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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#0050
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KEVIN E. KANDT
this technique throughout his career in Warsaw, Berlin, and St. Peters-
burg.19
Such working methods indicate the sculptor’s continued willingness
and ability to successfully adapt two-dimensional printed sources for his
projects in Warsaw-period projects like the reliefs from the Krasinski
Palace and Jakub Sobieski Tomb. Indeed, in some instances the practice
cornes to the fore during his Berlin years,20 and underscores the esteem
the artist’s patrons held for such antique-inspired art. A systematic re-
search into potential sources for the artist’s work and a study of his docu-
mented and attributed funerary monuments, towards which the présent
article will try to constitute a fîrst step, is necessary to discover further
instances of dérivative images taken from available contemporary pub-
lished graphie sources.
How might Schlüter hâve been influenced by the classicial antique,
contemporary prints (including emblemata) and the artistic taste of his
patrons to produce work of this nature? The question is an important one
when attempting to understand the artist’s work and it has been raised
by some recent scholars.21 Undoubtedly his origins and training in Danzig
could hâve served as a substantial foundation for his knowledge con-
19 Use of published prints occurred throughout the artist’s career and has been noted
at the Krasinski Palace (1689-94), by Karpowicz, Sztuka Warszawy, pp. 66-67. From the
Berlin Palace inner court-yard is a sculpture whose designs were probably conveyed through
a graphie print like the Flora Farnese discussed by M. Kühn, “Antikenverstàndnis am
Berliner Hof,” in Berlin und die Antik, p. 30 and ill. 25-26. For ornamental motifs derived
from prints by Délia Bella, Mitelli, Le Pautre, Berain the Elder, Ducerceau, and Marot in the
Berlin Schloss interior décorations see also, Ch. Keisch, Das Grosse Silberbuffet aus dem
Rittersaal des Berliner Schloss, Diss. Humboldt Universitàt, Berlin 1994, pp. 102-119 and
now published as a book, Das Grosse Silberbuffet aus dem Rittersaal des Berliner Schlosses,
Berlin 1997, pp. 71-90 and 94-122. A décorative, antique-like vase console with a classicizing
motif from the Alte Post (c. 1700-01) was included in the catalogue Barockplastik in Nord-
deutschland, pp. 470-471. And finally, R. Kroll, “Andréas Schlüter und der Sommerpalast
Peters I,” Staatliche Museen zu Berlin. Forschungen und Berichte, 17(1976), pp. 113-134 with
plates 1-9, and DaCosta Kaufmann, “Schlüter’s Fate,” p. 201.
20 A final example of classicizing through contemporary engravings done after antique
art cornes from a superb interior at the Berlin Schloss. See L. Wiesinger, “Der Elisabeth-
saal des Berliner Schlosses: Ein Beitrag zur Antikenrezeption in Berlin um 1700,” Jahr-
buch der Berliner Museen, 24(1982), pp. 189ff and especially 205-223.
21 A general inquiry and re-consideration of the artist’s réception to the antique, use of
prints, and the rôle of patrons was noted by DaCosta Kaufmann, “Schlüter’s Fate,”
pp. 201-203, 205. The question regarding what particular influences emblematic sources
from Danzig’s artistic milieu may hâve had on the sculptor was justifïably raised by
K. Cieslak, “Emblematyka w XVII-wiecznych wnçtrzach koscielnych Gdahska”, in
Sztuka XVII wieku w Polsce, p. 218.
KEVIN E. KANDT
this technique throughout his career in Warsaw, Berlin, and St. Peters-
burg.19
Such working methods indicate the sculptor’s continued willingness
and ability to successfully adapt two-dimensional printed sources for his
projects in Warsaw-period projects like the reliefs from the Krasinski
Palace and Jakub Sobieski Tomb. Indeed, in some instances the practice
cornes to the fore during his Berlin years,20 and underscores the esteem
the artist’s patrons held for such antique-inspired art. A systematic re-
search into potential sources for the artist’s work and a study of his docu-
mented and attributed funerary monuments, towards which the présent
article will try to constitute a fîrst step, is necessary to discover further
instances of dérivative images taken from available contemporary pub-
lished graphie sources.
How might Schlüter hâve been influenced by the classicial antique,
contemporary prints (including emblemata) and the artistic taste of his
patrons to produce work of this nature? The question is an important one
when attempting to understand the artist’s work and it has been raised
by some recent scholars.21 Undoubtedly his origins and training in Danzig
could hâve served as a substantial foundation for his knowledge con-
19 Use of published prints occurred throughout the artist’s career and has been noted
at the Krasinski Palace (1689-94), by Karpowicz, Sztuka Warszawy, pp. 66-67. From the
Berlin Palace inner court-yard is a sculpture whose designs were probably conveyed through
a graphie print like the Flora Farnese discussed by M. Kühn, “Antikenverstàndnis am
Berliner Hof,” in Berlin und die Antik, p. 30 and ill. 25-26. For ornamental motifs derived
from prints by Délia Bella, Mitelli, Le Pautre, Berain the Elder, Ducerceau, and Marot in the
Berlin Schloss interior décorations see also, Ch. Keisch, Das Grosse Silberbuffet aus dem
Rittersaal des Berliner Schloss, Diss. Humboldt Universitàt, Berlin 1994, pp. 102-119 and
now published as a book, Das Grosse Silberbuffet aus dem Rittersaal des Berliner Schlosses,
Berlin 1997, pp. 71-90 and 94-122. A décorative, antique-like vase console with a classicizing
motif from the Alte Post (c. 1700-01) was included in the catalogue Barockplastik in Nord-
deutschland, pp. 470-471. And finally, R. Kroll, “Andréas Schlüter und der Sommerpalast
Peters I,” Staatliche Museen zu Berlin. Forschungen und Berichte, 17(1976), pp. 113-134 with
plates 1-9, and DaCosta Kaufmann, “Schlüter’s Fate,” p. 201.
20 A final example of classicizing through contemporary engravings done after antique
art cornes from a superb interior at the Berlin Schloss. See L. Wiesinger, “Der Elisabeth-
saal des Berliner Schlosses: Ein Beitrag zur Antikenrezeption in Berlin um 1700,” Jahr-
buch der Berliner Museen, 24(1982), pp. 189ff and especially 205-223.
21 A general inquiry and re-consideration of the artist’s réception to the antique, use of
prints, and the rôle of patrons was noted by DaCosta Kaufmann, “Schlüter’s Fate,”
pp. 201-203, 205. The question regarding what particular influences emblematic sources
from Danzig’s artistic milieu may hâve had on the sculptor was justifïably raised by
K. Cieslak, “Emblematyka w XVII-wiecznych wnçtrzach koscielnych Gdahska”, in
Sztuka XVII wieku w Polsce, p. 218.