Martino Altomonte, born Martin Hohenberg, stands as a significant, if sometimes underappreciated, figure in the landscape of late Baroque painting. His career, spanning several decades and geographical regions, notably Italy, Poland, and Austria, marks him as a crucial conduit for the transmission and transformation of artistic styles. Born in Naples with Tyrolean ancestry, Altomonte masterfully synthesized the dramatic intensity of Italian Baroque with the burgeoning artistic sensibilities of Central Europe, particularly Vienna, where he played a foundational role in the development of its distinctive High Baroque visual language. His oeuvre, characterized by large-scale historical and religious narratives, vibrant altarpieces, and insightful portraiture, reflects a profound understanding of composition, color, and theatrical effect, leaving an indelible mark on the artistic heritage of the regions he graced with his talent.
Early Life and Artistic Formation in Italy
Martino Altomonte was born on May 8, 1657, in Naples, a vibrant artistic center that was then under Spanish rule but deeply enmeshed in the currents of Italian art. His father, Michael Hohenberg, was a baker who had emigrated from Tyrol. The young Martin, later Italianizing his name to Martino Altomonte around 1684, a common practice for artists of foreign origin working in Italy or for Italianate appeal, showed early promise in the arts. This talent led him to Rome, the undisputed epicenter of the art world in the 17th century, to pursue formal training.
In Rome, Altomonte had the distinct advantage of studying under two of the most prominent painters of the era: Giovanni Battista Gaulli, known as Baciccio, and Carlo Maratti. Baciccio, a Genoese artist heavily influenced by Gian Lorenzo Bernini, was renowned for his breathtaking illusionistic ceiling frescoes, most famously the "Triumph of the Name of Jesus" in the Church of the Gesù. From Baciccio, Altomonte would have absorbed the principles of dynamic composition, the dramatic use of light and shadow (chiaroscuro), and the ability to manage complex, multi-figure scenes designed to overwhelm and inspire awe. Baciccio's work exemplified the High Baroque's capacity for emotional intensity and spiritual uplift through visual splendor.
His other master, Carlo Maratti, represented a more classical and restrained strand of Roman Baroque. Maratti was considered the leading painter in Rome during the latter part of the 17th century, championing a style that blended High Renaissance grace with Baroque dynamism, often referred to as Baroque Classicism. His influence tempered the more exuberant tendencies of artists like Baciccio, emphasizing clarity of form, balanced compositions, and a refined palette. Studying with Maratti would have provided Altomonte with a strong foundation in figure drawing, anatomical accuracy, and the creation of dignified, noble representations, whether in religious or allegorical subjects. The combined tutelage under these masters equipped Altomonte with a versatile artistic vocabulary, enabling him to tackle diverse commissions with confidence and skill. This Roman period, typically lasting from around 1672, was crucial in shaping his artistic identity before he embarked on his international career.
The Polish Court: Service to King John III Sobieski
After nearly two decades of absorbing the artistic lessons of Rome, Martino Altomonte's career took a significant turn northwards. In 1684, he was appointed court painter to John III Sobieski, the King of Poland and Grand Duke of Lithuania. This was a prestigious position, placing him in the service of one of Europe's most celebrated contemporary heroes, renowned for his victory over the Ottoman Turks at the Battle of Vienna in 1683. It was during this period, upon entering Polish service, that he formally adopted the Italianized surname "Altomonte."
His tenure in Poland, which lasted until around 1702, was highly productive. For King Sobieski, Altomonte was tasked with creating works that glorified the monarch and his military achievements. Among the most significant paintings from this period are two monumental battle scenes: the Battle of Vienna and the Battle of Párkány. These colossal canvases, originally intended for the Żółkiew Castle (now Zhovkva, Ukraine) and later housed in the collegiate church there, are prime examples of Baroque historical painting. They showcase Altomonte's skill in organizing vast, chaotic scenes into coherent narratives, filled with dramatic action, equestrian figures, and a keen eye for military detail. The compositions are dynamic, employing sweeping diagonals and contrasting areas of light and shadow to heighten the sense of turmoil and triumph. These works served not only as artistic achievements but also as powerful pieces of political propaganda, immortalizing Sobieski's victories.
