nor any expert adresses the portrait, giving way to the idea that the model was falsely atributed to be Mozart much later on. The technique used is oil on canvas, being currently owned by the Louvre Museum and exhibited at Musée de la Musique.[142]
  • Jean-Baptiste Delahaye's portrait apparently represents a sixteen-year old Mozart lloking at the viewer with a relaxed expression. It is dated 1772 and executed by French painter Jean-Baptiste Delahaye[143] on the backside of the canvas.[144] However, it is heavily disputted if the portrayed is actually Mozart. Martin Braun analyzed and compared the painting with authentificated portraits (Bologna and Della Croce), and came to the conclusion that the facial elements of the sitter matched with Mozart's[145]. Despite this, its still considered as inauthentic by several Mozart experts[146]. No references to the portrait appear in the Mozart correspondence, and the almost non-existent research on the painter difficult the investigation. The painting is also know as "Portrait of a Young Man", bringing the possibility that the sitter was attributed to be Mozart long after the artwork was made. The technique used is oil on canvas. The earliest known owner was the writer Duchess Mechtilde Christiane Maria Lichnowsky, née Countess von und zu Arco-Zinneberg.[147] She was a descendant of the Arco and Lichnowsky family, which had close ties to the Mozart family, which ossibly adquired the portrait.[148] It is currently privately owned after a January 2006 auction in Salzburg.
[edit]
  • Anonymous Salzburg portrait (c. 1762-63)
    Anonymous Salzburg portrait (c. 1762-63)
  • Greuze's dubious portrait (1763)
    Greuze's dubious portrait (1763)
  • Carmontelle's watercolour (1763)
    Carmontelle's watercolour (1763)
  • Anonymous dubious miniature portrait of Wolfgang and Maria Anna (c. 1763-67)
    Anonymous dubious miniature portrait of Wolfgang and Maria Anna (c. 1763-67)
  • Helbling's inauthentic portrait (c. 1765-67)
    Helbling's inauthentic portrait (c. 1765-67)
  • Smissen's inauthentic portrait (1766)
    Smissen's inauthentic portrait (1766)
  • Anonymous's inauthentic portrait (1767)
    Anonymous's inauthentic portrait (1767)
  • Anonymous dubious portrait (c.1768)
    Anonymous dubious portrait (c.1768)
  • Anonymous Verona portrait (1770)
    Anonymous Verona portrait (1770)
  • Anonymous and dubious Florence portrait of Mozart with Thomas Linley and the Gavard des Pivets family (1770)
    Anonymous and dubious Florence portrait of Mozart with Thomas Linley and the Gavard des Pivets family (1770)
  • Delahaye's inauthentic portrait (1772)
    Delahaye's inauthentic portrait (1772)
  • Anonymous dubious miniature (1773)
    Anonymous dubious miniature (1773)
  • Anonymous dubious portrait (1775)
    Anonymous dubious portrait (1775)
  • Anonymous Bologna portrait (1777)
    Anonymous Bologna portrait (1777)
  • Anonymous Salzburg Family Portrait (1780)
    Anonymous Salzburg Family Portrait (1780)
  • Anonymous miniature portrait (c. 1780-83, mirroed)
    Anonymous miniature portrait (c. 1780-83, mirroed)
  • Lange's unfinished portrait (1782-83)
    Lange's unfinished portrait (1782-83)
  • Vogel's dubious portrait (1783, monocolour)
    Vogel's dubious portrait (1783, monocolour)
  • Anonymous portrait (1783-85)
    Anonymous portrait (1783-85)
  • Grassi's dubious portrait (c.1783-85)
    Grassi's dubious portrait (c.1783-85)
  • Stock's silverpoint miniature (1789)
    Stock's silverpoint miniature (1789)
  • Edlinger's dubious portrait (1790)
    Edlinger's dubious portrait (1790)
  • Dubeck's inauthentic portrait (1803)
    Dubeck's inauthentic portrait (1803)
  • Krafft's posthumous portrait (1819)
    Krafft's posthumous portrait (1819)
  • Kaulbach's inauthentic portrait (1873)
    Kaulbach's inauthentic portrait (1873)

Bibliography

[edit]
  • Bory, Robert. La vie et l'oeuvre de Wolfgang-Amadeus Mozart par l'image (in French). Suiza: Horizons de France, 1948.
  • Einstein, Alfred. Mozart, His Character, His Work. Oxford University Press, 1962
  • Hutchings, Arthur. Mozart: The Man, the Musician. United Kingdom: Thames and Hudson, 1976.
