KUPECKY, Jan - b. 1667 Bazin, d. 1740 Nürnberg - WGA

KUPECKY, Jan

(b. 1667 Bazin, d. 1740 Nürnberg)

Bohemian painter. Kupecky the son of Czech parents who sought refuge in Hungary from religious persecution, was born in Bazin (near Bratislava) and throughout his life declared himself a Bohemus, a Czech. According to the sources he began his studies with the Swiss painter Benedikt Klaus, who was active in both Vienna and Hungary. At the age of twenty Kupecky went on a long Italian study trip. He returned to Vienna in 1709, after twenty-two years spent in Venice and Rome. We know very little of his Italian activity as well as his early works and his setting in Vienna.

According to his contemporary biographer, the Swiss Johann Caspar Füssli, the Protestant (Hussite) Kupecky, who faithfully clung to his ancestor’s religion, remained withdrawn and isolated in Vienna’s Catholic milieu, which was under the influence of the court and the aristocracy. However this concept is partly contradicted by the fact that the master had significant courtly commissions while working in Vienna. He painted portraits of various members of the dynasty, Prince Eugene of Savoy, several aristocrats, and, in Karlsbad, even of Czar Peter I. The rich ceuvre of this period comprises a series of gorgeous portraits of Kupecky’s family, friends and the painter himself, as well as several persons, whose identity in unknown.

In 1733 Kupecky, fearing religious persecution, fled from Vienna to Nuremberg with his family and worked there until his death in 1740. As the most significant portrait painter of contemporary Germany, he was commissioned by a large number of German princes, church dignitaries rich merchants and scholars, and his works were popularized by engravings even during his lifetime. Through his pupils and followers Kupecky’s influence and artistic example remained alive and widespread for a long time.

Portrait of Adam Philipp, Count Losy von Losymthal
Portrait of Adam Philipp, Count Losy von Losymthal by

Portrait of Adam Philipp, Count Losy von Losymthal

Count Adam Philipp Losy was protector of the Vienna Academy from 1750 until 1771. Kupecky portrayed him at the age of seventeen in 1723, in the year when the painter left Vienna for Nuremberg.

Portrait of a Gentleman
Portrait of a Gentleman by

Portrait of a Gentleman

Portrait of the Court Musician Josef Lemberger
Portrait of the Court Musician Josef Lemberger by

Portrait of the Court Musician Josef Lemberger

Portrait of Ádám Mányoki
Portrait of Ádám Mányoki by

Portrait of Ádám Mányoki

Self-Portrait
Self-Portrait by

Self-Portrait

Two other versions of this picture are known, both of larger dimensions. In Bratislava’s Slovensk� n�rodn� gal�ria there is a painting with the signature Kupecky pin 1709, and there was another version, sold in 1902 at a Viennese auction, which has since disappeared and is known only from reproductions.

The composition of the three pictures is essentially the same. The Bratislava painting was originally listed in the catalogues as Kupecky’s self portrait, and on the basis of an engraved copy of the young Kupecky’s self-portrait, made by Johann Gottfried Saiter and Johann Jacob Haid, this attribution seems acceptable: the shape of the face, the mouth and the chin show a clear similarity. The represented person seems to be about 25 years old, and if the picture really is Kupecky’s portrait, it could have been painted in Italy around 1690.

Young Man with a Violin
Young Man with a Violin by

Young Man with a Violin

A book of engravings of Kupecky’s paintings published in Nuremberg in 1745, contains an engraved copy of this picture, made by Bernhard Vogel in 1736. This mezzotint engraving identifies the represented person as: R. Donauer, Pict. Moscov. Thus the painting depicts the painter Gottfried Donauer or Danhauer who, according to the contemporary writer von Hagedorn, was of Swabian origin and a clockmaker like his father. Kupecky, who according to his biographer F�ssli, while returning from Rome, became acquainted in Venice with the portrait painter Sebastiano Bombelli, may have met Donauer in Venice. Thus the picture probably was made at the beginning of Kupecky’s career, in Italy and then taken by him to Vienna and to Nuremberg. However, some copies of Vogel’s engraving call the picture The Allegory of Hearing. Hence it is possible, that the painting, which for a time was attributed also to �d�m M�nyoki, belonged to a series representing The Five Senses. As we do not know any authentic portrait of Donauer, and Kupecky’s authentic Italian works have hardly survived, the identification and dating must remain open to question.

Feedback