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Baroque art – Matthias Steinl’s Maria Immaculata, Andrea Brustolon’s Jacob Wrestling with the Angel or Franz Stadler’s altar model – shapes Catholic propaganda and the selfrepresentation of the rulers as an emotional experience, as grand theatre. Rococo, the art of the Enlightenment, rejects this kind of glorification. It favours pastel shades, delicate or bizarre figures as well as subdued or grotesquely exaggerated gestural and facial expressions. It parodies and criticizes Baroque art, striving to persuade rather than overwhelm the viewer. Ignaz Günther and Johann Paul Egell, both represented by important works in the Liebieghaus, are among the most prominent Rococo sculptors.

Abraham's Sacrifice

Andrea Brustolon, Abraham's Sacrifice, Venice, between 1700 and 1710

Adoring Angel

Ignaz Günther, Adoring Angel, Munich, ca. 1770


Georg Raphael Donner, Apollo, Vienna, ca. 1725

Bust of a Bearded Old Man

Franz Xaver Messerschmidt, Bust of a Bearded Old Man, Bratislava, after 1777


Johann Michael Düchert, Cruzifix, 1756


Cruzifix, Nuremberg, between 1600 and 1650


Joseph Anton Feuchtmayer, Cruzifix, Constance, ca. 1750

Jacob wrestling with the angel

Andrea Brustolon, Jacob wrestling with the Angel, Venice, between 1700 and 1710

Man of Sorrows

Leonhard Kern, Man of Sorrows, Southern Germany or Italy, ca. 1614

Maria Immaculata

Matthias Steinl, Maria Immaculata, Vienna, 1688

Meleager and Atalanta

Ferdinand Tietz, Meleager and Atalanta, Seehof Palace near Bamberg, ca. 1750

Model of an Altar with the Assumption of the Virgin

Franz Stadler, Model of an Altar with the Assumption of the Virgon, Pfarrkirchen, 1735

Portrait of Comte Théophile Malo de la Tour d’Auvergne

Jean-Baptiste II. Lemoyne, Portrait of Comte de la Tour d'Auvergne, Paris, 1765

Saint Deacon

Pierre Legros, Saint Deacon, Rome, ca. 1700

St John the Evangelist

Christian Jorhan the Elder, St John the Evangelist, Landshut, ca. 1770
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