  • Grosspietsch, Christoph. Mozart-Bilder, Bilder Mozarts: ein Porträt zwischen Wunsch und Wirklichkeit (in German). Austria: Verlag Anton Pustet, 2013.

References

[edit]
  1. ^ Bory 1948
  2. ^ Hutchings 1976, pp. 4-5
  3. ^ Schurig 1923, Wolfgang Amadeus Mozart, Vol. 2
  4. ^ Einstein: Mozart, His Character, His Work, 1962, pp. 471
  5. ^ Hutchings 1976, pp. 5
  6. ^ Hutchings 1976, pp. 5
  7. ^ Andrés 2006, p. 56
  8. ^ Hutchings 1976, pp. 6
  9. ^ Novello 1955
  10. ^ Landon 2005, pp. 72
  11. ^ Zenger 1941
  12. ^ Hutchings 1976, pp. 5
  13. ^ Hutchings 1976, pp. 5
  14. ^ Mozart's Images Imagined: Cornell University
  15. ^ Schurig 1920, pp. 82
  16. ^ Woodford, Peggy (1990). Mozart. Omnibus Press. pp. 27. ISBN 0-7119-0248-8.
  17. ^ Schurig 1920, pp. 82
  18. ^ Solomon 1995, p. 44.
  19. ^ Mozart's Images: Cornell University
  20. ^ Mozart Letters IV, pp. 232
  21. ^ Nottebohm 1880, Mozartiana, pp. 137
  22. ^ Schurig 1920, pp. 82
  23. ^ Musée Condé Inventory number: DE CAR 418
  24. ^ Score at the International Music Score Library Project
  25. ^ Sadie, Stanley (2006) Mozart: The Early Years 1756–1781, pp. 183-84
  26. ^ Cornell University: Mozart's Images. Mozart in Verona
  27. ^ Schurig 1920, pp. 82
  28. ^ Mozart Letters III, p. 8 f.
  29. ^ King's College London. Department of Music: Mozart & Material Culture
  30. ^ Schurig 1920, pp. 82
  31. ^ Barnebys' Magazine: A Rare Portrait of Mozart at Auction
  32. ^ British Broadcasting Corporation - Mozart childhood portrait sold for €4m at Paris auction
  33. ^ Wolfgang Amadeus Mozart, Mozart's Letters, Mozart's Life: Selected Letters, transl. Robert Spaethling, (W. W. Norton & Company Inc., 2000), pp. 17.
  34. ^ Vincent de Luise: Visualizing Mozart
  35. ^ Sadie (2006), pp. 210-11
  36. ^ King's College London. Department of Music: Mozart & Material Culture
  37. ^ Schurig. Mozart, I, 368f
  38. ^ Letter of Leopold Mozart to Padre Martini, December 22 of 1777
  39. ^ Simon P. Keefe, Mozart in Context. Cambridge University Press (2019), pp. 65
  40. ^ Profile of the painting in the Museum
  41. ^ Google Arts & Culture: Profile of the Copy
  42. ^ Solomon 1995, pp. 181
  43. ^ Mozart's Images Imagined: Cornell University
  44. ^ Simon P. Keefe, Mozart in Context. Cambridge University Press (2019), pp. 62
  45. ^ Dieter, George. Ist Johann Nopomuk della Croce der Maler des grossen Mozartschen Familienbildes?, Mozart-Jahrbuch 1994, pp. 65-78
  46. ^ Mozart's Images Imagined: Cornell University
  47. ^ King's College London. Department of Music: Mozart & Material Culture
  48. ^ Letter from Wolfgang to Leopold dated November 13 of 1780
  49. ^ Letter from Leopold to Wolfgang dated November 20 of 1780
  50. ^ Letter from Leopold to Wolfgang dated December 15 of 1780
  51. ^ Letter from Leopold and Maria Anna to Wolfgang dated December 30 of 1780
  52. ^ Letter from Leopold to Wolfgang dated January 8 of 1781
  53. ^ Vincent de Luise: Visualizing Mozart, Notes on Table 1
  54. ^ Novello, V. and Novello, M. "A Mozart Pilgrimage- Being the Travel Diaries of Vincent and Mary Novello in the year 1829, N. de Medici di Marignano and Robert Hughes, London, 1955, reprinted 1975.
