DOI Artikel:
Šip, Jaromír: Savery in and around Prague
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.18821#0077
1. Roelant Savery, On the Kampa under Charles bridge, Prague, Narodni Galerie (Phot Narodni
Galerie v Praze)
smali pen drawing was better suited for such views where a cameraman would nowadays use
a sharply penetrating telescope.
More energetic drawing of considerable size done in black chalk with blue, gray, rose and
yellow washes is no doubt an equivalent of wide-range softly modelling camera-eye so excellent
for short distance to stress all the painter-like ąualities of a particular gnarled tree.
Considering this let me ask a rather important and very delicate ąuestion. Shall we continue
to cali all the Savery's landscapes the Tyrolian scenery " as it was customary up to the recent
time — with only few exceptions, mainly due to Ann Spicer who is already aware how important
for Savery was his stay in Bohemia in more than one way — or shall we start to be less generous
with the easy fitting label ,, Made in Tyrol" and better take into consideration at least the
simple fact that Savery's trip to Tyrolian district covers at most less than 20% out of his stay
in the Habsburg territory ?
While following Savery in Prague we have seen already a few cases of his reporter-like ap-
proach to reality. Therefore I venture to go further and draw your attention to the rich variety
of geological and geograjjhic formations artist could not escape from, even in the nearest sur-
roundings of Prague. You still remember the controversial ąuestion of sand-stone cliffs around
Strahov monastery, which is about ten minutes of walk from the Royal castle of Prague.
Weil, if a young gentleman-artist, for whom the horse must have been a most familiar means
of transportation, made a ride from the Castle heading North, he was in less than one hour
m a most romantic looking terrain consisting of hardest granite. He could experience there a
71
Galerie v Praze)
smali pen drawing was better suited for such views where a cameraman would nowadays use
a sharply penetrating telescope.
More energetic drawing of considerable size done in black chalk with blue, gray, rose and
yellow washes is no doubt an equivalent of wide-range softly modelling camera-eye so excellent
for short distance to stress all the painter-like ąualities of a particular gnarled tree.
Considering this let me ask a rather important and very delicate ąuestion. Shall we continue
to cali all the Savery's landscapes the Tyrolian scenery " as it was customary up to the recent
time — with only few exceptions, mainly due to Ann Spicer who is already aware how important
for Savery was his stay in Bohemia in more than one way — or shall we start to be less generous
with the easy fitting label ,, Made in Tyrol" and better take into consideration at least the
simple fact that Savery's trip to Tyrolian district covers at most less than 20% out of his stay
in the Habsburg territory ?
While following Savery in Prague we have seen already a few cases of his reporter-like ap-
proach to reality. Therefore I venture to go further and draw your attention to the rich variety
of geological and geograjjhic formations artist could not escape from, even in the nearest sur-
roundings of Prague. You still remember the controversial ąuestion of sand-stone cliffs around
Strahov monastery, which is about ten minutes of walk from the Royal castle of Prague.
Weil, if a young gentleman-artist, for whom the horse must have been a most familiar means
of transportation, made a ride from the Castle heading North, he was in less than one hour
m a most romantic looking terrain consisting of hardest granite. He could experience there a
71