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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#0115
sacker20. Some of Goudt's drawings on the same subject, with Philemon rather than Baucis
waiting on the visitors, were eertainly based on the concept of the Warsaw drawing. These
include works combining the Dresden variant with the Berlin-Warsaw version (Fig. 6),
and, e.g. the scenę at the Institut Neerlandais in Paris, a mutation of our composition (Fig. 5).
It includes the same fire-place with an aslant support of the bood, and a kettle suspended on
a chain within, and a cupboard with kitchen utensils and a jug on the top shelf placed in front
of the fire-place, and acting as a repoussoir. One has an impression that the gouache, recently
in the Houthakker collection (Fig. 7), having much in common with the Warsaw and Parisian
drawings, was the link between the twe While imitating the generał disposition of the Warsaw
version of Philemon and Baucis, and especially its left side with Baucis by the fire , the author
of the gouache is not consistent in his carrying out the interplay between the sources of light
throughout the composition (an opportunity which Elsheimer undoubtedly would not have
missed), placing the olive lamp on the wali near the fire, which reduced its role to subsidiary
in comparison with that of the fire. Having thus made his task easier he had as a result to
shift Mercury and Jupiter nearer the fire and, probably in order to avoid additional difficulties,
move Philemon to the right, the darkest part of the image21. The reversed lay-out is used with
modifications in the drawing at the Institut Neerlandais (Fig. 5)22.
20. Aecording to Weizsiieker (1936, pp. 9 and 195), the picture (authorial replica?) might have acted as a pattern for Goudt's
print that corresponds exactly to the former. This is a poial in faVour of the cxistence of yet anotlier oil version of the
Bubject, so frequenlly repeated in Elsheimer's circle. Cf. also Weizsiieker 1952, cat. n°. 43, p. 42
21. Apparently the gouache has most of the weaknesses characteristic of Goudt's drawings though it is exeeuted in an un-
typieal technicjue. Yet it is too early for any decisive attribntion yet because we know it only from reproduetion, and
so does M6hle (1966, cat. n°. 43, note 1, p. 146) who ascribes it to Elsheimer.
22. On the same subject, cf. Mohle 1966, p. 73.
8. Adam Elsheimer, Tobias and the Angel, gouache, 70x95 mm, Berlin-Dahlem, Staatliche
Museen, Kupferstichkabinett (Photo courtesy of the Staatliche Museen)
101
waiting on the visitors, were eertainly based on the concept of the Warsaw drawing. These
include works combining the Dresden variant with the Berlin-Warsaw version (Fig. 6),
and, e.g. the scenę at the Institut Neerlandais in Paris, a mutation of our composition (Fig. 5).
It includes the same fire-place with an aslant support of the bood, and a kettle suspended on
a chain within, and a cupboard with kitchen utensils and a jug on the top shelf placed in front
of the fire-place, and acting as a repoussoir. One has an impression that the gouache, recently
in the Houthakker collection (Fig. 7), having much in common with the Warsaw and Parisian
drawings, was the link between the twe While imitating the generał disposition of the Warsaw
version of Philemon and Baucis, and especially its left side with Baucis by the fire , the author
of the gouache is not consistent in his carrying out the interplay between the sources of light
throughout the composition (an opportunity which Elsheimer undoubtedly would not have
missed), placing the olive lamp on the wali near the fire, which reduced its role to subsidiary
in comparison with that of the fire. Having thus made his task easier he had as a result to
shift Mercury and Jupiter nearer the fire and, probably in order to avoid additional difficulties,
move Philemon to the right, the darkest part of the image21. The reversed lay-out is used with
modifications in the drawing at the Institut Neerlandais (Fig. 5)22.
20. Aecording to Weizsiieker (1936, pp. 9 and 195), the picture (authorial replica?) might have acted as a pattern for Goudt's
print that corresponds exactly to the former. This is a poial in faVour of the cxistence of yet anotlier oil version of the
Bubject, so frequenlly repeated in Elsheimer's circle. Cf. also Weizsiieker 1952, cat. n°. 43, p. 42
21. Apparently the gouache has most of the weaknesses characteristic of Goudt's drawings though it is exeeuted in an un-
typieal technicjue. Yet it is too early for any decisive attribntion yet because we know it only from reproduetion, and
so does M6hle (1966, cat. n°. 43, note 1, p. 146) who ascribes it to Elsheimer.
22. On the same subject, cf. Mohle 1966, p. 73.
8. Adam Elsheimer, Tobias and the Angel, gouache, 70x95 mm, Berlin-Dahlem, Staatliche
Museen, Kupferstichkabinett (Photo courtesy of the Staatliche Museen)
101