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#0089
12. Bartholomaus Strobel, Daniel and King Cyrus in front of Baal, detail, Warsaw, Muzeum
Narodowe
and working in several cities in Western and Northern parts of Poland: Gdańsk, Elbląg and
Toruń, where he problably died around 1660. What was the formal situation of the artist's con-
fession while in Poland, it is hard to say. There is however, a very interesting supposition proposed
by L. Meyer concerning the collaboration of Strobel and Opitz on the conception of the monu-
mental Prado's Feast of Herodes-7, which also seems to confirm StrobeFs Protestantism. The
painting, under the cover of apparent biblical subject, supposedly shows a vast war theatre of
the years 1610—1639 with all parties involved, attacking the Catholic party and disgracing it
without mercy. It was painted around 1640, w'hilst Strobel was already in the services of the
Polish — Catholic — king. This fact may also throw some light upon the interpretation of the
Daniel and Baal painting in its ieonological level. The sombre figurę of the Baal's high priest,
26. DaCosta Kaufmann, op. cii. nos. 20.14; 20.15; 20.17; 20.26.
27. Ludwig Meyer, TheatTum Europaeum 1610—1639. Das grosse Kriegstheatcr in Europa, manuscript 1989. The author iden-
tified the majority of persona presented in the painting and showed the conflicting inter-rclations of particular groups
of the Catholic and Protestant parties. Meyer's conception and results were further elaborated and revised in a paper
given be Jacek Tylicki, who works on a new monograph of B. Strobel, at the annual session of Po'ish Art Historians
Association, Gdańsk, September 1991: Humanizm anno 1639. Obraz Bartłomieja Strobhi ,Uczla u Heroda' ic madryckim
Prado.
74
Narodowe
and working in several cities in Western and Northern parts of Poland: Gdańsk, Elbląg and
Toruń, where he problably died around 1660. What was the formal situation of the artist's con-
fession while in Poland, it is hard to say. There is however, a very interesting supposition proposed
by L. Meyer concerning the collaboration of Strobel and Opitz on the conception of the monu-
mental Prado's Feast of Herodes-7, which also seems to confirm StrobeFs Protestantism. The
painting, under the cover of apparent biblical subject, supposedly shows a vast war theatre of
the years 1610—1639 with all parties involved, attacking the Catholic party and disgracing it
without mercy. It was painted around 1640, w'hilst Strobel was already in the services of the
Polish — Catholic — king. This fact may also throw some light upon the interpretation of the
Daniel and Baal painting in its ieonological level. The sombre figurę of the Baal's high priest,
26. DaCosta Kaufmann, op. cii. nos. 20.14; 20.15; 20.17; 20.26.
27. Ludwig Meyer, TheatTum Europaeum 1610—1639. Das grosse Kriegstheatcr in Europa, manuscript 1989. The author iden-
tified the majority of persona presented in the painting and showed the conflicting inter-rclations of particular groups
of the Catholic and Protestant parties. Meyer's conception and results were further elaborated and revised in a paper
given be Jacek Tylicki, who works on a new monograph of B. Strobel, at the annual session of Po'ish Art Historians
Association, Gdańsk, September 1991: Humanizm anno 1639. Obraz Bartłomieja Strobhi ,Uczla u Heroda' ic madryckim
Prado.
74