Powered by OpenAIRE graph
Found an issue? Give us feedback
image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Bulletin du Centre d...arrow_drop_down
image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
Bulletin du Centre de Recherche du Château de Versailles
Article . 2025 . Peer-reviewed
License: CC BY NC ND
Data sources: Crossref
image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
Bulletin du Centre de Recherche du Château de Versailles
Article . 2025
License: CC BY NC ND
Data sources: OpenEdition
versions View all 2 versions
addClaim

The Restoration of the Stucco Decoration in the two Liechtenstein Palaces in Vienna

La restauration des décors en stuc des deux palais Liechtenstein à Vienne
Authors: Kräftner, Johann;

The Restoration of the Stucco Decoration in the two Liechtenstein Palaces in Vienna

Abstract

The baroque expansion of Vienna began after 1683. In the 1690s, Johann Adam Andreas von Liechtenstein (1657–1712) had a garden palace built, followed a little later by a new city palace, which was completed in 1712. Both palaces were lavishly decorated with stucco by Santino Bussi. This was during a period of change: stucco ceilings dating from around 1700, influenced by French foliage and scrollwork and containing frescoes and oil paintings, were replaced by ceilings that were entirely covered in frescoes. In the Hercules Hall of the garden palace, the recent existing stucco was removed when Andrea Pozzo was hired (in 1704); he replaced it with the largest ceiling fresco north of the Alps. Elsewhere in the garden palace, the stucco was painted over repeatedly, to such an extent that it was barely legible before its restoration (from 2000 onwards). Through careful cleaning and the application of several layers of transparent lime milk, the stucco was restored to its original delicate state. In the city palace, the stucco work on the second piano nobile was preserved and given colour as part of the extensive modernization that began in 1836 with the aim of surpassing the baroque style with a new neo-baroque idiom. Southern German rococo models (e.g. the Schaezlerpalais in Augsburg) seem to have been the inspiration for this colour scheme. During the recent restoration campaign, baroque stucco ceilings were found in rooms on the first piano nobile (used as a simple office suite) behind suspended ceilings from the 1840s, preserved as if in a time capsule. They were cleaned and retouched; in some rooms, it was even possible to insert the original ceiling paintings by Antonio Bellucci, which had been removed as early as 1807. The subject of this contribution is the restoration of the stucco ceilings in the two baroque palaces of the princes of Liechtenstein in Vienna. These were built for the family at the turn of the seventeenth and eighteenth centuries and are the first and most important examples of the building boom following the ousting of the Turks from Vienna in 1683.

Keywords

restoration, plafond, baroque, stucco, stuc, Baroque, Vienne, Bussi (Santino), Drentwett (Jonas), Vienna, Liechtenstein palaces, ceiling, palais Liechtenstein, restauration

  • BIP!
    Impact byBIP!
    selected citations
    These citations are derived from selected sources.
    This is an alternative to the "Influence" indicator, which also reflects the overall/total impact of an article in the research community at large, based on the underlying citation network (diachronically).
    0
    popularity
    This indicator reflects the "current" impact/attention (the "hype") of an article in the research community at large, based on the underlying citation network.
    Average
    influence
    This indicator reflects the overall/total impact of an article in the research community at large, based on the underlying citation network (diachronically).
    Average
    impulse
    This indicator reflects the initial momentum of an article directly after its publication, based on the underlying citation network.
    Average
Powered by OpenAIRE graph
Found an issue? Give us feedback
selected citations
These citations are derived from selected sources.
This is an alternative to the "Influence" indicator, which also reflects the overall/total impact of an article in the research community at large, based on the underlying citation network (diachronically).
BIP!Citations provided by BIP!
popularity
This indicator reflects the "current" impact/attention (the "hype") of an article in the research community at large, based on the underlying citation network.
BIP!Popularity provided by BIP!
influence
This indicator reflects the overall/total impact of an article in the research community at large, based on the underlying citation network (diachronically).
BIP!Influence provided by BIP!
impulse
This indicator reflects the initial momentum of an article directly after its publication, based on the underlying citation network.
BIP!Impulse provided by BIP!
0
Average
Average
Average
gold