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DOI Artikel:Kemperl, Metoda: Villa de Seppi at Hrastnik and the Painters Eduard Lebiedzki and Constanze von Breuning: Unknown Paintings
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.71008#0351
Villa de Seppi at Hrastnik and the painters Eduard Lebiedzki and Constanze Von Breuning 345
14. Constanze von Breuning, Supraporta with the Allegory of Emma de Seppi, 1894,
Villa de Seppi, Hrastnik. Foto M. Kemperl
would certainly not have donated money for the construction of the Jurko lodge at the top
of Lisca Mountain, since the initiative for the construction of the lodge was taken by Fran
Orozen, the first president of the Mountaineering Association of Slovenia in Ljubljana, whi-
le funds for raising it were collected by Blaź Jurko, a headmaster at Razbor pod Lisco, who
also organized the construction work.111
Such depictions with personifications and allegories were very popular in the second half
of the 19th century, especially after 1882, when Martin Gerlach published the Allegorie und
Embleme manual in Vienna.112 Such personifications and allegories were often used by pain-
ters, particularly when decorating buildings raised after 1858 on the Ringstrasse in Vienna.
Eduard Lebiedzki, like his teacher Christian Griepenkerl and the latter's predecessor Karl
Rahl, used them to create his conceptual world (the Parliament Building).113 Such female
personifications with young children can also be found in the vestibule of the Palais Leon in
Vienna, which was decorated by Ferdinand Laufberger, or in the foyer of the Palais Epstein
and Palais Ephrussi or in the vestibule and stairway of the Palais Klein, which was painted
by Griepenkerl,114 painted by Griepenkerl. They were also popular among Neo-classicists
working in Trieste (e.g. the Steiner House by M. Pertsch from 1828, whose main faęade is
adorned with reliefs depicting personifications of architecture, painting, and sculptu-
re).115 Allegories painted by Constanze von Breuning are most similar to female allegories in
the building of the Vienna Museum of Natural History (Naturhistorisches Museum Wien),
whose ceremonial staircase was decorated by Hans Canon between 1883 and 1884 with
twelve semi-circular depictions of allegories of various disciplines of science.116
111 MOTORE and MOTORE, "Jurkova koca", 2.
112 Frank BUTTNER and Andrea GOTTDANK, Einfiihrung in die ikonographie: Wege zur Deutung von Bildenhalten,
Munchen 2009, pp. 156, 157.
113 FRODL, "Die profane," pp. 296-301, 297; KRASA-FLORIJAN, Die Allegorie, pp. 61-193; Werner TELESKO,
Geschichtsraum bsterreich: Die Habrsburger und ihre Geschichte in der bildenden Kunst des 19. Jahrhunder, Wien
2006, pp. 329-415.
114 KITLITSCHKA, NOVOTNY, "Die Malerei", pp. 34-38, 77.
115 Maria WALCHER, L'Architettura a Trieste dalla fine del Settecento agli inizi del Novecento, Udine 1967.
116 KITLITSCHKA, NOVOTNY, "Die Malerei", p. 114.
14. Constanze von Breuning, Supraporta with the Allegory of Emma de Seppi, 1894,
Villa de Seppi, Hrastnik. Foto M. Kemperl
would certainly not have donated money for the construction of the Jurko lodge at the top
of Lisca Mountain, since the initiative for the construction of the lodge was taken by Fran
Orozen, the first president of the Mountaineering Association of Slovenia in Ljubljana, whi-
le funds for raising it were collected by Blaź Jurko, a headmaster at Razbor pod Lisco, who
also organized the construction work.111
Such depictions with personifications and allegories were very popular in the second half
of the 19th century, especially after 1882, when Martin Gerlach published the Allegorie und
Embleme manual in Vienna.112 Such personifications and allegories were often used by pain-
ters, particularly when decorating buildings raised after 1858 on the Ringstrasse in Vienna.
Eduard Lebiedzki, like his teacher Christian Griepenkerl and the latter's predecessor Karl
Rahl, used them to create his conceptual world (the Parliament Building).113 Such female
personifications with young children can also be found in the vestibule of the Palais Leon in
Vienna, which was decorated by Ferdinand Laufberger, or in the foyer of the Palais Epstein
and Palais Ephrussi or in the vestibule and stairway of the Palais Klein, which was painted
by Griepenkerl,114 painted by Griepenkerl. They were also popular among Neo-classicists
working in Trieste (e.g. the Steiner House by M. Pertsch from 1828, whose main faęade is
adorned with reliefs depicting personifications of architecture, painting, and sculptu-
re).115 Allegories painted by Constanze von Breuning are most similar to female allegories in
the building of the Vienna Museum of Natural History (Naturhistorisches Museum Wien),
whose ceremonial staircase was decorated by Hans Canon between 1883 and 1884 with
twelve semi-circular depictions of allegories of various disciplines of science.116
111 MOTORE and MOTORE, "Jurkova koca", 2.
112 Frank BUTTNER and Andrea GOTTDANK, Einfiihrung in die ikonographie: Wege zur Deutung von Bildenhalten,
Munchen 2009, pp. 156, 157.
113 FRODL, "Die profane," pp. 296-301, 297; KRASA-FLORIJAN, Die Allegorie, pp. 61-193; Werner TELESKO,
Geschichtsraum bsterreich: Die Habrsburger und ihre Geschichte in der bildenden Kunst des 19. Jahrhunder, Wien
2006, pp. 329-415.
114 KITLITSCHKA, NOVOTNY, "Die Malerei", pp. 34-38, 77.
115 Maria WALCHER, L'Architettura a Trieste dalla fine del Settecento agli inizi del Novecento, Udine 1967.
116 KITLITSCHKA, NOVOTNY, "Die Malerei", p. 114.