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#0060
58
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.
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.