DOI Heft:
Nr. 3
DOI Artikel:Benesz, Hanna: Daniel and King Cyrus in front of Baal: a late Rudolfine and late Humanist painting by Bartholomäus Strobel from the collection of the National Museum in Warsaw
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.18940#0087
10. Bartholomaus Strobel, Daniel and King Cyrus in front of Baal, dctail, Wr.rsaw, Muzeum
Narodowe
The name of Spranger ga.ins here a symbolic meaning of a special inłieritance which will be clearly
seen in StrobeFs later oeuvre. It is also to this artist that Martin Opitz will compare Bartholo-
maus Strobel in a poem publishedin 1644:
,,Das dufiir allen biest zu Antorff sey Eubeen.
Den Spranger ruhme Prag und Holland seinen Veen
Auch Welschland den Urbin; dich kan mein Bresslaw zeigen"24.
Strobel's friendship with Opitz dates from around 1627. Strobel was at that time already
a well documented painter. In the years 1608—1624 he was a court painter of the Wrocław bishop
the arch-duke Karl von Habsburg. The sources from 1624, the year of StrobeFs marriage, mention
him as the ex-painter of two successive Emperors: Matthias and Ferdinand II. At his wedding,
Strobel was praised in Latin verses by Johannes Goltman and Jeremias Tschonder as the artist
who, besides the two sovereigns was also protected by the Polish king Sigismund III and the
duke Johann Georg von Sachsen.
The situation was comparable with Opitz, too. In 1625 he had a significant success at the
court of Vienha: he was crowned with a laurel honoring his poetical oeuvre. Two years later
Opitz was grantednobility by the Emperor Ferdinand II for the services rendered to the Habsburg
family. He was then working as sectretary to Karl Hannibal burgrave von Dohna, Imperial
Governor in Silesia, who was desperately fighting Protestants in his grim Counterreformation
24. Martin Opitz, Wcltliche Poemaia, Poclischc IFalrfcr, Frankfurt am Mciii, 1644, pp. 43—44; quotcd after E. Iwanoyko,
op. cif. p. 123. In the far fetched Words the poet praises here Strohcl'e position in his native town con.paring it to the
significance of Rubens for the city of Antwerp, Otto Yenius for Holland and RaphaePs for Italy.
72
Narodowe
The name of Spranger ga.ins here a symbolic meaning of a special inłieritance which will be clearly
seen in StrobeFs later oeuvre. It is also to this artist that Martin Opitz will compare Bartholo-
maus Strobel in a poem publishedin 1644:
,,Das dufiir allen biest zu Antorff sey Eubeen.
Den Spranger ruhme Prag und Holland seinen Veen
Auch Welschland den Urbin; dich kan mein Bresslaw zeigen"24.
Strobel's friendship with Opitz dates from around 1627. Strobel was at that time already
a well documented painter. In the years 1608—1624 he was a court painter of the Wrocław bishop
the arch-duke Karl von Habsburg. The sources from 1624, the year of StrobeFs marriage, mention
him as the ex-painter of two successive Emperors: Matthias and Ferdinand II. At his wedding,
Strobel was praised in Latin verses by Johannes Goltman and Jeremias Tschonder as the artist
who, besides the two sovereigns was also protected by the Polish king Sigismund III and the
duke Johann Georg von Sachsen.
The situation was comparable with Opitz, too. In 1625 he had a significant success at the
court of Vienha: he was crowned with a laurel honoring his poetical oeuvre. Two years later
Opitz was grantednobility by the Emperor Ferdinand II for the services rendered to the Habsburg
family. He was then working as sectretary to Karl Hannibal burgrave von Dohna, Imperial
Governor in Silesia, who was desperately fighting Protestants in his grim Counterreformation
24. Martin Opitz, Wcltliche Poemaia, Poclischc IFalrfcr, Frankfurt am Mciii, 1644, pp. 43—44; quotcd after E. Iwanoyko,
op. cif. p. 123. In the far fetched Words the poet praises here Strohcl'e position in his native town con.paring it to the
significance of Rubens for the city of Antwerp, Otto Yenius for Holland and RaphaePs for Italy.
72