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DOI Artikel:Monkiewicz, Maciej: A drawing of Elsheimer in the collection of the National Museum in Warsaw
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.18904#0113
from 1600 now iii Dresden11, and between Jupiter's face and the face of the central małe figurę
in the background of The Denial of Peter in a private collection in England15. Jupiter and Phi-
lemon of the Warsaw drawing have especially close parallels in the analogous eharacters in
the West Berlin drawing discussed above (Fig. 4). Because the lost left-hand section of the
Berlin composition included with all probability Baucis by the fire-place16, there are grounds
for believing that the sketch should be related to the Warsaw drawing as a preparatory study.
Hence Elsheimer's drawing from the Gołuchów collection appears to be the missing link
in the development of the concept of a scenę based on Ovid. As in the case of The Mocking
of Ceres in Prado, which goes together with two gouaches on the same subject varying in com-
position17, the painting of Philemon and Baucis (now in Dresden, Fig. 2) is accompanied by
an alteniative variant in a finished form. Apart from the reversed roles of Philemon and Baucis,
and the reversal of the sides of the composition, it differs from the Dresden representation
primarily due to the concept of lighting in the main group. Jupiter, scated in a similar attitude,
is the negativc of his eounterpart in Dresden: he is illuminatcd from the front against a very
dark background while the characteristie contrę jour position is reserved for Philemon in the
11. Andrews 1977 (p. 158, Fig. Tubie 25) and 1985 (p. 194, Fig. Tubie 16), cat. n". 32.
1.5. Andrews 1977 (p. 158, Fig. Tobie 26) and 1985 (p. 194, Fig. Table 17), cat. n°. 33.
16. Both Moblc (1966, p. 121) and Andrews (1977, p. 162; 1985, p. 194) supposc that the figurę ot Baucis was placed in the
cut-off part of the drawing on the left.
17. Andrews 1977 and 1985, cat. n°. 23 (Andrews 1977, pp. 152—153 and pp. 33—34, Fig. Table 82; Andrews 1985, p. 187
and pp. 34—35, Fig. Table 83).
6. Henrick Coudt, Jupiter and Mercury in the House of Philemon and Baucis, pen and wash,
London, Brilish Museum (Photo after Mohle 1966)
99
in the background of The Denial of Peter in a private collection in England15. Jupiter and Phi-
lemon of the Warsaw drawing have especially close parallels in the analogous eharacters in
the West Berlin drawing discussed above (Fig. 4). Because the lost left-hand section of the
Berlin composition included with all probability Baucis by the fire-place16, there are grounds
for believing that the sketch should be related to the Warsaw drawing as a preparatory study.
Hence Elsheimer's drawing from the Gołuchów collection appears to be the missing link
in the development of the concept of a scenę based on Ovid. As in the case of The Mocking
of Ceres in Prado, which goes together with two gouaches on the same subject varying in com-
position17, the painting of Philemon and Baucis (now in Dresden, Fig. 2) is accompanied by
an alteniative variant in a finished form. Apart from the reversed roles of Philemon and Baucis,
and the reversal of the sides of the composition, it differs from the Dresden representation
primarily due to the concept of lighting in the main group. Jupiter, scated in a similar attitude,
is the negativc of his eounterpart in Dresden: he is illuminatcd from the front against a very
dark background while the characteristie contrę jour position is reserved for Philemon in the
11. Andrews 1977 (p. 158, Fig. Tubie 25) and 1985 (p. 194, Fig. Tubie 16), cat. n". 32.
1.5. Andrews 1977 (p. 158, Fig. Tobie 26) and 1985 (p. 194, Fig. Table 17), cat. n°. 33.
16. Both Moblc (1966, p. 121) and Andrews (1977, p. 162; 1985, p. 194) supposc that the figurę ot Baucis was placed in the
cut-off part of the drawing on the left.
17. Andrews 1977 and 1985, cat. n°. 23 (Andrews 1977, pp. 152—153 and pp. 33—34, Fig. Table 82; Andrews 1985, p. 187
and pp. 34—35, Fig. Table 83).
6. Henrick Coudt, Jupiter and Mercury in the House of Philemon and Baucis, pen and wash,
London, Brilish Museum (Photo after Mohle 1966)
99