DOI Heft:
Rozprawy
DOI Artikel:Kandt, Kevin E.: Andreas Schlüter and Otto van Veen: the source, context, and adaption of a classicizing embelm for the tomb of Jakub Sobieski
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.28185#0051
ANDREAS SCHLÜTER AND OTTO VAN VEEN: THE SOURCE, CONTEXT, AND ADAPTATION
49
sidering the strength of antique classicizing trends,22 Netherlandish
art,23 and published graphie prints in the town’s artistic milieu.24 The
rich artistic tradition of this Baltic port city,25 and its rôle on Schlüter’s
development does require further scholarly research and clarification.26 27
The town’s major public monuments displayed some notable classiciz-
ing tendencies (in both Renaissance and Baroque styles but with marked
Netherlandish overtones) in buildings like the Roman triumphal arch-
like Golden Gâte (1612-14) by Abraham van den Block,2/ or his façade for
22 T. Grzybkowska, “Sztuka gdanska XVII wieku,” in Gdansk XVII wieku: Materi-
aly z sesji zorganizowanej przez Zaktad Historii Sztuki Uniwersytetu Gdanskiego 8-9
wrzeénia 1991 roku, E. Kotarski (ed.) In publication.
23 Various cultural and artistic contacts with the Netherlands are mentioned in:
L. Thijssen, 1000 Jaar Polen en Nederland, Zutphen 1992, pp. 12-14, 45-48, 81-82, 173-
174, and J. Bialostocki, “The Baltic Area as an Artistic Région in the Sixteenth Cen-
tury,” Hafnia: Copenhagen Papers in the History of Art, 1976, pp. 18-19. For a brief Over-
View of the distinctive forms and influences of Netherlandish art in the city, see:
A. Gosieniecka, “Sztuka w Gdansku. Malarstwo, rzezba, grafika,” in Gdansk. Jego
dzieje i kultura, F. Mamuszka (ed.), Warszawa 1969, pp. 298-308 and 336-346. For a sur-
vey of painting in this tradition c. 1600: A. Gosieniecka, “Ze studiôw nad malarstwem
pomorskim. Cz. 1, Przelom XVI i XVII wieku w malarstwie gdanskim,” Gdanskie Studia
Muzealne, 3(1981), pp. 9-38 and illustrations. For 16th century sculpture in Gdansk and
the région: L. Krzyzanowski, Gdanska monumentalna rzezba, lat 1517-1628, unpub-
lished Doctoral Dissertation, Institute of Art History, Adam Mickiewicz University,
Poznan 1966 and J. Palubicki, “Rzezba kamienna w Gdansku w latach 1517-1585,”
Gdanskie Studia Muzealne, 3(1981), pp. 175-195.
24 M. Wôzniak, “Uwagi o recepcji manierystycznych wzornikôw niderlandzkich
w Gdansku i Prusach Krôlewskich,” in Niderlandyzm w sztuce polskiej, Warszawa 1995,
pp. 225-248.
2o A catalogue from the recent exhibition at the National Muséum Muséum, Gdansk
has attempted a long-overdue compilation and survey of Gdahsk’s impressive art historical
héritage and can serve as a guide to better understand the cultural milieu of Schluter’s
early years. See: Aurea Porta Rzeczypospolitej. Sztuka gdanska od potowy XV do konca
XVIII wieku, essays and exhibition catalogue (2 vols.), T. Grzybkowska and J. Talbier-
ska (eds.), Gdansk 1997.
26 General observations on Netherlandish art in this context are described by C.
Gurlitt, Andréas Schlüter, Berlin 1891, pp. 11-12, 22-23, 26-27, while the influx of
Netherlandish sculptors to Danzig and the Baltic région is mentioned by G. Cuny, Dan-
zigs Kunst und Kultur ira 16. und 17. Jahrhundert, Frankfurt/Main 1910, pp. 74-75; and
Z. Hornung, “Gdanska szkola rzezbiarska na przelomie XVI i XVII wieku,” Teka komisji
historii sztuki, Torun, 8(1959), nr. 1, pp. 103-132. Seventeenth-century Netherlandish art
inspired by the antique and its influence in the town and thus on Schlüter is mentioned by
W. Drost, “Andréas Schlüter und das Berliner Barock,” Westpreussen Jahrbuch, 15(1965),
p. 117-118; and DaCosta Kaufmann, “Schlüter’s Fate,” p. 201.