  55. ^ Schurig 1920, pp. 86-87
  56. ^ Deutsch, Otto Erich (1965). Mozart: A Documentary Biography, pp. 213
  57. ^ Simon P. Keefe, Mozart in Context. Cambridge University Press (2019), pp. 68 and 75
  58. ^ Michael Lorenz: "Joseph Lange's Mozart Portrait", Vienna 2012
  59. ^ Schurig 1920, pp. 87
  60. ^ Letter from Wolfgang to Leopold dated April 3 of 1783
  61. ^ Solomon 1995, pp. 275
  62. ^ Solomon 1995, pp. 329
  63. ^ Deutsch, Otto Erich (1965). Mozart: A Documentary Biography, pp. 213
  64. ^ Deutsch, Otto Erich (1965). Mozart: A Documentary Biography, pp. 262
  65. ^ Deutsch, Otto Erich (1965). Mozart: A Documentary Biography, pp. 241
  66. ^ Deutsch, Otto Erich (1965). Mozart: A Documentary Biography, pp. 538
  67. ^ Jenkins J. Mozart: Portrait and Myth. J Roy Soc Med
  68. ^ Schurig 1920, pp. 87
  69. ^ Grosspietch C. Mozart Bilder – Bilder Mozarts. Salzburg, Austria, Anton Pustet Verlag, 2013
  70. ^ Cornell University. Mozart's Images Imagined: Mozart at the Pianoforte
  71. ^ Else, Cliff. Mozart in Italy and the Enigma of a Collection: Newly-Discovered Portraits and Artifacts, pp. 10
  72. ^ El País: Un Mozart menos romántico
  73. ^ The Telegraph: New Wolfgang Amadeus Mozart portrait found
  74. ^ Technical and archival evidence binding W.A. Mozart to the portrait "Man in Red Coat"
  75. ^ Letter from Wolfgang to Martha Elisabeth, Baroness von Waldstätten, dated September 28 of 1782
  76. ^ Letter from Wolfgang to Martha Elisabeth, Baroness von Waldstätten, dated October 2 of 1782
  77. ^ Martin Braun. Hagenauer Mozart: A new portrait of W.A.Mozart from the mid-1780s
  78. ^ Solomon 1995, pp. 438-42
  79. ^ Simon P. Keefe, Mozart in Context. Cambridge University Press (2019), pp. 69
  80. ^ Deutsch, Otto Erich (1965). Mozart: A Documentary Biography. Stanford, CA: Stanford University Press. pp. 323, 339–40, 346, 562. OCLC 8991008.
  81. ^ Schurig, Mozart, Vol. II, p. 189 and 363 f
  82. ^ Else, Cliff. Mozart in Italy and the Enigma of a Collection: Newly-Discovered Portraits and Artifacts, pp. 19
  83. ^ King's College London. Department of Music: Mozart & Material Culture
  84. ^ Skinner, William. The Belle Skinner Collection of Old Musical Instruments at Holyoke, Massachusetts. Springfield, Massachusetts, USA, 1933. Catalogue No. 24: "Portrait of Mozart", pp. 72-74
  85. ^ Schurig 1920, pp. 92
  86. ^ Braun, Martin (2006d) The Greuze Mozart - rediscovery of a portrait painting
  87. ^ Yale University Art Gallery ID: 63804
  88. ^ Two portraits of women by miniaturist Alphen to the collections of Nationalmuseum
  89. ^ Else, Cliff. Mozart in Italy and the Enigma of a Collection: Newly-Discovered Portraits and Artifacts, pp. 12-13
  90. ^ Schurig 1920, pp. 93
  91. ^ Else, Cliff. Mozart in Italy and the Enigma of a Collection: Newly-Discovered Portraits and Artifacts, pp. 13
  92. ^ Else, Cliff. Mozart in Italy and the Enigma of a Collection: Newly-Discovered Portraits and Artifacts, pp. 12
  93. ^ King's College London. Department of Music: Mozart & Material Culture
  94. ^ Else, Cliff. Mozart in Italy and the Enigma of a Collection: Newly-Discovered Portraits and Artifacts, pp. 12
  95. ^ Sadie (2006), pp. 39
  96. ^ Gutman, Robert W. (1999). Mozart: A Cultural Biography, pp. 268–69
  97. ^ Mozart, Leopold (21 April 1770). "Roma dς 21 aprilis 1770. Dein Schreibς vom 2tς und das vom 6tς sind, so viel ich vermuthe..." (in German). Letter to Anna Maria Walpurg Mozart and Maria Anna Mozart. Mozarteum Foundation Salzburg and The Packard Humanities Institute Salzburg. No. 177 (Bd. 1, S. 337–340).
