Thomas Kuster
born in Innsbruck (Austria)
Education:
1997–2001: Master’s degree in History at the University of Innsbruck (Mag. phil.).
2001–2004: Doctoral studies History at the University of Innsbruck (Supervisor: Elisabeth Garms-Cornides / Gunda Barth-Scalmani) (Dr. phil.)
2003, January-July: Scholarship holder at the Austrian historical institute Rome (RHI)
Previous professional positions:
2000-2006: Freelance historian (e.g. project scientific research and activities for the City Archive/Museum of Innsbruck)
2000–2009: Art educator, Schloss Ambras Innsbruck and curatorial assistant in Schloss Ambras Innsbruck
2009–20011: Curatorial assistant in Kunsthistorisches Museum Vienna, Kunstkammer (expertise in art north of the alps, ivory and organic materials)
since 2011: Curator in Schloss Ambras Innsbruck (focussing arms and armour)
Address: Schloss Ambras Innsbruck, Schlossstrasse 20, 6020 Innsbruck
Education:
1997–2001: Master’s degree in History at the University of Innsbruck (Mag. phil.).
2001–2004: Doctoral studies History at the University of Innsbruck (Supervisor: Elisabeth Garms-Cornides / Gunda Barth-Scalmani) (Dr. phil.)
2003, January-July: Scholarship holder at the Austrian historical institute Rome (RHI)
Previous professional positions:
2000-2006: Freelance historian (e.g. project scientific research and activities for the City Archive/Museum of Innsbruck)
2000–2009: Art educator, Schloss Ambras Innsbruck and curatorial assistant in Schloss Ambras Innsbruck
2009–20011: Curatorial assistant in Kunsthistorisches Museum Vienna, Kunstkammer (expertise in art north of the alps, ivory and organic materials)
since 2011: Curator in Schloss Ambras Innsbruck (focussing arms and armour)
Address: Schloss Ambras Innsbruck, Schlossstrasse 20, 6020 Innsbruck
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and their exploits, but in assembling it Ferdinand had also created a monument to himself. Moreover the case of the Heldenrüstkammer shows Ferdinand as an excellent ‘networker’, supported by his family ties and his good contacts with ambassadors, agents, merchants and courtiers.
***
The inventory of Archduke Ferdinand II’s estate was made on the orders of Emperor Rudolf II after his death on January 24, 1595. This is the oldest and most detailed source to date on the Ambras collections, their spatial structures and their holdings. The processing of this source reveals meaningful inventory entries that provide new information not only about the appearance of the Ambras collections (armories, art and curiosity chambers, library and paintings), but also about their safekeeping, their presentation and, through notes of ownership, about their original owners. The descriptions of the inventory allow cultural and historical insights to the – otherwise little documented – world at the Innsbruck court at the end of the 16th century.
pairs of trousers. The recorded „Tuson Röckhl“ might be a special outfit worn during celebrations of the Golden Fleece order. Furthermore special clothes for mourning (coats, garment, trousers), for sports (tournament and pallone) and for bathing were listed. Especially Ferdinand´s trousers were fashionable. He wore types in German style, the Spanish „Heerpauke“ and also so called „galeothisch“ ones, perhaps a kind of cullotes.
A princely styling also included hats, accessory, tissues and gloves. All these things were kept at the Innsbruck court in different kind of small boxes, caskets and suits. The mentioned glass accessories might have been produced in the Innsbruck court glass factory, some of these items are still preserved in the Vienna Kunstkammer.
The persons in charge with Ferdinand´s clothes were his chamberlain, his valets and his guardaroba. Responsable for the production however was his personal tailor and his personal shoemaker. Both worked exclusively for the sovereign but also supported the court craftsmen in times of pressure. Purchasing and storing of textiles and accessories were well organized at the Tyrolean court. Orders were made at the well known markets in Northern Italy (Milan, Venice, Bolzano) and Southern Germany (Augsburg and Nuremberg) and one worked together with trusting merchants and agents. From Milan came especially silk and velvet, Venice was well known for its high quality atlas, gold cloth, leather and exotic feathers. Also Jewish traders were asked for help and support. The storage for all these goods was located in the Ruhelust palace in Innsbruck where also the workshops of tailor and shoemaker must have been situated. The fabric´s colour scale range was dark, only a few pieces were lighter and in sum was dominated by black, in contrast to other princely wardrobes (Wittelsbach, Hohenzollern) of these times which were more colourful. In comparison to his royal fellows, Archduke Ferdinand II was dressed up in a typical princely way of his time. The characteristic fabrics atlas, silk, taffeta, velvet and precious fur were used to underline his status and royal rank. Moreover the geographical good situation of Tyrol and Ferdinand´s strong ties to merchants, agents and his royal relatives made it easy to approach luxury goods.
