DOI issue:
No. 4
DOI article:Chudzikowski, Andrzej; Dietrich, Christian Wilhelm Ernst [Ill.]: Pastiches in the works of Christian Wilhelm Ernst Dietrich
DOI Page / Citation link:https://doi.org/10.11588/diglit.17161#0138
10. Christian Wilhelm Ernst Dietrich, Temptation of St. Anthony, Warsaw, Muzeum Narodowe
he also admits the possibility that the engraving by Cornelius Visscher could have served as
intermediary.16 The description of the painting, accurate enough, supplied by H. de Groot17
allows, in my opinion, to identify the work by Ostade. This is probably the painting exbibited
in Rotterdam iu 1938,18 representing an old bprrei ort"1!] ;;layer and a young violinist, surrounded
by four children (fig. 8). The relationship of this painting to the ones in London and in Warsaw
is rather loose, however. Even if Dietrich was accpiainted with Ostade's painting, all he had
drawn from it was the subject and the generał composition. It seeros likely that the drawing
of the same subject by Ostade in the Berlin Drawing Collection19 (fig. 9), where the figurę of
the violinist in the pose, gesture and the details of clothing is quite identical with the figurę
in Dietrich's paintings (fig. 6 and 7) played a greater part here.
The interrelation of the paintings in London and in Warsaw presents quite an iuteresting
problem. These two paintings considerably differ from each other. In the Warsaw picture,
in the framework of the same composition, all characters have different expressions on their
faces. Also the drawing of leaves and arrangement of tree branches are different, as well as
some minor details in the front and in the background. What is more, the Warsaw painting has
16. M. Levey, Some paintings op. cii., p. 40.
17. Hofstede de Groot, Beschreibendes und Kritisches Verzeichnis der Werke der hervorragendslen holldndischen Maler des X VII
Jahrhunderts, III, Esslingen — Paris, 1910, No 433.
18. Meestericerken uil vier eeuuien 1400 — 1800, Tentoonstelling, Museum Boyraans, Rotterdam, 1938, No 114, fig. 78.
19. E. Bock, J. Rosenberg, Staatliche M useen zu Berlin, Die Niederlandischen Meister, Berlin, 1930, B. I., No 4050.
120
he also admits the possibility that the engraving by Cornelius Visscher could have served as
intermediary.16 The description of the painting, accurate enough, supplied by H. de Groot17
allows, in my opinion, to identify the work by Ostade. This is probably the painting exbibited
in Rotterdam iu 1938,18 representing an old bprrei ort"1!] ;;layer and a young violinist, surrounded
by four children (fig. 8). The relationship of this painting to the ones in London and in Warsaw
is rather loose, however. Even if Dietrich was accpiainted with Ostade's painting, all he had
drawn from it was the subject and the generał composition. It seeros likely that the drawing
of the same subject by Ostade in the Berlin Drawing Collection19 (fig. 9), where the figurę of
the violinist in the pose, gesture and the details of clothing is quite identical with the figurę
in Dietrich's paintings (fig. 6 and 7) played a greater part here.
The interrelation of the paintings in London and in Warsaw presents quite an iuteresting
problem. These two paintings considerably differ from each other. In the Warsaw picture,
in the framework of the same composition, all characters have different expressions on their
faces. Also the drawing of leaves and arrangement of tree branches are different, as well as
some minor details in the front and in the background. What is more, the Warsaw painting has
16. M. Levey, Some paintings op. cii., p. 40.
17. Hofstede de Groot, Beschreibendes und Kritisches Verzeichnis der Werke der hervorragendslen holldndischen Maler des X VII
Jahrhunderts, III, Esslingen — Paris, 1910, No 433.
18. Meestericerken uil vier eeuuien 1400 — 1800, Tentoonstelling, Museum Boyraans, Rotterdam, 1938, No 114, fig. 78.
19. E. Bock, J. Rosenberg, Staatliche M useen zu Berlin, Die Niederlandischen Meister, Berlin, 1930, B. I., No 4050.
120