  98. ^ Christie's Profile and Essay (in French) on the portrait
  99. ^ Schurig 1920, pp. 82
  100. ^ King's College London. Department of Music: Mozart & Material Culture
  101. ^ Mozart Letters and Documents – Online Edition: Letter of Leopold Mozart
  102. ^ Schurig, Mozart Vol. I, pp. 237, note 3
  103. ^ Otto Erich Deutch, Mozart und seine Welt in zeitgeössischen Bildern. pp. 298
  104. ^ King's College London. Department of Music: Mozart & Material Culture
  105. ^ Simon P. Keefe, Mozart in Context. Cambridge University Press (2019), pp. 64 and 68
  106. ^ Schurig 1920, pp. 82
  107. ^ Schurig 1920, pp. 85
  108. ^ Schurig 1920, pp. 85
  109. ^ The World of the Habsburgs: Wolfgang Amadé Mozart with the diamond ring
  110. ^ Schurig 1920, pp. 96
  111. ^ Schurig 1920, pp. 96
  112. ^ Profile of the work in the museum catalogue
  113. ^ Profile of the work in the Museum's Catalogue
  114. ^ Photo12 Photography Agency - Profile of the painting
  115. ^ Bridgeman Images. Profile of the painting
  116. ^ Anderson E, ed. The Letters of Mozart and His Family, 3rd edn. London: Macmillan, 1985, pp. 947
  117. ^ Letter from Wolfgang to Constanze dated November 2 of 1790
  118. ^ The Irish Times - Last known portrait of Mozart found in gallery warehouse
  119. ^ Schenk, Rolf. Der Porträtmaler Johann Georg Edlinger. Monographie und Werkskatalog, Uni-Druck, München 1983, ISBN 3-87821-181-3, zugl.: München Univ. Diss. 1981.
  120. ^ Martin Braun. The last portrait of W.A. Mozart: A biometrical statistical comparison
  121. ^ BBC News - Gallery discovers Mozart portrait
  122. ^ The Telegraph: 'Lost' portrait of Mozart reveals bloated result of years of drinking and womanising
  123. ^ The Guardian: Last known portrait of Mozart identified
  124. ^ BBC News: Gallery discovers Mozart portrait
  125. ^ Bauer, Richard. Der "Berliner Mozart" - Notwendiger Widerspruch gegen eine Weltsensation. Acta Mozartiana 2005
  126. ^ Ramsauer, Gabriele (2005) Anmerkungen zum angeblichen "Mozart-Portrait" von Johann Georg Edlinger in der Berliner Gemäldegalerie
  127. ^ Martin Braun and Rainer Michaelis (2006) "Edlinger Mozart" and "Edlinger Steiner" are two different portrait paintings: Conclusive empirical evidence
  128. ^ Martin Braun. The last portrait of W.A. Mozart: A biometrical statistical comparison
  129. ^ Braunbehrens V. Die Presse, Vienna 13 January 2005
  130. ^ Jenkins J. Mozart--portrait and myth. J R Soc Med. 2006 Jun;99(6):288-91. doi: 10.1177/014107680609900614. PMID: 16738370; PMCID: PMC1472719.
  131. ^ Hagedorn, Volker (2005). "Ist es Mozart oder nicht?", Die Zeit, 2005-06-09
  132. ^ Wolfgang Eckert (2006), Über die Gestalt/Ein Werkbericht, St. Märgen: Design Concepts Verlag, ISBN 3-9807059-5-1
  133. ^ Museum Digital Database - Profile of the portrait
  134. ^ Neil Jeffares, Dictionary of pastellists before 1800 (Online Edition)
  135. ^ Schurig 1920, pp. 84-85
  136. ^ Vincent de Luise: Visualizing Mozart
  137. ^ Mozart's Images Imagined: Cornell University
  138. ^ German Digital Library - Profile of the portrait
  139. ^ Schurig 1920, pp. 93
  140. ^ Schurig 1920, pp. 93
  141. ^ Mozart's Images Imagined: Cornell University
  142. ^ Profile of the work in the Louvre database
  143. ^ Neil Jeffares, Dictionary of pastellists before 1800 (Online Edition)
  144. ^ Martin Braun. The Delahaye Mozart: rediscovery of a portrait of the 16-year-old composer
  145. ^ Martin Braun. The Delahaye Mozart: rediscovery of a portrait of the 16-year-old composer
  146. ^ Vincent de Luise: Visualizing Mozart
  147. ^ Salzburger Nachrichten, January 20, 1971
  148. ^ Eisen, Cliff, and Keefe, Simon P. (Eds.) The Cambridge Mozart Encyclopedia. Cambridge University Press. 2006
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