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\Under water\ – Between Science and Art – The rediscovery of the first authentic underwatersketches by Eugen von Ransonnet-Villez (1838–1926)
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\Under water\ – Between Science and Art – The rediscovery of the first authentic underwatersketches by Eugen von Ransonnet-Villez (1838–1926)
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Journal Article
\Under water\ – Between Science and Art – The rediscovery of the first authentic underwatersketches by Eugen von Ransonnet-Villez (1838–1926)
2017
Overview
This article presents new material on the Austrian artist-explorer Eugen von Ransonnet-Villez (1838–1926). Ransonnet gained local credit for his underwater-oil painting held in the Natural History Museum Vienna (hereafter NHM Vienna). This picture is based on sketches taken by Ransonnet sitting in a diving bell in the year 1864/65 in Ceylon (today Sri Lanka). This diving bell experiment always drew some attention to itself. But despite that little is still known about Ransonnet's life and working techniques. Ransonnet's diving bell experiment was not his only attempt to explore and picture the then unknown world underwater. Before and after this he tried different techniques to obtain more naturalistic insights into the submarine world. The rediscovery and the presentation of until date unpublished material from the Oceanographic Museum of Monaco (hereafter MOM) sheds new light on his methods in underwater-landscaping. Among this are the very first authentic underwater sketches in history.
Vorliegender Artikel präsentiert neues Material über den Maler und Entdecker Eugen Freiherr von Ransonnet-Villez (1838–1926). Ransonnet erlangte lokale Berühmtheit für sein im Naturhistorischen Museum Wien (NHM Vienna) aufbewahrtes Unterwasser-Ölgemälde. Dieses Gemälde basiert auf Skizzen, die Ransonnet in einer Taucherglocke im Jahr 1864/65 in Ceylon (heute Sri Lanka) angefertigt hat. Dieses Taucherglocken-Experiment zog stets Interesse auf sich. Doch abgesehen davon ist noch immer wenig über Ransonnet's Leben und seine Arbeitsmethoden bekannt. Ransonnet's Taucherglocken-Experiment war nicht sein einziger Versuch, die bis dahin unbekannte Welt unter Wasser zu erforschen und zu malen. Davor und danach testete er verschiedene Techniken, um einen immer naturalistischeren Einblick in die submarine Welt zu erlangen. Die Wiederentdeckung und erstmalige Publikation von bisher unveröffentlichten Materialien aus dem Ozeanographischen Museum von Monaco (MOM) wirft neues Licht auf seine Methoden in der Unterwassermalerei. Darunter befinden sich auch die ersten authentischen Unterwasser-Skizzen der Wissenschafts- und Kunstgeschichte.
