Menu Shopping cart
Your basket is empty.
Support us
PISAVA
VELIKOST

CTRL+ ZA POVEČAVO
CTRL- ZA POMANJŠAVO

VELIKE/MALE
STIL
Permanent Collection

1600–1700

Johann Herward, Count Lamberg
1648, oil, canvas, 209 x 117,5 cm
collar of the dog: G. H. (monogram)

NG S 1340, National Gallery of Slovenia, Ljubljana
The painting by an anonymous artist is one of the few surviving full-length portraits from the mid-17th century in the Slovene lands. The image of the twenty-seven-year-old Count Johann Herward Lamberg comes from the collection in Cekin Mansion (Leopoldsruhe), which Leopold Count Lamberg built between 1752 and 1755. The picture was kept in a room with 23 other portraits of the Lamberg family, constituting the ancestral portrait gallery. When Cekin Mansion and its belongings were sold in 1865, the portrait of Johann Herward, along with some other portraits of the Lambergs, was purchased by Edvard Knight Strahl for his collection in Stara Loka Castle. When Strahl's collection was sold in 1930, the painting was purchased by the National Museum, and before 1947 it was transferred to the National Gallery.
The young Count is depicted in fashionable clothing consisting of a yellow waistcoat and wide red trousers reaching to the knees and emphasized with lace decoration. He is wearing leather boots with wide flaps, and his black hat with a red bow is on the table which is covered with a heavy tablecloth. The dignified image of the nobleman is enhanced by a big dog with the monogram G. H. on its collar. Dogs are frequent companions in portraits of nobles. They were used mainly for hunting, which was a popular pastime of the nobility. As a status symbol, they indicate the owner's distinction, and personify loyalty.


Provenance: Ljubljana, Cekin Mansion (Leopoldsruhe); Stara Loka, Collection of Edvard and Karl Strahl, 1866; 
National Musuem of Slovenia, 1930; National Gallery of Slovenia, before 1947


inscription: I.H.C.A.L.D.I.S.E.R / AETATIS SVAE. 27: / 1.6.4.8.; on the dog’s collar: monogram G. H.
From Mannerism to Baroque
Although imported early-Baroque works prevailed in this period and those by itinerant artists, the 17th century paved the way for the future. The political circumstances in the region were relatively stabilized in spite of the Thirty Year War and the patronage gradually grew stronger. The arrival of the Jesuits in Ljubljana, the activity of the polymath Johann Weichard Valvasor, particularly his graphic workshop at Bogenšperk/Wagensperg Castle, and the foundation of the Academia operosorum at the end of the century were the key events of the time. 

Characteristic of sculptural production on the Slovenian territory in the 17th century were the so-called “golden altars”. As a rule, these were gilded and polychrome carved wooden retables with rich ornamentation, first with crustaceous patterns which turned into vine and grapes that covered architectural framework until the achantus foliage took over and obliterated architectural structure completely. The making of golden altars included several branches of fine arts: prints, carving, gilding, painting. Religious painting of the first half of the century still contains Mannerist elements; in the second half also secular motifs became more numerous, particularly genre scenes and aristocratic portraits. The artworks mainly echo northern early-Baroque influences. 

Noteworthy among the newcomers who settled in Carniola with their workshops were the painter and gilder Hans Georg Geiger von Geigerfeld in the mid-century, who had moved to Carniola from the region of the Central Alps, and the Fleming Almanach in the third quarter of the 17th century, known only by his nickname, who worked here only for a few years. The extraordinary productivity and skills of the latter are evidenced by his rare surviving works, mentions in Valvasor’s books, and aristocratic probate inventories.