DOI Page / Citation link:
https://doi.org/10.11588/diglit.17159#0149
Note: This is an additional scan to display the colour reference chart and scalebar.
0.5
1 cm
Bożena Steinborn
THE PORTRAIT OF MICHELANGELO IN THE SILESIAN MUSEUM
The copy of MicheIangelo's portrait in the Silesian Museum in Wrocław1 (fig. 1) was ma-
dę between 1570—1576 and belonged to a group of sixty portraits in the so called Rehdiger
Gallery. A learned humanist and a "Professional Collector"2 Thomas Rehdiger (1540—1576),
beąuethed the eollection to the town of Wrocław, together with other works of his "Kunst-
kamnier ", with a Iibrary contaming about 300 manuscripts and 6.000 prints, as well as a
eollection of coins3. Referenees to this painting are only found in works concerning Rehdiger4.
It remained unknown to the historians of portrait painting in the XVIth century and to
students of Michelangelo's iconography. It +v,n fe««t "' *k» ar-ti<t tnmwl threr quarters
to the right. Features of his face are L-wmmwi angelo's
portraits showing him when he was aboul = co lte ^r0"
portions has changed his face — and this r:— impre;-
sion of a much younger man. The dark-bi izL ^^ff^^ B'e ^
from Ascanio Condivi's description (1553) —
Vasari ąuotes the words of Michelan
portrait6. Also it is well known, that Mic =- S
attested by the sarcastic irony of his < nnr — a
prototype of the Rehdiger painting was
of importance for the problem of the artis
flourishing of portrait painting, it is not po
not counting few "allusive" representatic n. Jl_
would not rouse doubts of scholars. The fc E a> ~a
CO
o
O
1. Inv. No. VIII-730. Oil on panel (oak), 45,5 X 33,2 en — f\
2. This definition was used by F. Kenncr for archduke — CO £^
von Tirol", Jahrbuch der Kunsthistorichen Sammlunz —
respond to Rehdiger who never practised any of the
assembling his eollection all hislife.
3. The hi story of his eollection is entanglcd with la wsi —
Auditorium Theologicum building near St. Elisabet — f ^ ^~
They were exhibited with all the Wrocław art colh —
Breslau, 1893, p. 34—36) which was the nucleus of ™
hibited in this museum among others in 1940 in i ~
in Kunstgewerbe-Museum till May 5th 1943 when it — c
the six dcpot-shelters of this museum. Their further — ^ 3^ ^
USSR a few dozens of paintings from the former 1— O
eollection. 3"
4. The most important are the following: A. W. J. Wac — ^
1828; A. Biber, "Thomas Rehdiger", Schlesische L-E OQ
hundert grosser Breslauer Gelehrter, Sammler und /''
Rehdiger, "Die Rehdiger in Breslau", Jahrbuch der S<~ c
— ^ —^ c0
5. A. Condivi, Vita di Michelagnolo.,, Roma, 1553, ed. u~ >,
6. "Ogni pittore retrae se medeaimo bene", G. Vasari,~
7. Die Diehfuneen tfea Michelaneióla Bucnarrnti, ed. Fre>~
t —
P O
cnow
, Breslau,
WEin Jahr~
itzendorff-
36.
THE PORTRAIT OF MICHELANGELO IN THE SILESIAN MUSEUM
The copy of MicheIangelo's portrait in the Silesian Museum in Wrocław1 (fig. 1) was ma-
dę between 1570—1576 and belonged to a group of sixty portraits in the so called Rehdiger
Gallery. A learned humanist and a "Professional Collector"2 Thomas Rehdiger (1540—1576),
beąuethed the eollection to the town of Wrocław, together with other works of his "Kunst-
kamnier ", with a Iibrary contaming about 300 manuscripts and 6.000 prints, as well as a
eollection of coins3. Referenees to this painting are only found in works concerning Rehdiger4.
It remained unknown to the historians of portrait painting in the XVIth century and to
students of Michelangelo's iconography. It +v,n fe««t "' *k» ar-ti<t tnmwl threr quarters
to the right. Features of his face are L-wmmwi angelo's
portraits showing him when he was aboul = co lte ^r0"
portions has changed his face — and this r:— impre;-
sion of a much younger man. The dark-bi izL ^^ff^^ B'e ^
from Ascanio Condivi's description (1553) —
Vasari ąuotes the words of Michelan
portrait6. Also it is well known, that Mic =- S
attested by the sarcastic irony of his < nnr — a
prototype of the Rehdiger painting was
of importance for the problem of the artis
flourishing of portrait painting, it is not po
not counting few "allusive" representatic n. Jl_
would not rouse doubts of scholars. The fc E a> ~a
CO
o
O
1. Inv. No. VIII-730. Oil on panel (oak), 45,5 X 33,2 en — f\
2. This definition was used by F. Kenncr for archduke — CO £^
von Tirol", Jahrbuch der Kunsthistorichen Sammlunz —
respond to Rehdiger who never practised any of the
assembling his eollection all hislife.
3. The hi story of his eollection is entanglcd with la wsi —
Auditorium Theologicum building near St. Elisabet — f ^ ^~
They were exhibited with all the Wrocław art colh —
Breslau, 1893, p. 34—36) which was the nucleus of ™
hibited in this museum among others in 1940 in i ~
in Kunstgewerbe-Museum till May 5th 1943 when it — c
the six dcpot-shelters of this museum. Their further — ^ 3^ ^
USSR a few dozens of paintings from the former 1— O
eollection. 3"
4. The most important are the following: A. W. J. Wac — ^
1828; A. Biber, "Thomas Rehdiger", Schlesische L-E OQ
hundert grosser Breslauer Gelehrter, Sammler und /''
Rehdiger, "Die Rehdiger in Breslau", Jahrbuch der S<~ c
— ^ —^ c0
5. A. Condivi, Vita di Michelagnolo.,, Roma, 1553, ed. u~ >,
6. "Ogni pittore retrae se medeaimo bene", G. Vasari,~
7. Die Diehfuneen tfea Michelaneióla Bucnarrnti, ed. Fre>~
t —
P O
cnow
, Breslau,
WEin Jahr~
itzendorff-
36.