#Maximilian II

[steellegacy]

On This Day: July 25, 1564

Maximilian II (1527-1576) becomes emperor of the Holy Roman Empire.

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⚜️ Elements of an Armor Garniture, c. 1550-1555

Medium: Steel, partially embossed, etched and blackened, and gilded; copper alloy (brass); leather; textile

Made in Augsburg

Philadelphia Museum of Art

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This armor is part of a great garniture that included over five hundred pieces. It is believed to have belonged to the Holy Roman Emperor Maximilian II. The other related components of the garniture are preserved in the Historisches Museum der Stadt in Vienna, Austria.

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⚜️ Overall of shield and helmet reinforce from Armor Garniture of Maximilian II, German, Augsburg, ca. 1550

Medium: Steel, etched and gilt

Dimensions: H.- 12.1 cm; W.- 21.9 cm; Wt. - 737.1 g.

The MET

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🖼 Portrait of Maximilian II, circa 1566

Artist: Workshop of Nicolas Neufchatel (fl. 1539–1567)

KHM Wien

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В этот день:

25 июля 1564 года Максимилиан II (1527-1576) становится императором Священной Римской империи.

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⚜️ Элементы доспешного гарнитура, ок. 1550-1555

Материалы: Сталь, чеканка, травление, чернение, золочение; медный сплав (латунь); кожа; текстиль

Изготовлен: в Аугсбурге, Германия

Художественный музей Филадельфии

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Этот доспех является частью большого гарнитура, насчитывавшего более пятисот деталей. Предполагается, что он принадлежал императору Священной Римской империи Максимилиану II. Другие связанные компоненты гарнитура хранятся в Историческом музее города в Вене, Австрия.

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⚜️ Усиление щита и шлема из комплекта доспехов Максимилиана II, Аугсбург, ок. 1550

Материалы: Сталь, травление и позолота

Размеры: Высота - 12,1 см; Ширина - 21,9 см; Вес - 737,1 г.

The MET

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🖼 Портрет Максимилиана II, ок. 1566 г.

Автор: Мастерская Никола Невшателя (время активности 1539–1567)

Музей истории искусств, Вена

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#MaximilianII #МаксимилианII #HolyRomanEmpire #доспехи #armor #medievalarmor #medieval_armor #NicolasNeufchatel #НиколаНевшатель

[royalty-nobility]

Maximilian II (1527-1576) and His Wife Maria of Spain (1528-1603) and His Children Anna (1549-1580), Rudolf (1552-1612) and Ernst (1553-1595)

Artist: Giuseppe Arcimboldo (Italian, 1526-1593)

Date: c. 1563

Medium: Oil painting

Collection: Kunsthistorisches Museum Vienna, Austria

Description

Maximilian (1527-1576) was the eldest son of emperor Ferdinand I. and Anna of Hungary. In 1548 he married his cousin Maria. Her father Karl V made him governor of Spain. He inherited Bohemia, Hungary and the Austrian countries. In 1564 he was crowned Roman Emperor. Maximilian is shown together with his wife Maria of Spain (1528 - 1603) and his children Anna (1549 - 1580), Rudolf (1552 - 1612) and in the cradle Ernst (1553 -1595).

It is quite clear that the painter Arcimboldo settled down in Vienna in 1563. If the attribution to Arcimboldo rightly exists, he worked with models. According to technical research the painter used a kind of templates. Moreover there are single portraits of Maria, Anna and Maximilian II left.

[wandering-cemeteries]

Tombs of Maximilian II, King of Bavaria (d. 1864) and his wife, Marie.

Theatinerkirche, in Munich, Germany

Feb. 2023

[isabellaofparma]

Die Kaiserin | 2.05 – “Der Wald in uns”

[adini-nikolaevna]

Equestrian lithograph of Emperor Nicholas I and Empress Alexandra Feodorovna of Russia with members of their family.

[cinearche]

CROSS OF IRON. Directed by Sam Peckinpah, 1977.

