DOI issue:
Rozprawy
DOI article: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 Page / Citation link: https://doi.org/10.11588/diglit.28185#0081
ANDREAS SCHLÜTER AND OTTO VAN VEEN: THE SOURCE, CONTEXT, AND ADAPTATION
79
25. Andréas Schlüter? Crucifix, (c. 1689?).
Detail of Head. Polish Private Collection
26. Augustin Terwesten. Head of the
Laocoôn. Engraving (after 1678). Rijkspren-
tenkabinet - Rijksmuseum, Amsterdam
Augustin Terwesten, did a sériés of engravings of antique sculptures
(after 1678) probably influenced by Anthony van Dyck’s models.113 One
print taken from the Laocoôn (Fig. 26) shows how readily prints could be
employed for works like this little-known wooden crucifix. Certainly, the
expression and passion seen in the garden-façade Chronos Head, Gaul
wounded by Corvinus from the Krasinski court-façade dueling scene, and
113 The prints were perhaps connected with Terwesten’s share in the founding and in-
struction at the Academy of Art in The Hague. And although it is unknown whether
Schlüter knew of this particular Terwesten print during his early years, the ancient sculp-
ture’s pervasive influence on artists during the period is extensive. Its use as a model (in a
plaster cast) in the éducation of young artists at the Berlin Academy of Arts (and in whose
foundation both artists participated) is demonstrated by the Laocoôn1 s prominent location
in the Academy’s “Aktsaal” shown in a contemporary engraving by Christoph Weigel. See:
C. Rehorst, “Confrérie Pictura und Haagsche Teekenacademie. Zur Geschichte der aka-
demie in Den Haag” and Liselotte Wiesinger, “Augustin Terwesten und die Gründung der
Kônigliche Akademie der Künste - Zu Neuerwerbungen von Akademiezeichnungen Ter-
westens,” in Gôtter und Helden fur Berlin: Gemalde und Zeichnungen von Augustin (1649-
1711) und Matthàus Terwesten (1670-1757). Zwei niederlandische Künstler am Hofe Frie-
drichs 1. und Sophie Charlottes, R. L. Colella (ed.), Berlin 1995; pp. 24-5, 62-68 with ill. 6,
and Colella’s catalogue entries, pp. 192-196.
79
25. Andréas Schlüter? Crucifix, (c. 1689?).
Detail of Head. Polish Private Collection
26. Augustin Terwesten. Head of the
Laocoôn. Engraving (after 1678). Rijkspren-
tenkabinet - Rijksmuseum, Amsterdam
Augustin Terwesten, did a sériés of engravings of antique sculptures
(after 1678) probably influenced by Anthony van Dyck’s models.113 One
print taken from the Laocoôn (Fig. 26) shows how readily prints could be
employed for works like this little-known wooden crucifix. Certainly, the
expression and passion seen in the garden-façade Chronos Head, Gaul
wounded by Corvinus from the Krasinski court-façade dueling scene, and
113 The prints were perhaps connected with Terwesten’s share in the founding and in-
struction at the Academy of Art in The Hague. And although it is unknown whether
Schlüter knew of this particular Terwesten print during his early years, the ancient sculp-
ture’s pervasive influence on artists during the period is extensive. Its use as a model (in a
plaster cast) in the éducation of young artists at the Berlin Academy of Arts (and in whose
foundation both artists participated) is demonstrated by the Laocoôn1 s prominent location
in the Academy’s “Aktsaal” shown in a contemporary engraving by Christoph Weigel. See:
C. Rehorst, “Confrérie Pictura und Haagsche Teekenacademie. Zur Geschichte der aka-
demie in Den Haag” and Liselotte Wiesinger, “Augustin Terwesten und die Gründung der
Kônigliche Akademie der Künste - Zu Neuerwerbungen von Akademiezeichnungen Ter-
westens,” in Gôtter und Helden fur Berlin: Gemalde und Zeichnungen von Augustin (1649-
1711) und Matthàus Terwesten (1670-1757). Zwei niederlandische Künstler am Hofe Frie-
drichs 1. und Sophie Charlottes, R. L. Colella (ed.), Berlin 1995; pp. 24-5, 62-68 with ill. 6,
and Colella’s catalogue entries, pp. 192-196.