Archduke Ferdinand II. According to written sources, dwarves and giants were integrated into the daily life mainly to entertain the courtiers and fulfill domestic activities. They received valuables such as armours, weapons, and other princely grants thus underlining their astonishing status. The fact that their lives were documented extensivly can be seen as a way to preserve their special appearance and significant bodies. Their unique physiognomy made them wonders of nature and, it was the Ambras collection that gave these mysterious humans the appropriate setting. Further, they were represented as artefacts (bones), as memorabilia (armours and weapons) and as artifical curiosities (paintings). From todays point of view with a sensitive, diverse and reflected reading it is barely understandable nevertheless, as part of Renaissance acknowledging and conception, all these significant portraits were displayed next to paintings of other human abnormities. Astonishing, surprising, fascinating and even frightening was the unanimous tenor in contemporary Ambras descriptions in the 17th and 18th centuries. Visitors reacted with surprise.
King Philip II of Spain, the order’s sovereign, fell to the senior member of the House of Austria, Archduke Ferdinand II, the ruler of the Tyrol. Spanish hopes that this investiture would function as a clear signal of the Counter-Reformation were only partially fulfilled. We can also draw inferences about relations within the Habsburg family. Pictorial records suggest that they were amicable, however written sources throw light on a “problematic” relationship between uncle and nephew, between Ferdinand II and Rudolf II. All in all, the investiture was an ill-fated event – marred by, for example, scheduling problems, abandoned journeys, offended and injured princely pride, and diplomatic carelessness.
Numerous written and pictorial sources document the investiture of 1585, which reflect courtly etiquette and elaborate ceremonials at one of Europe’s leading courts.
The investiture was undoubtedly one of the most important courtly festivities attended by Archduke Ferdinand II. Its sumptuous parades, banquets and entertainments including firework displays and jousts are also among the few grand court festivities celebrated during the reign of Emperor Rudolf II.
Conference Presentations by Thomas Kuster
Books by Thomas Kuster
künstlerische Bemerkungen, wird ein fürstliches Selbstverständnis impliziert, nach welchem die Habsburger zu Vertretern der ersten Dynastie Europas proklamiert werden. Dabei stellt Ferdinand II. geschickt die Bezüge zu seinem Urgroßvater Maximilian I. her, der ihm in vielen Bereichen Vorbild und Anregung zugleich war.
Das Wappenkästchen als Kunstkammerstück gibt Einblick in den allgemeinen Sammlergeschmack Ferdinands.
Theresia als »der« Ehestifter. Mit seiner Person sind dynastische Familien-
und Heiratspolitik ebenso verbunden wie der Einsatz der Verwandten
als Mittel zum Zweck. Dies war selbstverständlich kein habsburgisches
Spezifikum, waren doch dynastische Heiraten zu allen Zeiten Teil
fürstlicher Hauspolitik gewesen. Damit gelang es, Besitz und Macht zu
vermehren und durch familiäre Anbindungen Bündnisse zu knüpfen und
zu besiegeln.
und religiöse Umwälzungen nach der Zeitenwende von 1500.
Nun erhebt er sich wieder auf dem Brunnen – Erzherzog Leopold V. sitzt majestätisch auf seinem Pferd. Nach Abschluss der längst fälligen Restaurierungsarbeiten des Reiterstandbildes stellen wir dieses frühbarocke Kunstwerk, das zu den bedeutenden Sehenswürdigkeiten der Stadt Innsbruck zählt, in den Mittelpunkt der diesjährigen Osterausstellung auf Schloss Ambras Innsbruck. In der Kabinettausstellung wird der Dargestellten, Erzherzog Leopold V. von Österreich, Landesfürst und Begründer der jüngeren Linie der Tiroler Habsburger, in den Fokus genommen. Beleuchtet werden der Künstler Caspar Gras, der das Meisterwerk schuf wie auch die spannende technische Herstellung der einzigartigen Reiterfigur im Bronzeguss. Auf Spurensuche wollen wir uns bei der wechselvollen Geschichte dieses imposanten Standbildes begeben. Nicht fehlen darf bei dieser Präsentation natürlich die Dokumentation zur technisch aufwendigen Restaurierung dieses einzigartigen Kunstobjekts.
