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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#0049
ANDREAS SCHLÜTER AND OTTO VAN VEEN: THE SOURCE, CONTEXT, AND ADAPTATION
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early Baroque classical architectural/ornamental pattern books and
prints which also included useful figurai types frequently used for deco-
rating altars, baptismal fonts, epitaphs, and tombs.17 So when Schlüter
the sculptor created the Zolkiew tombs he continued this tradition and
worked much like other Baroque artists who employed engravings for ex-
ecuting sculptural and décorative projects,18 and he took advantage of
8. Andréas Schlüter and Workshop. Tomb of Stanistaw Danittowicz, (1692-94). Detail:
Putti Group. (Pre-war photograph)
17 Patterns and motifs published during this earlier period by Wendel Dietterlin the
Elder and Cornelis Floris, among others, proved to be invaluable for the wealth of or-
namental and figurai compositions they could provide sculptors in these régions, H.
Rudolph, Die Beziehungen der deutschen Plastik zum Ornamentstich in der Frühzeit des
Siebzehnten Jahrhunderts, Berlin 1935, pp. 10-33 and 49-73.
18 V. Loers, “Bemerkungen zur Manierismusrezeption in der süddeutschen Rokoko-
plastik,” and G. Lôtstam, “Die Vorlagen der schwedischen Barockbildhauer,” both arti-
cles in: Studien zur Europaischer Barock und Rokokoplastik, K. Kalinowski, (ed.), Poznan
1985, pp. 65-72 and 231-251 respectively. See also: E. Grosmane,“Zeichnungen und
Stichvorlagen in der Praxis der Kurlandischen Bildhauerwerkstâtten zur Zeit des
Barocks,” and I. Schemper-Sparholz, “Barockbildhauer in Dienst der Klôster in Osterreich
- Zwischen Künstlertum und Handwerkerstand”, again both articles in: Studien zur Werk-
stattpraxis des Barockskulptur im 17. und 18. Jahrhundert, K. Kalinowski, (ed.), Poznan
1992, pp. 45-60 and 327-340 respectively.
47
early Baroque classical architectural/ornamental pattern books and
prints which also included useful figurai types frequently used for deco-
rating altars, baptismal fonts, epitaphs, and tombs.17 So when Schlüter
the sculptor created the Zolkiew tombs he continued this tradition and
worked much like other Baroque artists who employed engravings for ex-
ecuting sculptural and décorative projects,18 and he took advantage of
8. Andréas Schlüter and Workshop. Tomb of Stanistaw Danittowicz, (1692-94). Detail:
Putti Group. (Pre-war photograph)
17 Patterns and motifs published during this earlier period by Wendel Dietterlin the
Elder and Cornelis Floris, among others, proved to be invaluable for the wealth of or-
namental and figurai compositions they could provide sculptors in these régions, H.
Rudolph, Die Beziehungen der deutschen Plastik zum Ornamentstich in der Frühzeit des
Siebzehnten Jahrhunderts, Berlin 1935, pp. 10-33 and 49-73.
18 V. Loers, “Bemerkungen zur Manierismusrezeption in der süddeutschen Rokoko-
plastik,” and G. Lôtstam, “Die Vorlagen der schwedischen Barockbildhauer,” both arti-
cles in: Studien zur Europaischer Barock und Rokokoplastik, K. Kalinowski, (ed.), Poznan
1985, pp. 65-72 and 231-251 respectively. See also: E. Grosmane,“Zeichnungen und
Stichvorlagen in der Praxis der Kurlandischen Bildhauerwerkstâtten zur Zeit des
Barocks,” and I. Schemper-Sparholz, “Barockbildhauer in Dienst der Klôster in Osterreich
- Zwischen Künstlertum und Handwerkerstand”, again both articles in: Studien zur Werk-
stattpraxis des Barockskulptur im 17. und 18. Jahrhundert, K. Kalinowski, (ed.), Poznan
1992, pp. 45-60 and 327-340 respectively.