Beyond these grand battle scenes, Altomonte also executed numerous religious commissions for Polish churches and monasteries, as well as portraits of the royal family and Polish nobility. One notable work is The Election of King August II in 1697, now in the Royal Castle in Warsaw, which depicts the election of Sobieski's successor. This painting demonstrates his ability to handle complex group portraiture within a historical context, capturing the pomp and circumstance of the event. His time in Poland was instrumental in establishing his reputation as a painter capable of executing large-scale, prestigious commissions, and it exposed him to the specific tastes and iconographic needs of a Central European court. His style during this period firmly reflects his Roman training, particularly the grand manner of Baciccio, adapted to the heroic themes demanded by his royal patron.
A New Chapter in Vienna: Imperial Favor and Academic Leadership
Around 1702 or 1703, Martino Altomonte relocated from Poland to Vienna, the capital of the Habsburg Holy Roman Empire. This move marked the beginning of a long and influential period in his career, where he would become a key figure in the development of Viennese High Baroque painting. By 1707, he was officially appointed imperial court painter, a testament to his established reputation. He also became a member of the Viennese Academy of Fine Arts (Akademie der bildenden Künste Wien), and in 1709 or 1710, he was appointed its professor, later serving as its rector, solidifying his position within the city's artistic elite.
In Vienna, Altomonte continued to receive significant commissions for both religious and secular works. He created numerous altarpieces for Viennese churches, which are characterized by their dramatic compositions, rich colors, and emotive figures. Among these are the Healing of the Lame by St. Peter and St. John in Jerusalem for St. Peter's Church (Peterskirche) and works for St. Stephen's Cathedral. His altarpieces often display a powerful sense of movement and a sophisticated use of light to highlight the central spiritual message, drawing the viewer into the sacred narrative. The Madonna and Child in St. Peter's Church is another example of his devotional work from this period.
Altomonte also contributed significantly to the decoration of palaces and monastic buildings. He painted ceiling frescoes, a genre in which his training with Baciccio proved invaluable. These works, often allegorical or mythological in theme, showcased his ability to create illusionistic spaces filled with dynamic figures. He collaborated with prominent architects of the Viennese Baroque, such as Johann Bernhard Fischer von Erlach and Johann Lukas von Hildebrandt, whose magnificent buildings provided ample opportunities for grand decorative schemes. For instance, he worked on frescoes in the Lower Belvedere palace, a masterpiece by Hildebrandt.
His series of Imperial Portraits, created around 1720-1721, including depictions of historical emperors like Frederick III and Maximilian I, further demonstrated his versatility and his role in crafting the visual identity of the Habsburg dynasty. Throughout his Viennese period, Altomonte's style continued to evolve, maintaining its Italianate grandeur while also responding to local tastes and the work of other artists active in Vienna, such as Johann Michael Rottmayr, who was another pioneer of Austrian Baroque ceiling painting.
Artistic Style: A Synthesis of Drama, Color, and Detail
Martino Altomonte's artistic style is a rich tapestry woven from various influential threads, primarily the Italian High Baroque, which he then adapted and developed throughout his career in Poland and Austria. His work is characterized by a powerful sense of drama, a sophisticated use of color, and meticulous attention to detail, all hallmarks of the Baroque era's desire to engage the viewer emotionally and intellectually.
A defining feature of Altomonte's style is his mastery of large-scale, complex compositions. Whether depicting tumultuous battle scenes like the Battle of Vienna or celestial glories in his altarpieces and ceiling frescoes, he demonstrated an exceptional ability to organize numerous figures and narrative elements into a cohesive and dynamic whole. He often employed strong diagonal lines, spiraling movements, and asymmetrical arrangements to create a sense of energy and visual excitement, drawing the viewer's eye through the scene. This compositional dynamism was undoubtedly influenced by his teacher Baciccio, as well as by other Italian masters like Pietro da Cortona, whose grand manner frescoes set a precedent for such monumental works.
Color plays a crucial role in Altomonte's paintings. He utilized a rich, often warm palette, with vibrant reds, deep blues, and golden yellows frequently appearing. His handling of color was not merely decorative; it was integral to the mood and narrative of the piece. In his battle scenes, the clash of colors could enhance the sense of conflict, while in his religious works, luminous hues could evoke a sense of the divine. The Venetian school's emphasis on colorito, the expressive power of color, seems to have left an impression, perhaps indirectly through his Roman training or direct exposure to Venetian works.
The use of light and shadow, or chiaroscuro, is another key element. Altomonte skillfully manipulated light to model forms, create depth, and highlight the most important aspects of his compositions. Dramatic contrasts between brightly illuminated areas and deep shadows heighten the theatricality of his scenes, a technique deeply rooted in the Baroque tradition stemming from Caravaggio and further developed by artists like Guercino and Mattia Preti, the latter being a significant figure in Neapolitan painting during Altomonte's youth.
