Instytut Historii Sztuki <Posen> [Editor]
Artium Quaestiones — 10.2000

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https://digi.ub.uni-heidelberg.de/diglit/artium_quaestiones2000/0060
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KEVIN E. KANDT

9. After Andréas Schlüter or Workshop? The Four Corners of the Earth - Asia. Langen
Markt 7/8, Danzig. (Destroyed)

François Duquesnoy’s (il Fiammingo) beloved and internationally
popular putti-prototypes may hâve been known in Danzig from copies,
due to the port city’s commercial and artistic contacts with the Nether-
lands, as evidenced by a silver tankard (c. 1680-1700) by Christian
Pichgiel I with putti in a landscape (Fig. 10) much akin to Sobieski’s own
taste for the Duquesnoy-style putti decorating the stucco ceilings of his
Wilanôw palace, near Warsaw.60 In Danzig proper, similar motifs once
decorated a stucco ceiling (now destroyed) at Langen Markt 7/8 (Fig. 9)
that emphasize the presence of Duquesnoy’s Netherlandish classicism in

60 Kondziela and Fijalkowski, “Die künsterlische Tàtigkeit Andréas Schlüters,”
pp. 274-276 and M. Fabianski, “Trzy kopie plaskorzezb Fiamminga w Muzeum Uni-
wersytetu Jagiellonskiego: Uwaga o sposobach recepcji dzialmistrza sztuce baroku,”
Opuscula Musealia: Zeszyty Naukowe Uniwersytetu Jagiellonskiego, (1988) nr. 3, pp. 77-
79; and Tucholka-Wlodarska, Danziger Silber, pp. 68-69. Schlüter’s name was linked
by Mankowski to the Wilanôw stuccos in the Great Hall and the King’s Bedchamber al-
though not without disagreement, cf: T. Mankowski, “Prace Schlütera w Wilanowie,” Prace
Komisji Historii Sztuki, 8(1939), nr. 1, pp. 151ff. and Karpowicz, Sztuka Warszawy, pp.
166-180, especially 171ff; and DaCosta Kaufmann, “Schluter’s Fate,” p. 202.
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