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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#0082
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KEVIN E. KANDT
the crucifix (Figs. 19-20, 25) focus attention on a Hellenistic pathos and
death theme évident throughout the artist’s career.114
In this regard, we can compare the Jakub Sobieski Tomb urn with its
remarkable relief done “all’antica” that demonstrates a most interesting
aspect of a death theme in Schlüter’s art,115 visualized through a contem-
porary graphie source (Figs. 3-6a-b). First noted by Mankowski, it depicts
a group of two warriors and three women confronting swift-footed death;
represented here as a winged Chronos, or Thanatos figure,116 117 with a
scythe and accompanied by a cloaked skeleton holding out an hour-glass
in its palm. These terrible figures run directly toward the frightened
mortals. The first man, a soldier, is dressed in a short tunic, cuirass, and
mantle - falls backwards supporting himself on his left arm, holding the
other one up to shield himself in defense, while he looks helplessly up-
wards overwhelmed by his pursuers’ onslaught.n/ Beneath him is
another warrior who has already fallen and lies face down upon the
ground. A fine, crested helmet and another unidentifiable piece of head
gear or weapon (?) lies next to him and beneath the women’s feet. One
female figure, shown in a quarter-view profile, wears a flowing dress and
cloak; while the other is bare-shouldered and looks back fearfully. Both
women flee across the scene to the right. They run toward a seated figure
who appears startled and only just aware of the impending danger.
The reliefs compositional design, technical quality, and artistic vir-
tuosity are remarkably high. A skillfully drawn, almost sketch-like qu-
ality seen in reliefs like the Krasinski Palace tympana and Jakub So-
bieski Tomb urn seems to hâve been inherently absorbed by the artist
from graphie prints and transferred to the three-dimensional forms
which he rendered. It should also be mentioned here that one can actu-
114 Contemporary emphasis on the depiction of facial expressions is directly in keeping
with those of Charles Le Brun’s Conférence sur L’Expression..., Paris, 1698. See: J. Mon-
tagu, The Expression ofthe Passions: The Origin and Influence of Charles Le Brun’s Con-
férence sur L’Expression générale et particulière, New Haven and London 1997, pp. 58-64,
70, 75-77, 78-79.
llj W. Boeck, “Tragische Haltung im Schaffen Andréas Schlüters,” Die Volkische
Kunst, 1(1935), pp. 339-343 and 348; W. Korf, Die Vorstellung vom Tode im Schaffen von
Andréas Schlüter. Versuch einer Interprétation, unpublished Semesterarbeit, Kunst-
geschichte Institut - Humboldt-Universitat, Berlin 1964; and C. Keisch, “Zur Todesikono-
graphie bei Andréas Schlüter”, Staatliche Museen zu Berlin. Forschungen und Berichte,
13(1971), pp. 39-47 and illustrations.
116 Mankowski, “Nieznane rzezby,” p. 229. The winged Chronos or Time figure was
mentioned only in general terms with regard to later Berlin works by Alfred Schellenberg,
“Andréas Schlüter,” Der Gôttinger Arbeitskreis, 14(1951), p. 11.
117 Mankowski first noted the similar facial expressiveness between the Zôlkiew tomb
relief and the Berlin Zeughaus Dying Warriors, ”Nieznane rzezby,” p. 228.
KEVIN E. KANDT
the crucifix (Figs. 19-20, 25) focus attention on a Hellenistic pathos and
death theme évident throughout the artist’s career.114
In this regard, we can compare the Jakub Sobieski Tomb urn with its
remarkable relief done “all’antica” that demonstrates a most interesting
aspect of a death theme in Schlüter’s art,115 visualized through a contem-
porary graphie source (Figs. 3-6a-b). First noted by Mankowski, it depicts
a group of two warriors and three women confronting swift-footed death;
represented here as a winged Chronos, or Thanatos figure,116 117 with a
scythe and accompanied by a cloaked skeleton holding out an hour-glass
in its palm. These terrible figures run directly toward the frightened
mortals. The first man, a soldier, is dressed in a short tunic, cuirass, and
mantle - falls backwards supporting himself on his left arm, holding the
other one up to shield himself in defense, while he looks helplessly up-
wards overwhelmed by his pursuers’ onslaught.n/ Beneath him is
another warrior who has already fallen and lies face down upon the
ground. A fine, crested helmet and another unidentifiable piece of head
gear or weapon (?) lies next to him and beneath the women’s feet. One
female figure, shown in a quarter-view profile, wears a flowing dress and
cloak; while the other is bare-shouldered and looks back fearfully. Both
women flee across the scene to the right. They run toward a seated figure
who appears startled and only just aware of the impending danger.
The reliefs compositional design, technical quality, and artistic vir-
tuosity are remarkably high. A skillfully drawn, almost sketch-like qu-
ality seen in reliefs like the Krasinski Palace tympana and Jakub So-
bieski Tomb urn seems to hâve been inherently absorbed by the artist
from graphie prints and transferred to the three-dimensional forms
which he rendered. It should also be mentioned here that one can actu-
114 Contemporary emphasis on the depiction of facial expressions is directly in keeping
with those of Charles Le Brun’s Conférence sur L’Expression..., Paris, 1698. See: J. Mon-
tagu, The Expression ofthe Passions: The Origin and Influence of Charles Le Brun’s Con-
férence sur L’Expression générale et particulière, New Haven and London 1997, pp. 58-64,
70, 75-77, 78-79.
llj W. Boeck, “Tragische Haltung im Schaffen Andréas Schlüters,” Die Volkische
Kunst, 1(1935), pp. 339-343 and 348; W. Korf, Die Vorstellung vom Tode im Schaffen von
Andréas Schlüter. Versuch einer Interprétation, unpublished Semesterarbeit, Kunst-
geschichte Institut - Humboldt-Universitat, Berlin 1964; and C. Keisch, “Zur Todesikono-
graphie bei Andréas Schlüter”, Staatliche Museen zu Berlin. Forschungen und Berichte,
13(1971), pp. 39-47 and illustrations.
116 Mankowski, “Nieznane rzezby,” p. 229. The winged Chronos or Time figure was
mentioned only in general terms with regard to later Berlin works by Alfred Schellenberg,
“Andréas Schlüter,” Der Gôttinger Arbeitskreis, 14(1951), p. 11.
117 Mankowski first noted the similar facial expressiveness between the Zôlkiew tomb
relief and the Berlin Zeughaus Dying Warriors, ”Nieznane rzezby,” p. 228.