Nun erhebt er sich wieder auf dem Brunnen – Erzherzog Leopold V. sitzt majestätisch auf seinem Pferd. Nach Abschluss der längst fälligen Restaurierungsarbeiten des Reiterstandbildes stellen wir dieses frühbarocke Kunstwerk, das zu den bedeutenden Sehenswürdigkeiten der Stadt Innsbruck zählt, in den Mittelpunkt der diesjährigen Osterausstellung auf Schloss Ambras Innsbruck. In der Kabinettausstellung wird der Dargestellten, Erzherzog Leopold V. von Österreich, Landesfürst und Begründer der jüngeren Linie der Tiroler Habsburger, in den Fokus genommen. Beleuchtet werden der Künstler Caspar Gras, der das Meisterwerk schuf wie auch die spannende technische Herstellung der einzigartigen Reiterfigur im Bronzeguss. Auf Spurensuche wollen wir uns bei der wechselvollen Geschichte dieses imposanten Standbildes begeben. Nicht fehlen darf bei dieser Präsentation natürlich die Dokumentation zur technisch aufwendigen Restaurierung dieses einzigartigen Kunstobjekts.
Book Reviews by Thomas Kuster
Thesis Chapters by Thomas Kuster
and their exploits, but in assembling it Ferdinand had also created a monument to himself. Moreover the case of the Heldenrüstkammer shows Ferdinand as an excellent ‘networker’, supported by his family ties and his good contacts with ambassadors, agents, merchants and courtiers.
***
The inventory of Archduke Ferdinand II’s estate was made on the orders of Emperor Rudolf II after his death on January 24, 1595. This is the oldest and most detailed source to date on the Ambras collections, their spatial structures and their holdings. The processing of this source reveals meaningful inventory entries that provide new information not only about the appearance of the Ambras collections (armories, art and curiosity chambers, library and paintings), but also about their safekeeping, their presentation and, through notes of ownership, about their original owners. The descriptions of the inventory allow cultural and historical insights to the – otherwise little documented – world at the Innsbruck court at the end of the 16th century.
pairs of trousers. The recorded „Tuson Röckhl“ might be a special outfit worn during celebrations of the Golden Fleece order. Furthermore special clothes for mourning (coats, garment, trousers), for sports (tournament and pallone) and for bathing were listed. Especially Ferdinand´s trousers were fashionable. He wore types in German style, the Spanish „Heerpauke“ and also so called „galeothisch“ ones, perhaps a kind of cullotes.
A princely styling also included hats, accessory, tissues and gloves. All these things were kept at the Innsbruck court in different kind of small boxes, caskets and suits. The mentioned glass accessories might have been produced in the Innsbruck court glass factory, some of these items are still preserved in the Vienna Kunstkammer.
The persons in charge with Ferdinand´s clothes were his chamberlain, his valets and his guardaroba. Responsable for the production however was his personal tailor and his personal shoemaker. Both worked exclusively for the sovereign but also supported the court craftsmen in times of pressure. Purchasing and storing of textiles and accessories were well organized at the Tyrolean court. Orders were made at the well known markets in Northern Italy (Milan, Venice, Bolzano) and Southern Germany (Augsburg and Nuremberg) and one worked together with trusting merchants and agents. From Milan came especially silk and velvet, Venice was well known for its high quality atlas, gold cloth, leather and exotic feathers. Also Jewish traders were asked for help and support. The storage for all these goods was located in the Ruhelust palace in Innsbruck where also the workshops of tailor and shoemaker must have been situated. The fabric´s colour scale range was dark, only a few pieces were lighter and in sum was dominated by black, in contrast to other princely wardrobes (Wittelsbach, Hohenzollern) of these times which were more colourful. In comparison to his royal fellows, Archduke Ferdinand II was dressed up in a typical princely way of his time. The characteristic fabrics atlas, silk, taffeta, velvet and precious fur were used to underline his status and royal rank. Moreover the geographical good situation of Tyrol and Ferdinand´s strong ties to merchants, agents and his royal relatives made it easy to approach luxury goods.
Archduke Ferdinand II. According to written sources, dwarves and giants were integrated into the daily life mainly to entertain the courtiers and fulfill domestic activities. They received valuables such as armours, weapons, and other princely grants thus underlining their astonishing status. The fact that their lives were documented extensivly can be seen as a way to preserve their special appearance and significant bodies. Their unique physiognomy made them wonders of nature and, it was the Ambras collection that gave these mysterious humans the appropriate setting. Further, they were represented as artefacts (bones), as memorabilia (armours and weapons) and as artifical curiosities (paintings). From todays point of view with a sensitive, diverse and reflected reading it is barely understandable nevertheless, as part of Renaissance acknowledging and conception, all these significant portraits were displayed next to paintings of other human abnormities. Astonishing, surprising, fascinating and even frightening was the unanimous tenor in contemporary Ambras descriptions in the 17th and 18th centuries. Visitors reacted with surprise.