[monarchslover]

Hello! My name is Arisu.❤ I love history and historical figures. Also I love " The emperor's new groove" and " The emperor's new school ". Kuzco is my favorite character. ✨💅 I will write stories and facts about my favorite historical figures, sometimes I will post fanarts.👑

My muse @greatgaiuscaesar

My favorite cartoons:

The emperor's new groove

The emperor's new school

All hail king Julien

My favorite dynasties:

Romanov ( Russia )

Bourbon ( France )

Julio - Claudian ( Roman Empire)

Habsburg ( Holy Roman Empire )

Wittelsbach ( Bavaria )

Stuart ( Britain )

Ottoman ( Ottoman Empire)

Mughal ( India)

Chingizid ( Mongol Empire )

Mauryan ( India )

Hohenzollern ( Prussia )

Draculesti ( Romania )

Burgundian ( Castile and Leon )

Wessex ( England )

Hanoverian ( Britain )

Abbasid ( Abbasid Chalifat )

Solomonic ( Ethiopia )

Luxembourg ( Czech )

Argead ( Macedonia )

Artashesid ( Armenia )

Comnenos ( Byzantine )

If you are interested in any of these topics, you can discuss it with me.😉

[royal-confessions]

“Since Queen Victoria of the United Kingdom received the nickname "grandmother of Europe". Emperor Franz II of Austria could receive the nickname "grandmother of Latin America", since the Latin American emperors were his grandsons: Dom Pedro II of Brazil and Maximiliano of Mexico.” - Submitted by Anonymous

[tiny-librarian]

Royal Birthday for today, March 28th: 

Albert Alcibiades, German Prince, 1522

Empress Dowager Zhaosheng,  Empress Dowager of the Qing dynasty, 1613

Maximilian III Joseph, Elector of Bavaria, 1727

Märtha of Sweden, Crown Princess of Norway, 1910

Ingrid of Sweden, Queen of Denmark, 1910

[archduchessofnowhere]

I think there were a lot of Comedy worth moments in Archduke Max's first visit to Napoleon III in 1856, but to me the funniest is that Max had going on a seemingly one-sided rivalry with Prince Oscar of Sweden who was also visiting:

(all from Corti's Maximilian and Charlotte of Mexico)

[thepastisalreadywritten]

SAINT OF THE DAY (August 14)

Saint Maximilian Kolbe, the Polish Franciscan priest, missionary and martyr, is celebrated throughout the Church today, August 14.

The saint died in the concentration camp at Auschwitz during World War II.

He is remembered as a “martyr of charity” for dying in place of another prisoner who had a wife and children.

He was canonized by Pope John Paul II on 10 October 1982.

St. Maximilian is also celebrated for his missionary work, his evangelistic use of modern means of communication, and for his lifelong devotion to the Virgin Mary under her title of the Immaculate Conception.

All these aspects of St. Maximilian's life converged in his founding of the Militia Immaculata.

The worldwide organization continues St. Maximilian Kolbe's mission of bringing individuals and societies into the Catholic Church through dedication to the Virgin Mary.

St. Maximilian, according to several biographies, was personally called by the Virgin Mary, both to his holy life and to his eventual martyrdom.

As an impulsive and badly-behaved child, he prayed to her for guidance and later described how she miraculously appeared to him holding two crowns: one was white, representing purity, the other red, for martyrdom.

When he was asked to choose between these two destinies, the troublesome child and future saint said he wanted both.

Radically changed by the incident, he entered the minor seminary of the Conventual Franciscans in 1907 at the age of 13.

At age 20, he made his solemn vows as a Franciscan, earning a doctorate in philosophy the next year.

Soon after, however, he developed chronic tuberculosis, which eventually destroyed one of his lungs and weakened the other.

On 16 October 1917, in response to anti-Catholic demonstrations by Italian Freemasons, Friar Maximilian led six other Franciscans in Rome to form the association they called the Militia Immaculata.

The group's founding coincided almost exactly with the Bolshevik revolution in Russia and the Marian apparitions at Fatima, Portugal.

