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#0139
11. David Teniers the Younger, Temptation of St. Anthony, Berlin, Staatliche Museen
(after W. Bode)
larger dimensions and it is differently signed, namely: Ch. W. E. Dietrich pinx. (the London
painting is signed: Dietricy fecit 2745). The differences noticed let us conclude that these two
compositions had been done independently from each other. Dietrich might have painted
them at srane interval of time, using in both cases his own pencil sketch (now in the
Albertina, Vienna).20
Dietrich had rarely done actual copies of paintings. But even those few copies of famous works21
which he had done bear a distinctive imprint of his own. An example for that is the Temptation
of St, Anthony in the Wilanów collection going back to Stanisław Kostka Potocki (fig. 10).22
It is a repetition of David Teniers the Younger's painting in the Berlin museum (fig. II).23
Dietrich had taken over the Flemish composition without introducing any essential changes,
except for omitting the fantastic creatures floating above the characters of the scenę in the
upper part of the painting. In spite of this faithfulness to the original, so rare with Dietrich, the
indhddual features of the copy are striking right away. This is manifested primarily in the
brush work, in its Rococo lightness and bold freedom of strokes. These are, 1 believe, characte-
ristic features common to the most of his works. And this is the manifestation of the personality
of the artist who, in spite of his eclecticism, remained a painter closely bound to his times and
his milieu.
20. H. Tietze and several other authors, Albertina, Die Zeiclmujigen der deutsehen Schulen, Wien, 1933, p. 124, No 1357.
21. H. Gerson, op. cit., p. 305.
22. A. Chudzikowski, op. cii.. No 43.
23. A. Rosenberg, Teniers der Jiingere, Bielefeld und Leipzig, 1895, p. 17, 25.
121
(after W. Bode)
larger dimensions and it is differently signed, namely: Ch. W. E. Dietrich pinx. (the London
painting is signed: Dietricy fecit 2745). The differences noticed let us conclude that these two
compositions had been done independently from each other. Dietrich might have painted
them at srane interval of time, using in both cases his own pencil sketch (now in the
Albertina, Vienna).20
Dietrich had rarely done actual copies of paintings. But even those few copies of famous works21
which he had done bear a distinctive imprint of his own. An example for that is the Temptation
of St, Anthony in the Wilanów collection going back to Stanisław Kostka Potocki (fig. 10).22
It is a repetition of David Teniers the Younger's painting in the Berlin museum (fig. II).23
Dietrich had taken over the Flemish composition without introducing any essential changes,
except for omitting the fantastic creatures floating above the characters of the scenę in the
upper part of the painting. In spite of this faithfulness to the original, so rare with Dietrich, the
indhddual features of the copy are striking right away. This is manifested primarily in the
brush work, in its Rococo lightness and bold freedom of strokes. These are, 1 believe, characte-
ristic features common to the most of his works. And this is the manifestation of the personality
of the artist who, in spite of his eclecticism, remained a painter closely bound to his times and
his milieu.
20. H. Tietze and several other authors, Albertina, Die Zeiclmujigen der deutsehen Schulen, Wien, 1933, p. 124, No 1357.
21. H. Gerson, op. cit., p. 305.
22. A. Chudzikowski, op. cii.. No 43.
23. A. Rosenberg, Teniers der Jiingere, Bielefeld und Leipzig, 1895, p. 17, 25.
121