King Philip II of Spain, the order’s sovereign, fell to the senior member of the House of Austria, Archduke Ferdinand II, the ruler of the Tyrol. Spanish hopes that this investiture would function as a clear signal of the Counter-Reformation were only partially fulfilled. We can also draw inferences about relations within the Habsburg family. Pictorial records suggest that they were amicable, however written sources throw light on a “problematic” relationship between uncle and nephew, between Ferdinand II and Rudolf II. All in all, the investiture was an ill-fated event – marred by, for example, scheduling problems, abandoned journeys, offended and injured princely pride, and diplomatic carelessness.
Numerous written and pictorial sources document the investiture of 1585, which reflect courtly etiquette and elaborate ceremonials at one of Europe’s leading courts.
The investiture was undoubtedly one of the most important courtly festivities attended by Archduke Ferdinand II. Its sumptuous parades, banquets and entertainments including firework displays and jousts are also among the few grand court festivities celebrated during the reign of Emperor Rudolf II.
künstlerische Bemerkungen, wird ein fürstliches Selbstverständnis impliziert, nach welchem die Habsburger zu Vertretern der ersten Dynastie Europas proklamiert werden. Dabei stellt Ferdinand II. geschickt die Bezüge zu seinem Urgroßvater Maximilian I. her, der ihm in vielen Bereichen Vorbild und Anregung zugleich war.
Das Wappenkästchen als Kunstkammerstück gibt Einblick in den allgemeinen Sammlergeschmack Ferdinands.
Theresia als »der« Ehestifter. Mit seiner Person sind dynastische Familien-
und Heiratspolitik ebenso verbunden wie der Einsatz der Verwandten
als Mittel zum Zweck. Dies war selbstverständlich kein habsburgisches
Spezifikum, waren doch dynastische Heiraten zu allen Zeiten Teil
fürstlicher Hauspolitik gewesen. Damit gelang es, Besitz und Macht zu
vermehren und durch familiäre Anbindungen Bündnisse zu knüpfen und
zu besiegeln.
und religiöse Umwälzungen nach der Zeitenwende von 1500.
Nun erhebt er sich wieder auf dem Brunnen – Erzherzog Leopold V. sitzt majestätisch auf seinem Pferd. Nach Abschluss der längst fälligen Restaurierungsarbeiten des Reiterstandbildes stellen wir dieses frühbarocke Kunstwerk, das zu den bedeutenden Sehenswürdigkeiten der Stadt Innsbruck zählt, in den Mittelpunkt der diesjährigen Osterausstellung auf Schloss Ambras Innsbruck. In der Kabinettausstellung wird der Dargestellten, Erzherzog Leopold V. von Österreich, Landesfürst und Begründer der jüngeren Linie der Tiroler Habsburger, in den Fokus genommen. Beleuchtet werden der Künstler Caspar Gras, der das Meisterwerk schuf wie auch die spannende technische Herstellung der einzigartigen Reiterfigur im Bronzeguss. Auf Spurensuche wollen wir uns bei der wechselvollen Geschichte dieses imposanten Standbildes begeben. Nicht fehlen darf bei dieser Präsentation natürlich die Dokumentation zur technisch aufwendigen Restaurierung dieses einzigartigen Kunstobjekts.
Nun erhebt er sich wieder auf dem Brunnen – Erzherzog Leopold V. sitzt majestätisch auf seinem Pferd. Nach Abschluss der längst fälligen Restaurierungsarbeiten des Reiterstandbildes stellen wir dieses frühbarocke Kunstwerk, das zu den bedeutenden Sehenswürdigkeiten der Stadt Innsbruck zählt, in den Mittelpunkt der diesjährigen Osterausstellung auf Schloss Ambras Innsbruck. In der Kabinettausstellung wird der Dargestellten, Erzherzog Leopold V. von Österreich, Landesfürst und Begründer der jüngeren Linie der Tiroler Habsburger, in den Fokus genommen. Beleuchtet werden der Künstler Caspar Gras, der das Meisterwerk schuf wie auch die spannende technische Herstellung der einzigartigen Reiterfigur im Bronzeguss. Auf Spurensuche wollen wir uns bei der wechselvollen Geschichte dieses imposanten Standbildes begeben. Nicht fehlen darf bei dieser Präsentation natürlich die Dokumentation zur technisch aufwendigen Restaurierung dieses einzigartigen Kunstobjekts.