As a Franciscan priest, Fr. Maximilian returned to work in Poland during the 1920s.

There, he promoted the Catholic faith through newspapers and magazines, which eventually reached an extraordinary circulation, published from a monastery so large it was called the “City of the Immaculata.”

In 1930, he moved to Japan and had established a Japanese Catholic press by 1936, along with a similarly ambitious monastery.

That year, however, he returned to Poland for the last time.

In 1939, Germany invaded Poland, and Fr. Kolbe was arrested.

Briefly freed during 1940, he published one last issue of the Knight of the Immaculata before his final arrest and transportation to Auschwitz in 1941.

At the beginning of August that year, 10 prisoners were sentenced to death by starvation in punishment for another inmate's escape.

Moved by one man's lamentation for his wife and children, Fr. Kolbe volunteered to die in his place.

Survivors of the camp testified that the starving prisoners could be heard praying and singing hymns, led by the priest who had volunteered for an agonizing death.

After two weeks, on the night before the Church's feast of the Assumption of the Blessed Virgin Mary, the camp officials decided to hasten Fr. Kolbe's death, injecting him with carbolic acid.

St. Maximilian Kolbe's body was cremated by the camp officials on the Feast of the Assumption.

He had stated years earlier:

“I would like to be reduced to ashes for the cause of the Immaculata, and may this dust be carried over the whole world so that nothing would remain.”

[a-modernmajorgeneral]

A black-and-white chalk drawing of the head of a portly man was recently sold at a Christie’s auction as the only work firmly attributed to Marietta Robusti, daughter of the Venetian master Jacopo Robusti, perhaps better known as Tintoretto. Reports from her contemporary biographers suggest that Marietta, who worked in her father’s workshop in the late 16th century, was an accomplished and sought-after artist in her own right. But in the centuries that followed she fell into obscurity. Now, amid a growing movement to reclaim the women artists so often neglected by history, Marietta has the potential to join 16th-century peers such as Lavinia Fontana and Sofonisba Anguissola in the history books – if only researchers could find some more of her work.

‘Marietta had a brilliant mind like her father. She painted such works that men were astonished by her talent,’ writes Carlo Ridolfi, author of a biography of Jacopo Tintoretto and two of his children, Domenico and Marietta, first published in 1642. Nicknamed ‘La Tintoretta’, Marietta – who, according to Ridolfi, dressed as a boy in order to assist her father on his projects – is recorded as having painted many portraits and produced works of her own invenzione. Another of Tintoretto’s early biographers, Raffaello Borghini, reports how Marietta was requested as a court artist by the Holy Roman Emperor Maximilian II, Archduke Ferdinand of Austria, and King Philip II of Spain – although ‘Greatly loving his daughter, [Tintoretto] did not want her taken from his sight,’ writes Borghini.

With such glowing accounts of Marietta’s artistic prowess, attempts to rediscover her work have been numerous and in some cases quite inventive. Unfortunately, these endeavours have rarely been successful.

One of the most commonly attributed paintings is a Self-Portrait with Madrigal located in the Uffizi’s Corridoio Vasariano in Florence. The painting shows a young woman in a white dress with her right arm resting on a harpsichord behind her and a music score in the other hand. The Uffizi labels the work as by Marietta Robusti in its online catalogue. However, art historians have questioned the credibility of this attribution based on provenance records, which show that the portrait was attributed to Titian by a Venetian collector in the 17th century.

Most damning of all, though, is the mediocrity of the painting. The art historian Joanna Woods-Marsden comments in her book Renaissance Self-Portraiture (1998) that the rudimentary foreshortening and poor anatomy are hard to reconcile with the praise lauded on Marietta by her biographers. Duncan Bull, writing in the Burlington Magazine in 2009, dismisses it as ‘a feeble work that speaks more of Verona than of Venice, let alone of Tintoretto’s workshop’. The lack of naturalism and the stiffness of the sitter are worlds away from the fluid, energetic style characteristic of a pupil of the Venetian master.