27 Cuny, Danzigs Kunst und Kultur, pp. 80-81 and E. Keyser, Die Baugeschichte der
Stadt Danzig, Cologne and Vienna 1972, pp. 358-368, 370. For the newest guide see:
J. Friedrich, Gdanskie zabytki architecktury do konca XVIII w., Gdansk 1995, pp. 60-62.
The Golden Gâte, as a prominent monument in the town, with its antique pretensions was
created in a classicizing although distinctly early Netherlandish Baroque form. Surmounting
49
sidering the strength of antique classicizing trends,22 Netherlandish
art,23 and published graphie prints in the town’s artistic milieu.24 The
rich artistic tradition of this Baltic port city,25 and its rôle on Schlüter’s
development does require further scholarly research and clarification.26 27
The town’s major public monuments displayed some notable classiciz-
ing tendencies (in both Renaissance and Baroque styles but with marked
Netherlandish overtones) in buildings like the Roman triumphal arch-
like Golden Gâte (1612-14) by Abraham van den Block,2/ or his façade for
22 T. Grzybkowska, “Sztuka gdanska XVII wieku,” in Gdansk XVII wieku: Materi-
aly z sesji zorganizowanej przez Zaktad Historii Sztuki Uniwersytetu Gdanskiego 8-9
wrzeénia 1991 roku, E. Kotarski (ed.) In publication.
23 Various cultural and artistic contacts with the Netherlands are mentioned in:
L. Thijssen, 1000 Jaar Polen en Nederland, Zutphen 1992, pp. 12-14, 45-48, 81-82, 173-
174, and J. Bialostocki, “The Baltic Area as an Artistic Région in the Sixteenth Cen-
tury,” Hafnia: Copenhagen Papers in the History of Art, 1976, pp. 18-19. For a brief Over-
View of the distinctive forms and influences of Netherlandish art in the city, see:
A. Gosieniecka, “Sztuka w Gdansku. Malarstwo, rzezba, grafika,” in Gdansk. Jego
dzieje i kultura, F. Mamuszka (ed.), Warszawa 1969, pp. 298-308 and 336-346. For a sur-
vey of painting in this tradition c. 1600: A. Gosieniecka, “Ze studiôw nad malarstwem
pomorskim. Cz. 1, Przelom XVI i XVII wieku w malarstwie gdanskim,” Gdanskie Studia
Muzealne, 3(1981), pp. 9-38 and illustrations. For 16th century sculpture in Gdansk and
the région: L. Krzyzanowski, Gdanska monumentalna rzezba, lat 1517-1628, unpub-
lished Doctoral Dissertation, Institute of Art History, Adam Mickiewicz University,
Poznan 1966 and J. Palubicki, “Rzezba kamienna w Gdansku w latach 1517-1585,”
Gdanskie Studia Muzealne, 3(1981), pp. 175-195.
24 M. Wôzniak, “Uwagi o recepcji manierystycznych wzornikôw niderlandzkich
w Gdansku i Prusach Krôlewskich,” in Niderlandyzm w sztuce polskiej, Warszawa 1995,
pp. 225-248.
2o A catalogue from the recent exhibition at the National Muséum Muséum, Gdansk
has attempted a long-overdue compilation and survey of Gdahsk’s impressive art historical
héritage and can serve as a guide to better understand the cultural milieu of Schluter’s
early years. See: Aurea Porta Rzeczypospolitej. Sztuka gdanska od potowy XV do konca
XVIII wieku, essays and exhibition catalogue (2 vols.), T. Grzybkowska and J. Talbier-
ska (eds.), Gdansk 1997.
26 General observations on Netherlandish art in this context are described by C.
Gurlitt, Andréas Schlüter, Berlin 1891, pp. 11-12, 22-23, 26-27, while the influx of
Netherlandish sculptors to Danzig and the Baltic région is mentioned by G. Cuny, Dan-
zigs Kunst und Kultur ira 16. und 17. Jahrhundert, Frankfurt/Main 1910, pp. 74-75; and
Z. Hornung, “Gdanska szkola rzezbiarska na przelomie XVI i XVII wieku,” Teka komisji
historii sztuki, Torun, 8(1959), nr. 1, pp. 103-132. Seventeenth-century Netherlandish art
inspired by the antique and its influence in the town and thus on Schlüter is mentioned by
W. Drost, “Andréas Schlüter und das Berliner Barock,” Westpreussen Jahrbuch, 15(1965),
p. 117-118; and DaCosta Kaufmann, “Schlüter’s Fate,” p. 201.
27 Cuny, Danzigs Kunst und Kultur, pp. 80-81 and E. Keyser, Die Baugeschichte der
Stadt Danzig, Cologne and Vienna 1972, pp. 358-368, 370. For the newest guide see:
J. Friedrich, Gdanskie zabytki architecktury do konca XVIII w., Gdansk 1995, pp. 60-62.
The Golden Gâte, as a prominent monument in the town, with its antique pretensions was
created in a classicizing although distinctly early Netherlandish Baroque form. Surmounting