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DOI Artikel:Komunikaty
DOI Artikel:Heuer, Christopher P.: Three "Danzig" drawings: notes on the limits of influence
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.35031#0328
320
CHRISTOPHER P. HEUER
7. Geaaar/ //czzcfgcc.st, N/ctrwc tYc/A nz Dc/ft, ca. 7632
dominant class of awa/ctt/^, taught as a mie /tow to make images of trees, buildings or
bodies to the non-professionai with leisure time; the title of a lavish drawing book
pubiished in Bologna in 1683 madę reference to an audience of'eFtYc/aw/IaGA And yet in
both cases not all readers were assumed to be artists Presumably, the same class of
bibliophiles, like Egbert van Kampen, could have been interested in Vredeman's work in
Danzig. But there were local artists also who may have been involved in making such
images, including the Dutch-trained engraver Aegedius Dickmann, producer of many city
views, or, morę plausibly, the Danzig native Jeremias Falek, an active conceiver of designs
for temporary architecture from 1646, having worked earlier in Paris.^
These early modern pattern books were 'leamed from' in dramatically different ways,
and the text-reader relationship was rarely a straightforward case of cause and effect.^
How accurate is it to cling to this inert category of influence, to the idea that Vredeman's
relation to, for instance, the drawings in Danzig, represents just a passive move from a
printed origin to a drawn recipient?^More often than not, the processes at work with
The smah drawing-guide is known only through a 19th-century transcription in Basel, Kunstmuseum, inv. Brosch. A
1222, madę by C. Muller-Hofstede. See E.A. DE CLERCK, De 7eecłea-Coayt, eea 77r/e eeaws'Aer/er/aar/s' 7z*ałtaat/'e,
Oud Holland 96 (1982), p. 16-60, which includes a fuli transcription of the tract and fnrther references on Biens' life.
And see John EVELYN, Yca/ptara, or; t/ze Dzktory aar/ Hat of CAa/ogz^ap/zy HtYD ezzgaanzag Za co/zpez; etc., London
1662, p. 65: '...Jerome Cock, a Fleming, cut for VR1SSE, a painter, the Perspectives, which pass under his name, with
twenty leaves of several Buildings...'.
" Stefano FERRARA, /aczkoaz' Ro/ogae-yz' er/ DzzzZ/ZaaZ r/e/ yec. AFT, Bologna 1975, nos. 801-25.
'' On Falek, see: J.C. BŁOCK, Teaeazzas' Da/cł; s*ez'a Le/zea Mar/ ^e/ae JFeałe, Danzig 1890; on Dickmann, see: E.
KAYSER, D/e DaazZgea DM^z/eaytZc/zea HegeZr/Zrzy DZcDzzaaa, Mitteilungen des Westpreuhischen Geschichtsvereins
25(1926), p. 41 ff.
For example: Anthony GRAFION, Lisa JARD1NE, Drora Azzzaaazkza to t/ze DMzzzaaZtZey, Cambridge, 1986; Adrian
JOHNS, 77ze aatMae of t/ze /zooł; /znat aar/ Dzow/er/ge Za t/ze azałzag, Chicago 1998.
^ Michael BAXANDALL, Patteaas' ofF/y/Meace; Da t/zeDZytoaZca/Dzgz/aaatZoa ofRZctarey, New Haven 1985, pp. 58-
62, on alternative models to 'influence' of viewing artistic interactions, see Yves-Alain BOIS, DoMaHzzg/ey, [in:]
Mnti&ye aar/ RZca^o, Paris 1998, pp. 11-23.
CHRISTOPHER P. HEUER
7. Geaaar/ //czzcfgcc.st, N/ctrwc tYc/A nz Dc/ft, ca. 7632
dominant class of awa/ctt/^, taught as a mie /tow to make images of trees, buildings or
bodies to the non-professionai with leisure time; the title of a lavish drawing book
pubiished in Bologna in 1683 madę reference to an audience of'eFtYc/aw/IaGA And yet in
both cases not all readers were assumed to be artists Presumably, the same class of
bibliophiles, like Egbert van Kampen, could have been interested in Vredeman's work in
Danzig. But there were local artists also who may have been involved in making such
images, including the Dutch-trained engraver Aegedius Dickmann, producer of many city
views, or, morę plausibly, the Danzig native Jeremias Falek, an active conceiver of designs
for temporary architecture from 1646, having worked earlier in Paris.^
These early modern pattern books were 'leamed from' in dramatically different ways,
and the text-reader relationship was rarely a straightforward case of cause and effect.^
How accurate is it to cling to this inert category of influence, to the idea that Vredeman's
relation to, for instance, the drawings in Danzig, represents just a passive move from a
printed origin to a drawn recipient?^More often than not, the processes at work with
The smah drawing-guide is known only through a 19th-century transcription in Basel, Kunstmuseum, inv. Brosch. A
1222, madę by C. Muller-Hofstede. See E.A. DE CLERCK, De 7eecłea-Coayt, eea 77r/e eeaws'Aer/er/aar/s' 7z*ałtaat/'e,
Oud Holland 96 (1982), p. 16-60, which includes a fuli transcription of the tract and fnrther references on Biens' life.
And see John EVELYN, Yca/ptara, or; t/ze Dzktory aar/ Hat of CAa/ogz^ap/zy HtYD ezzgaanzag Za co/zpez; etc., London
1662, p. 65: '...Jerome Cock, a Fleming, cut for VR1SSE, a painter, the Perspectives, which pass under his name, with
twenty leaves of several Buildings...'.
" Stefano FERRARA, /aczkoaz' Ro/ogae-yz' er/ DzzzZ/ZaaZ r/e/ yec. AFT, Bologna 1975, nos. 801-25.
'' On Falek, see: J.C. BŁOCK, Teaeazzas' Da/cł; s*ez'a Le/zea Mar/ ^e/ae JFeałe, Danzig 1890; on Dickmann, see: E.
KAYSER, D/e DaazZgea DM^z/eaytZc/zea HegeZr/Zrzy DZcDzzaaa, Mitteilungen des Westpreuhischen Geschichtsvereins
25(1926), p. 41 ff.
For example: Anthony GRAFION, Lisa JARD1NE, Drora Azzzaaazkza to t/ze DMzzzaaZtZey, Cambridge, 1986; Adrian
JOHNS, 77ze aatMae of t/ze /zooł; /znat aar/ Dzow/er/ge Za t/ze azałzag, Chicago 1998.
^ Michael BAXANDALL, Patteaas' ofF/y/Meace; Da t/zeDZytoaZca/Dzgz/aaatZoa ofRZctarey, New Haven 1985, pp. 58-
62, on alternative models to 'influence' of viewing artistic interactions, see Yves-Alain BOIS, DoMaHzzg/ey, [in:]
Mnti&ye aar/ RZca^o, Paris 1998, pp. 11-23.