Rudolf II & Bartholomeus Spranger:  Rudolf II as the Patron of Spranger’s Mythologies and Allegories.  Virtuosity and Maniera.

The court of Holy Roman Emperor Rudolf II in Prague was described by 17 th century German art historian Joachim von Sandrart as “the Parnassus of the arts”.  Sandrart’s Dutch counterpart Karl van Mander went even further to praise Rudolf II as “the greatest art patron in the world at the present time”.  Rudolf II’s involvement with art was two fold.  He was an avid art collector with an enormous Kunstkammer, and he also was the ideal patron of art coveted by artists.  Both his collection, which included works by Dürer and Titian, and his artists at court, reflected his imperial, cosmopolitan ambitions.  This presentation will examine the visual language of the mythological and allegorical paintings commissioned by Rudolf II for his newly expanded palace in Prague.  In particular, there will be a focus on the iconography and style of the paintings by imperial court painter Bartholomeus Spranger, with comparisons made to related paintings by fellow court painters Hans von Aachen and Joseph Heintz.  Ultimately, the competitive nature of Rudolf II’s court, as well as the presence of a large art collection, encouraged Spranger as the imperial court painter to emulate, invent, and test his virtuosity in depicting subject matter.  The result was seen especially in Spranger’s Metamorphoses cycle and allegories representing Rudolf II’s empire.   Indeed, Rudolf II’s patronage of art became a sign of imperial power rather than a comforting hobby practiced by an out of touch ruler within the realm of Eastern Europe.