‘Marietta’s special gift,’ according to Ridolfi, ‘was knowing how to paint portraits well.’ This was not unusual praise for 16th-century women artists, who were highly valued as portraitists. Women were considered to have an eye for detail, particularly jewellery and decoration on clothing, which was so crucial in portraiture for demonstrating a sitter’s wealth and status.

Several portraits have been tentatively attributed to Marietta Robusti. These include a Portrait of an Old Man and a Boy in the Kunsthistorisches Museum in Vienna and the Rijksmuseum’s Portrait of Ottavio Strada. The attribution of the former painting rested on the signature ‘M R’ on the bottom left of the canvas; after cleaning, it appears that the signature actually reads ‘M 3’. The painting in Amsterdam, currently catalogued as by Jacopo Tintoretto, has received attention because Marietta’s early biographers mention a portrait she painted of the courtier Jacopo Strada. Some art historians argue that the biographers mistakenly cited Jacopo instead of his son Ottavio Strada – and that the Rijksmuseum’s painting is the portrait in question. But this is just one theory.

Plenty of historic catalogue entries attribute other work to Marietta, but evidence of these paintings is now thin on the ground. It is likely that Marietta also helped her father with public commissions, such as paintings in their local church in Venice, the Madonna dell’Orto. But her contributions in this respect are hard to pinpoint.

Just one drawing, therefore, is categorically attributed to Marietta. Head of man, after the antique, which sold at Christie’s in Paris last month for €100,000, depicts the Roman emperor Vitellius drawn from an ancient bust – a copy of which Tintoretto kept in his workshop. Scrawled across the drawing are the words ‘this head is by the hand of madonna Marietta’, probably added by her father to distinguish the drawing from the countless others that would have lain about the workshop.

This drawing is a much-needed example of Marietta’s talents. As Stijn Alsteens, international head of Christie’s Old Master drawings department explains to me via email, ‘Marietta in her time was admired as a portraitist, and the drawing can be said to reflect her interest in physiognomy.’ The drawing, Alsteens says, confirms Ridolfi’s account that Marietta was a gifted member of her father’s studio, on an equal footing with her male counterparts.

In the drawing, Marietta captures the head in soft, swift strokes, economic shading and dashes of highlights. We see the fluidity and movement expected of an artist trained by Tintoretto. On the recto of the sheet is another drawing from Tintoretto’s workshop of unknown attribution portraying the face of Giuliano de’ Medici. ‘Where the recto is mostly a study of light and shadow, the verso focuses on the distinctive features of Vitellius’s face – true to Marietta’s gifts as a portraitist,’ Hélène Rihal, head of Christie’s Old Master drawings department in Paris, said in advance of the sale.

Although the attribution is accepted, it is only one drawing and that poses a dilemma for anyone seeking to restore Marietta’s reputation. The historical evidence has the potential to put Marietta on a par with contemporaries like Fontana or Anguissola. The gaping hole is the physical evidence. For the moment La Tintoretta, the legendary woman artist, remains just that – a legend.

[fabiansteinhauer]

[mensfactory]

1958 BMW 507 Roadster Series II

Maximilian Vogl / RM Sotheby’s

[landograndprix]

where your heart truly lies ✾ l.n - II

❧ in which you and lando are not together, right?

❧ part one – next part

☆☆☆☆☆

y/nusername

liked by riabish, yourbestfrienduser and 19,872 others

y/nusername Santori with my favorite muppet 🌞

tagged: yourbestfrienduser

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yourbestfrienduser posted to their story

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y/nusername

liked by charles_leclerc, maxfewtrell and 24,981 others

y/nusername thank you ferrari for inviting me and the gremlin, had a blast this weekend ❤️

tagged: scuderiaferrari, charles_leclerc, yourbestfrienduser

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taglist ; @honethatty12 @alilstressyandlotdepressy @spideyspeaches

[mentaltimetraveller]

Maximilian Rödel, Prehistoric Sunset MB M II, 2022. Oil on canvas — 70 3/4 x 63 in / 180 x 160 cm. Courtesy Carvalho Park.