A large proportion of the Italian drawings now belonging to the Department of Prints, Drawings and Photographs were originally in the collection of the Königliches Kupferstichkabinett (Royal Cabinet of Copper Engravings). This category of the collection had already grown steadily in the course of many years when its chairmans, Ludwig Weisser and August Kräutle, succeeded in further enhancing it by means of spectacular purchases at the Gutekunst auction house of Stuttgart: in 1872 with some 200 drawings, chiefly from Genoa (by Luca Cambiaso, Paolo Gerolamo Piola, etc.), as well as a complex of 25 works by the Venetian Giuseppe Diamantini from the Jacopo Durazzo Collection, and in 1882 with 168 drawings by Giovanni Battista Tiepolo and his son Giovanni Domenico from the Bossi-Beyerlen Collection.
Through the bequest by Richard Jung in 1986, 226 Italian drawings were acquired, among them works by Luca Signorelli and Annibale Carracci. Moreover, since 1976, the Department of Prints, Drawings and Photographs has been in possession of the Schloss Fachsenfeld Collection, containing drawings primarily of Italian origin, particularly by Bolognese artists - for instance Francesco del Cossa - and a number of unusual studies of garments by Giovanni Francesco Barbieri, called Guercino, as well as works from France, the Netherlands and Germany. Purchases of the past decades have served to augment the special sub-categories of this part of the collection, for example with drawings by Guercino, Alessandro Magnasco and, most recently, Raphael.
The great majority of pre-1800 Italian prints came down to us from the Königliches Kupferstichkabinett (royal engravings collection), among them works by Andrea Mantegna, Marcantonio Raimondi, Canaletto and Giovanni Battista Piranesi, numerous original prints by the so-called peintre-graveurs, as well as substantial holdings of reproduction/interpretation graphics of the seventeenth and eighteenth centuries. The Max Kade Bequest, which entered the collection in 1964, supplements the holdings with further exceptional works.
The same is true of the acquisitions of more recent decades, and the result is a treasure chamber of the dialogue on art: Until the invention of photography in the mid nineteenth century and of modern printing techniques in the twentieth, it was above all woodcuts, engravings, etchings and lithographs which bore the function of circulating art and thus making it known to a wide public. No matter how far away from the original, they provided beholders a means of delighting in art and discussing it – a tradition elucidated, for example, by the exhibition »Raphael and the Consequences« (26 May – 22 July 2001).
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