His figure drawing, while robust and energetic, often retained a sense of dignity and anatomical correctness, likely a legacy of his studies with Carlo Maratti. Figures are typically expressive, with animated gestures and emotive facial expressions that convey the psychological and spiritual import of the scene. Even in the midst of chaotic action, individual figures often display a sense of solidity and presence.
Altomonte also showed a keen interest in rendering textures and details, whether the gleam of armor, the richness of fabrics, or the intricacies of architectural elements. This attention to detail added a layer of realism and opulence to his works, appealing to the Baroque love of splendor. His later works, particularly those from his Viennese period, sometimes show a slight lightening of the palette and a more refined, elegant touch, possibly reflecting the emerging Rococo sensibilities, though he remained fundamentally a Baroque painter. His style can be seen as a bridge, bringing the full force of Italian Baroque to Central Europe and laying groundwork for artists like Daniel Gran and Paul Troger.
Notable Works: A Closer Look
While Martino Altomonte's oeuvre is extensive, several key works stand out for their artistic merit, historical significance, and representation of his stylistic capabilities.
The _Battle of Vienna_ and _Battle of Párkány_ are arguably his most famous early masterpieces. Commissioned by King John III Sobieski, these monumental canvases (both c. 1693-1695) are quintessential examples of Baroque battle painting. The Battle of Vienna depicts the pivotal 1683 victory of the Polish-led Christian forces against the Ottoman army. Altomonte masterfully conveys the chaos and ferocity of battle, with a swirling vortex of soldiers, horses, and military standards. King Sobieski is prominently featured, leading his troops in a heroic charge. The composition is dynamic, with strong diagonals and a dramatic use of light and shadow emphasizing the key figures and moments of conflict. The sheer scale of these works, combined with their detailed execution and patriotic fervor, made them powerful statements of royal power and military prowess. These paintings are now housed in the Olesko Castle branch of the Lviv National Art Gallery, though historically associated with Żółkiew.
_The Sacrifice of Abraham_, now in the Diocesan Museum in Tarnów, Poland, showcases Altomonte's skill in religious narrative. This work, likely from his Polish period, demonstrates his ability to convey intense emotion and spiritual drama. The composition focuses on the climactic moment when Abraham is about to sacrifice Isaac, only to be stopped by an angel. Altomonte's use of chiaroscuro heightens the tension, and the figures' expressive gestures and faces convey their inner turmoil and divine intervention. The influence of Neapolitan Tenebrism, perhaps from artists like Jusepe de Ribera or Luca Giordano (who was highly active in Naples), can be discerned in the dramatic lighting and earthy realism.
In Vienna, his altarpiece _Healing of the Lame by St. Peter and St. John in Jerusalem_ (c. 1713-1714) for St. Peter's Church (Peterskirche) is a significant example of his mature religious style. The scene is imbued with a sense of miraculous power and divine grace. The figures of the apostles are depicted with authority and compassion, while the lame man's transformation is palpable. The composition is well-balanced yet dynamic, guiding the viewer's eye to the central miracle. The rich colors and fluid brushwork are characteristic of his Viennese period, reflecting the opulent aesthetic of the Habsburg capital. This work fits perfectly within the lavish Baroque interior of the Peterskirche, designed by Johann Lukas von Hildebrandt.
The _Ceiling Frescoes in the Lower Belvedere_, Vienna (c. 1716), represent his contribution to palatial decoration. Working alongside other artists, Altomonte contributed to the glorification of Prince Eugene of Savoy, the owner of the palace. These frescoes, with their illusionistic perspectives and allegorical figures soaring in open skies, demonstrate his mastery of the techniques learned from Baciccio. They are integral to the Gesamtkunstwerk (total work of art) that Baroque palaces aimed to be, blending architecture, sculpture, and painting into a unified, impressive whole.
His later works for the _Stiftskirche Heiligenkreuz_ (Heiligenkreuz Abbey Church), particularly the altarpieces executed in the 1720s and 1730s, show a continued refinement. These paintings, such as the Assumption of the Virgin Mary, are characterized by a slightly lighter palette and a more graceful, almost Rococo-inflected sensibility, while still retaining Baroque grandeur. They demonstrate his enduring skill and adaptability over a long career.
