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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#0069
ANDREAS SCHLÜTER AND OTTO VAN VEEN: THE SOURCE, CONTEXT, AND ADAPTATION
67
collections containing Greek and Roman antiquities in Warsaw, local for-
eign-trained artists might hâve easily obtained images of them through
engravings copied after originals or published illustrations of contem-
porary sculptures done in the antique manner like those at Versailles.82
It is very probable that most antique-inspired sources for sculpture in
Warsaw came predominantly from prints.83 Influence and use of such
printed sources was known in the Polish capital and artists like Schlüter,
who himself had a large library by the end of his life,84 could hâve readily
consulted their own engraved books, prints, and drawings or perhaps
those of their colleagues and patrons.85 Therefore, Warsaw artists need
not hâve necessarily rnade pilgrimages to Rome or Paris to acquire a
knowledge of such ancient originals and modem, classically-inspired pro-
totypes.
Such Creative resourcefulness and its résultant application is found in
the Jakub Sobieski Tomb’s allegorical personification of Justice. (Fig. 3)
In this figure, Margarete Kühn perceived Schlüter’s familiarity with
Roman art, not only through knowledge of 16th and 17th century con-
temporary printed sources and a “manieria greca,” but also in a style
found in his female types recalling those like Duquesnoy’s St. Susanna
(1630-33) in S. Maria di Loreto, Rome.86 Certainly, “il Fiammingo’s”
widely popular classical style had already been noted by Mankowski in
the Zôîkiew tombs with, for example, their paired putti groups.87 (Fig. 8).
It was an influence noted by Boeck with regard to later Berlin works,88
S2 M. Karpowicz, Sztuka oéwieconego sarmatyzmu: Antykizacja i klasycyzacja w
érodowisku warszawskim czasôw Jana III (2nd ed.), Warszawa 1986, pp. 22-44 and Sek-
retne tresci warszawskich zabytkôw, Warszawa 1976, pp. 30-41, 50-74; and Mos-
sakowski, Tilman van Gameren, p. 298.
83 Karpowicz, Sztuka oéwieconego sarmatyzmu, pp. 22-49 and especially 30-49.
84 Reference to Schlüter’s library is found in Z. Filarski, ”List wdowy po Andrzeju
Schlüterze w archiwum w Gdansku,” Biuletyn Historii Sztuki, 13 (1975) nr. 2/3, p. 175.
80 Tilman van Gameren possessed a fine library specializing in works on architecture.
S. Mossakowski, “Ksiçgozbior architekta Tylmana z Gameren. Komunikat,” Biuletyn
Biblioteki Jagiellonskiej, 13(1961), nr. 2, pp. 25-32 and Tilman van Gameren, pp. 294, 298-
299, 303-307. Many thanks to Prof. Jerzy Kowalczyk, Polish Academy of Sciences - Insti-
tute of Art in Warsaw for kindly showing me the article.
86 However, the art historian also invested this stylistic similarity as vérifiable évi-
dence of the artist’s travel abroad. Kühn, “Andréas Schlüter als Bildhauer,” pp. 112-113.
87 Mankowski, “Nieznane rzezby,” pp. 230-231.
88 The pulpit with alabaster reliefs, paired angels, canopy décoration from Berlin’s
Church of St. Mary (1703) and a putto group (attributed) formerly at Schloss Charlot-
tenburg were given as examples of “Schlüters Kindertypen.” W. Boeck, “Studien
über Schlüter als Bildhauer,” Jahrbuch des Preussischen Kunstsammlungen, 55(1933),
pp. 52-53.
67
collections containing Greek and Roman antiquities in Warsaw, local for-
eign-trained artists might hâve easily obtained images of them through
engravings copied after originals or published illustrations of contem-
porary sculptures done in the antique manner like those at Versailles.82
It is very probable that most antique-inspired sources for sculpture in
Warsaw came predominantly from prints.83 Influence and use of such
printed sources was known in the Polish capital and artists like Schlüter,
who himself had a large library by the end of his life,84 could hâve readily
consulted their own engraved books, prints, and drawings or perhaps
those of their colleagues and patrons.85 Therefore, Warsaw artists need
not hâve necessarily rnade pilgrimages to Rome or Paris to acquire a
knowledge of such ancient originals and modem, classically-inspired pro-
totypes.
Such Creative resourcefulness and its résultant application is found in
the Jakub Sobieski Tomb’s allegorical personification of Justice. (Fig. 3)
In this figure, Margarete Kühn perceived Schlüter’s familiarity with
Roman art, not only through knowledge of 16th and 17th century con-
temporary printed sources and a “manieria greca,” but also in a style
found in his female types recalling those like Duquesnoy’s St. Susanna
(1630-33) in S. Maria di Loreto, Rome.86 Certainly, “il Fiammingo’s”
widely popular classical style had already been noted by Mankowski in
the Zôîkiew tombs with, for example, their paired putti groups.87 (Fig. 8).
It was an influence noted by Boeck with regard to later Berlin works,88
S2 M. Karpowicz, Sztuka oéwieconego sarmatyzmu: Antykizacja i klasycyzacja w
érodowisku warszawskim czasôw Jana III (2nd ed.), Warszawa 1986, pp. 22-44 and Sek-
retne tresci warszawskich zabytkôw, Warszawa 1976, pp. 30-41, 50-74; and Mos-
sakowski, Tilman van Gameren, p. 298.
83 Karpowicz, Sztuka oéwieconego sarmatyzmu, pp. 22-49 and especially 30-49.
84 Reference to Schlüter’s library is found in Z. Filarski, ”List wdowy po Andrzeju
Schlüterze w archiwum w Gdansku,” Biuletyn Historii Sztuki, 13 (1975) nr. 2/3, p. 175.
80 Tilman van Gameren possessed a fine library specializing in works on architecture.
S. Mossakowski, “Ksiçgozbior architekta Tylmana z Gameren. Komunikat,” Biuletyn
Biblioteki Jagiellonskiej, 13(1961), nr. 2, pp. 25-32 and Tilman van Gameren, pp. 294, 298-
299, 303-307. Many thanks to Prof. Jerzy Kowalczyk, Polish Academy of Sciences - Insti-
tute of Art in Warsaw for kindly showing me the article.
86 However, the art historian also invested this stylistic similarity as vérifiable évi-
dence of the artist’s travel abroad. Kühn, “Andréas Schlüter als Bildhauer,” pp. 112-113.
87 Mankowski, “Nieznane rzezby,” pp. 230-231.
88 The pulpit with alabaster reliefs, paired angels, canopy décoration from Berlin’s
Church of St. Mary (1703) and a putto group (attributed) formerly at Schloss Charlot-
tenburg were given as examples of “Schlüters Kindertypen.” W. Boeck, “Studien
über Schlüter als Bildhauer,” Jahrbuch des Preussischen Kunstsammlungen, 55(1933),
pp. 52-53.