By Larry Silver
ISBN-10: 0691130191
ISBN-13: 9780691130194
Lengthy prior to the photograph op, political rulers have been manipulating visible imagery to domesticate their authority and unfold their ideology. Born simply a long time after Gutenberg, the Holy Roman Emperor Maximilian I (1459-1519) used to be, Larry Silver argues, the 1st ruler to take advantage of the propaganda energy of published photos and textual content. advertising and marketing Maximilian explores how Maximilian used illustrations and different visible arts to form his photograph, in attaining what Max Weber calls "the routinization of charisma," enhance the facility of the Hapsburg dynasty, and aid determine the Austro-Hungarian Empire. a desirable examine of the self-fashioning of an early smooth ruler who was once as a lot image-maker as emperor, advertising and marketing Maximilian indicates why Maximilian continues to be some of the most notable, leading edge, and self-aggrandizing royal paintings buyers in ecu historical past. Silver describes how Maximilian--lacking a true capital or courtroom heart, the facility to tax, and an simply possible territory--undertook an unlimited and dear visual-media crusade to ahead his extravagant claims to imperial rank, noble blood, ideal virtues, and armed forces luck. To press those claims, Maximilian patronized and infrequently individually supervised and collaborated with the simplest printers, craftsmen, and artists of his time (among them not less than Albrecht Drer) to devise and convey illustrated books, medals, heralds, armor, and an formidable tomb monument.
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Additional info for Marketing Maximilian: The Visual Ideology of a Holy Roman Emperor
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Ser. n. 4711); Mennel Master, Genealogy, vol. Vindob. 3077***). Prints: Leonhard Beck, 89 proofs (out of a planned 123) (Vienna, Albertina). References: Simon Laschitzer, “Die Heiligen aus der Sipp-, Mag- und Schwägerschaft des Kaisers Maximilian I,” Jahrbuch der Kunsthistorischen Sammlungen der Allerhöchsten Kaiserhauses 4 (1886), 70–289; 5 (1887), 117–262. 4. Freydal, 1512–ca. 1516 Sequence of 64 tournament contests and festivities, planned as an introduction to Teuerdank. Vindob. 2835). indd 37 37 9/7/2007 11:47:47 AM Artists: Manuscript: Anonymous, several (Vienna, Kunsthistorisches Museum, KK 5073).
A rare early instance is a broadsheet woodcut, Maximilian as Hercules Germanicus (fig. 104 The text praises the hero, endowed with the features of Maximilian, as the restorer of order, pacator orbis, salvator mundi, but also as the promoter of virtue and knowledge, musageticus (cf. also the Apollo image in the later Burgkmair allegorical woodcut, tied to the play by Celtis, above). In a lower zone a crowned shield of the German kingdom is surrounded by the captioned chain of the Order of the Golden Fleece, thus explicitly identifying the scene with Maximilian; but he is also shown, captioned, on horseback in full armor, accompanied by two of his infantry Landsknechten (see chapter 5).
With the “translation of empire” under Charlemagne as the critical concept (chapter 3), an unbroken succession of “caesars” linked Maximilian to Julius Caesar and the heritage of ancient Rome, even older than the papacy itself. 90 Based on Peutinger’s collection of coins, inscriptions, and ancient sources, from as early as 1503 that scholar collated historical data for the succession of emperors in much the same methodical fashion as Stabius, in the wake of Jakob Mennel, evaluated data concerning the succession of Habsburg ancestors (chapter 2).
Marketing Maximilian: The Visual Ideology of a Holy Roman Emperor by Larry Silver
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