Collaborations, Contemporaries, and Artistic Milieu
Martino Altomonte did not work in isolation; his career was interwoven with a rich network of patrons, collaborators, and fellow artists who shaped and were shaped by the artistic currents of the time. His son, Bartolomeo Altomonte (1694–1783), followed in his father's footsteps, becoming a prominent painter in his own right, particularly known for his extensive fresco work in Austrian monasteries, such as St. Florian's Priory and Admont Abbey. Martino and Bartolomeo occasionally collaborated, for instance on ceiling paintings in Vienna, ensuring the continuation of the family's artistic legacy well into the 18th century.
In Vienna, Altomonte was part of a vibrant artistic scene. He would have known and interacted with leading architects like Johann Bernhard Fischer von Erlach and Johann Lukas von Hildebrandt, whose magnificent churches and palaces provided the canvases for Baroque painters. His role at the Vienna Academy of Fine Arts placed him in contact with other influential figures. Johann Michael Rottmayr (1656–1730) was a key contemporary and another pioneer of Austrian monumental ceiling painting, often considered one of the first true Austrian-born Baroque masters. While their styles differed, both contributed significantly to establishing a distinctive Austrian Baroque.
Other important painters active in the Habsburg lands during or shortly after Altomonte's peak included Daniel Gran (1694–1757), who was influenced by Italian art (including possibly Altomonte's generation) and became a leading fresco painter, known for works like the dome fresco in the Imperial Library (now National Library) in Vienna. Paul Troger (1698–1762), from Tyrol like Altomonte's ancestors, also became a dominant figure in Austrian late Baroque painting, celebrated for his dynamic compositions and expressive figures, particularly in frescoes at Melk Abbey and Altenburg Abbey. Troger, Gran, and Bartolomeo Altomonte are often seen as the triumvirate that defined Austrian ceiling painting in the mid-18th century.
Altomonte's connection with Italian architect Francesco Messenta is noted for their collaboration on the ceiling frescoes for the Stift Wilhering church, though this project was primarily executed by Bartolomeo after Martino's initial designs or influence. He also had connections with artists like Antonio Pellegrini (1675-1741), a Venetian painter who worked internationally and whose lighter, more Rococo-influenced style was becoming fashionable. The broader European context included figures like Andrea Pozzo (1642-1709), whose treatise Perspectiva Pictorum et Architectorum and stunning illusionistic frescoes (like at Sant'Ignazio in Rome) had a profound impact on ceiling painting across Europe, including Austria. The influence of earlier Neapolitan masters like Luca Giordano (1634-1705), known for his prolific output and vibrant style, would have been part of the artistic air Altomonte breathed in his youth. Even the legacy of Flemish masters like Peter Paul Rubens (1577-1640), with his dynamic compositions and rich color, permeated Baroque art throughout Europe.
Personal Life, Anecdotes, and Character
While detailed personal accounts of Martino Altomonte are somewhat scarce, as is common for many artists of his time who were not as extensively biographied as figures like Bernini or Michelangelo, some aspects of his life and character can be gleaned. His decision to Italianize his name from Johann Martin Hohenberg to Martino Altomonte upon entering Polish service in 1684 is a significant indicator of his professional ambition and his desire to align himself with the prestigious Italian artistic tradition, which held considerable sway across European courts.
During his time in Warsaw, Altomonte married Barbara Dorota Gierut (or Gierdt) around 1690. The couple had at least six children, though sources sometimes mention four surviving. His son, Bartolomeo, born in Warsaw in 1694, became his most notable artistic successor. This establishment of a family suggests a period of stability and integration into Polish society, despite his Italian artistic identity. An anecdote mentions him as a witness at the wedding of a colleague, the painter Jerzy Eleuter Szymonowicz-Siemiginowski, indicating his participation in the local artistic community.
His long and successful career, marked by prestigious court appointments in both Poland and Austria, and his professorship and rectorship at the Vienna Academy, point to a disciplined, skilled, and well-regarded professional. Such positions were not easily attained or maintained without considerable talent, diligence, and an ability to navigate the complex social and political environments of royal and imperial courts.
There are mentions of unfinished projects, such as some paintings for King John III Sobieski's Wilanów Palace, which is not unusual given the scale of commissions and the shifting fortunes or priorities of patrons. The fact that many of his large-scale works, particularly the battle scenes for Sobieski and numerous altarpieces, have survived is a testament to their perceived importance and quality.
