MILDORFER, Joseph Ignaz - b. 1719 Innsbruck, d. 1775 Wien - WGA

MILDORFER, Joseph Ignaz

(b. 1719 Innsbruck, d. 1775 Wien)

Austrian painter. He was born into a known Tyrolese painter family. He moved at an early date to the imperial city to earn his living, like so many of his fellow countrymen. Between 1740 and 1742 he studied at the Viennese Academy of Fine Arts, where in 1742 he won a competition prize, and in 1751, following the artistic approach and example of his fellow Tyrolese painter Paul Troger, he became an academic professor. He won fame and great commissions in Austria, Bohemia, Moravia and Hungary as a fresco and altarpiece painter.

In his early works, such as in Hafnerberg Pilgrim church (1743), he followed Troger’s Late Baroque compositional and decorative style, while his later frescoes, such as the evocative ceiling fresco of Schönbrunn Menagerie or the mansions of Eszterháza (1764-66) and Gács (Halic) show the influences of a more pictorial and looser Rococo. Some of his works can be reconstructed only on the basis of old descriptions and eventual sketches (destroyed frescoes of Máriavölgy (Marianka) Pilgrim church, altarpieces of Gács’s (Halic) Capuchine church etc.). Some of his significant paintings, such as the frescoes in the chapel of Pápa palace or the altarpiece Flight to Egypt of Sasvár (Sastin) church were recently identified as his works. Our knowledge of his career, development and significance still seems very imperfect and in many respects needs to be developed. His picturesque, animated, skilfully executed battle scenes in Salzburg’s Barockmuseum and in a Dutch collection (signed from 1742), for example, bear witness to an almost unknown chapter of his oeuvre, which should be uncovered.

Baptism of Christ
Baptism of Christ by

Baptism of Christ

Earlier the painting was attributed to Paul Troger.

Pentecost
Pentecost by

Pentecost

The painting was on an altar in the Church of Holy Spirit in Sopron, Hungary.

Pietà
Pietà by

Pietà

The Holy Spirit church in the city of Sopron, Hungary has two side-altars. One is the Holy Cross altar, about which the 1782 contract drawn up with the painter, Istv�n Dorffmaister and the sculptor, Ferenc M�ller has remained to us. The other is the Pietà altar decorated by the picture exhibited here. Very early in the year 1783 a cabinet-maker was paid for having dissembled and reassembled the high altar and the two sidealtars in 1782. One of the (old) side-altars may have been the Pietà one whose altarpiece was perhaps made at the same time with the high altar’s painting (cat. no 108�, as its technique of execution suggests. We consider both that altarpiece and this side-altarpiece as works made in the 1750’s by Joseph Ignaz Mildorfer.

18th century Pietà compositions usually feature few figures: in most of them, there is but an angel to share the grief of Mary shown broken over her dead son. However, the Sopron altarpiece was composed by its painter from five figures, arranging St. John supporting Mary, Mary Magdalene wiping Christ’s wounds and a woman embracing his hanging arm around the central figure of Christ himself lying in her mother’s lap. The picture’s basic tone is grim and dark. Its figures are almost bodyless. Glaring lights illuminate the faces depicted in sharp foreshortening and some widely fluttering draperies that make the composition almost burst. The figures of the windblown vision are mostly linked by the strange expressive forms of the strongly accentuated hands in a feature characteristic of Mildorfer’s art in the style of the 1750s. His painting at Sopron is not related to his early Pietà (St. Moritzen bei Telfs, 1742) but rather to the sketch at Graz, similarly unquiet in the intensity of expression (Graz, Joanneum). Here again, similarly to many other works of his. Mildorfer set out from a composition by Troger: his figure of Christ is almost a paraphrase of Troger’s Pietà in Vienna (Historisches Museum der Stadt Wien), yet without the latter’s power of plasticity and confidence of composition.

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