Anton Fugger

The exhibition "Dressed for Success" is built around the fashion diary of Matthäus Schwarz (1497-1574), head accountant of the immensely rich and influential Fugger company, headed by Jacob Fugger and later on his nephew Anton. From 1520 on Matthäus Schwarz had himself painted in the representative dresses designed for various occasions from weddings to imperial diets. Over the course of 40 years the "klaidungsbuechlin" (book of clothes) documents more than 130 different outfits, forming a uniquely detailed source for the history and development of fashion in the 16th century.
The catalogue presents and contextualises the klaidungsbuechlin in its period. Following the timeline of the precisely dated images, it guides through a vivid period of early world trade and reformation and follows Matthäus Schwarz on his education and business journeys. In the period, fashion was a central tool to document and promote social status and ambitions and Schwarz used this tool carefully, finally being knighted by Ferdinand I. in 1541.
The catalogue presents a wide range of objects with numerous loans from collections all over Europe. It encompasses paintings by Hans Holbein the Elder and Christoph Amberger, woodcuts and engravings by Albrecht Dürer, Lucas Cranach or Jörd Breu as well as Medals by Hans Schwarz and Friedrich Hagenauer. Futhermore it features prominent examples of arms and armour, goldsmiths work, woodcarving, majolica and textiles from the 16th century.
-cat. no. 12: sundial with map, attributed to Erhard Etzlaub, Nuremberg 1511, boxwood
-cat. no. 29: standing cup and cover (possibly made in Augsburg), 1480-1499, Silver-gilt and enamel
-cat. no. 31: relief depicting Jacob Fugger and the allegory of wealth, Sebastian Loscher, Augsburg before 1525, limewood
-cat. no. 35: medal of Jacob Fugger, Hans Schwarz, Augsburg 1518, bronce
-cat. no. 36: commemorative coin of Jacob Fugger, after Hans Schwarz, Augsburg 1518, silver
-cat. no. 38: portrait of Martin Luther, Lucas Cranach, Wittenberg 1521, engraving
-cat. no. 40: portrait of Charles V, Daniel Hopfer, Augsburg 1518, etching
-cat. no. 58: four gaming pieces with portraits, Augsburg around 1535, boxwood
-cat. no. 60: gaming piece with the portraits of Jacob and Ulrich or Anton Fugger, Augsburg around 1525-1530, fruitwood
-cat. no. 67: glass cup with the coat of arms of Fugger-Thurzo, Venice arounf 1520-1530, glass with enamel and gilding
-cat. no. 69: enamelled cup with the coat of arms of Ulstett and Haug, Tuscany around 1550, copper with enamel and gilding
-cat. no. 71: lute, Italy around 1600, wood, ivory and ebony
-cat. no. 79: entrance of Charles V in Augsburg, Jörg Breu the elder, Augsburg around 1530, series of 10 engravings
-cat. no. 81: portraits of Charles V and Ferdinand I, Barthel Beham, 1531, engraving
-cat. no. 82: delivery of the Augsburg Confession in 1530, Paul Fürst, Nuremberg 1655, engraving
-cat. no. 84: Book of the Good and Evil Fortune, Francesco Petraca, printed in Augsburg 1532
-cat. no. 94: medal on the battle at Mühlberg, Nickel Milicz, 1547, silver
-cat. no. 96: relief with the subservience of the protestant cities 1547, Nürnberg around 1570-1580
-cat. no. 99: standing cup and cover on the annulment of the Augsburg Interim, Jochim Worm, Lüneburg around 1552/53, silver gilt

in: Wissenschaftliches Jahrbuch der Tiroler Landesmuseen 2016, p. 50-137.

The text presents a catalogue raisonné of the portait
paintings by the German Renaissance painter Hans Maler
(ca. 1475–1526/29). It is the first catalogue of Maler’s
portraits since the 1960s and only the third since the late
19th century. Maler was born in Swabia, probably in Ulm,
where he was trained as a painter and during his earlier
career produced religious paintings. In 1515/17 he moved
to Tyrol and settled in Schwaz east of Innsbruck, one of
the leading European mining centres of its time. Here,
in Schwaz Maler shifted his artistic focus to portrait
paintings; about 40 portraits from his workshop dating
from ca. 1515 to 1526/29 are known nowadays. Maler
painted local mine owners and officials, south-German
merchants and financiers invested in the Schwaz mining
industry (Fugger) and members of the Habsburg family and
their court. The group of portraits by Hans Maler provides
a unique insight in the political, financial and social
elite of Northern Tyrol in the years about 1520 when the
mining city of Schwaz was a dominating force in Central
European economy and politics.

in: Exhibition catalogue Wolfgang Meighörner (Ed.), Nur Gesichter? Porträts der Renaissance, Innsbruck (Tiroler Landesmuseum Ferdinandeum), Innsbruck 2016, p. 157-172.

The paper discusses the portait paintings of Hans Maler who worked in the mining city of Schwaz near Innsbruck in about 1520. The focus of the Text lies on the social significance and practical use of Maler's portrait paintings.

In the mid seventeenth century, Carlo Ridolfi attributed to Giorgione a 'Portrait of a Young Man in a Fur Coat', now in the Alte Pinakothek, Munich. However, Ridolfi was confused about much of Giorgione’s oeuvre, and his ascription is now generally discarded. Currently, most scholars believe that the portrait was executed by Palma Vecchio, but style and chronology suggest otherwise, and in this paper Mauro Lucco’s attribution of the painting to Sebastiano Luciani, known later in his career as Sebastiano del Piombo, is endorsed. Ridolfi also stated that the young man in the Munich portrait was a member of the Fugger family of Augsburg, and the reasons for accepting this are sound. Here, the sitter is recognised as Anton Fugger (1493–1560), an identification that is supported by biographical details, and through comparison with other known likenesses.