His artistic style, which successfully fused the dramatic flair of Italian Baroque with a certain Northern European solidity and later, a Viennese elegance, suggests an artist who was both well-grounded in his training and adaptable to new contexts. The sheer volume of his output, especially in large-format paintings and frescoes, indicates a prodigious work ethic. He remained active late into his life, dying in Heiligenkreuz, near Vienna, on September 14, 1745, at the venerable age of 88. His burial in the Heiligenkreuz Abbey cemetery, an institution for which he had created significant late works, signifies his respected status even in his final years.
Legacy and Enduring Influence
Martino Altomonte's legacy is multifaceted, primarily centered on his pivotal role in transplanting and adapting the Italian High Baroque style to Central Europe, particularly Austria. He was a foundational figure for Viennese Baroque painting, contributing significantly to the city's artistic blossoming in the early 18th century. His influence was felt through his own extensive body of work, his teaching at the Vienna Academy, and through his son, Bartolomeo.
One of Altomonte's most significant contributions was his mastery of large-scale monumental painting, encompassing both historical battle scenes and religious altarpieces and frescoes. Works like the Battle of Vienna not only glorified his patrons but also set a standard for heroic historical painting in the region. His religious works adorned numerous churches, shaping the devotional visual culture of the areas where he worked. He demonstrated how the dramatic compositions, vibrant colorism, and emotional intensity of the Italian Baroque could be effectively employed to convey power, piety, and splendor.
As a professor and later rector at the Vienna Academy of Fine Arts, Altomonte directly influenced a generation of Austrian artists. While specific names of many of his direct pupils beyond his son are not always widely documented, his presence and teachings helped to solidify an Italianate Baroque tradition within the Academy, which was crucial for the development of local talent. Artists like Daniel Gran and Paul Troger, who became leading figures of the subsequent phase of Austrian Baroque, would have been aware of Altomonte's work and his academic influence, even if they developed their own distinct styles. They built upon the foundations laid by pioneers like Altomonte and Johann Michael Rottmayr.
The continuation of his artistic lineage through his son, Bartolomeo Altomonte, is a direct and tangible part of his legacy. Bartolomeo became one of the most prolific fresco painters in Austria, decorating numerous monastic churches and libraries with vast ceiling paintings. While Bartolomeo developed his own style, often characterized by lighter palettes and more Rococo-esque elegance, the fundamental principles of Baroque composition and narrative learned from his father remained evident.
Altomonte's ability to synthesize various artistic influences—the dynamism of Baciccio, the classicism of Maratti, and perhaps echoes of Neapolitan naturalism—resulted in a versatile and powerful style that was well-suited to the demands of his patrons. He helped to create a visual language for the Habsburg Empire and the Polish-Lithuanian Commonwealth that was both imposing and artistically sophisticated.
Today, Martino Altomonte's works are found in major museums and churches across Austria, Poland, Ukraine, and Hungary. While perhaps not as universally recognized as some of his Italian contemporaries like Tiepolo, his contribution to the Baroque art of Central Europe is undeniable. He stands as a key transitional figure, an artist who successfully navigated different cultural contexts and left behind a rich and enduring artistic heritage.
Conclusion: An Architect of Baroque Splendor
Martino Altomonte emerges from the annals of art history as a highly skilled and influential painter whose career uniquely bridged the artistic worlds of Italy, Poland, and Austria. Born with the Tyrolean name Hohenberg in the vibrant artistic crucible of Naples, he absorbed the lessons of Rome's greatest Baroque masters, Baciccio and Maratti, forging a style characterized by dynamic composition, rich color, and profound emotional depth. His service to King John III Sobieski of Poland saw him immortalize heroic military victories in monumental canvases, while his subsequent long and distinguished career in Vienna established him as a cornerstone of Austrian High Baroque.
As a court painter, a prolific creator of altarpieces and frescoes, and an esteemed professor and rector at the Vienna Academy, Altomonte not only produced an impressive body of work but also played a crucial role in shaping the next generation of artists, including his own son, Bartolomeo. His ability to adapt and synthesize, to imbue his canvases with both Italianate grandeur and a sensitivity to local tastes, made him a sought-after artist for decades. From the dramatic battlefields of Vienna and Párkány to the sacred spaces of Viennese churches and the allegorical ceilings of Habsburg palaces, Martino Altomonte's brush brought forth visions of power, piety, and splendor that continue to resonate, securing his place as a significant architect of Central European Baroque art.
