DOI Artikel:
Kozieł, Andrzej: Michael Wilmann - i. e. David Heidenreich: the "Rudolphian" drawings by Michael Willmann
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.18946#0079
9. D. Heidenreich, Burial
of a Body in the
Presence of God and the
Soul of the Dead,
Stuttgart, Staatsgalerie;
cat. no. 14v
(Phot. Staatsgalerie,
Stuttgart)
a waterfall and a fisherman (cat. no. 14r) most likely inspired by the drawings
of Roe I ant Savery, is akin to the layout illustrating fragment of Psalm 73 (cat.
no. 3). The illustrations accompanying fragments of the ancient text “Amor
and Psyche” written by Apuleus of Madaura (cat. nos. 15, 17r) on the other
hand, as well as the visual concepts of scenes with typically mythological (Venus
and Baachns, cat. no. 19v) or allegorical (Industria et Dignitas, cat no. 11 or
the Seven Arts Liberated, cat. no. 5r) character are adjoining sketches of
religious scenes such ats the Resurrection (cat. no. 18r), Christ Child Holding
a Cross (cat. no. 1 lv), or Memento Mori (cat. no. 15).
The bank of visual concepts accumulated by the artist in his sketchbook
completed pieces that, as one can well imagine, transmitted his own personal
beliefs. Next to the projects of two twin scenes, featuring the Allegory
of Painting and Melancholy (cat. nos. 9 and 10), which may provide
a commentary on Heidenreich’s own art, sketches with subject-matter directly
referring to the artist’s personal religious beliefs such as, allegorical figures of
Honour and Veritas and Justicia and Pax accompanied by a longer inscription
77
of a Body in the
Presence of God and the
Soul of the Dead,
Stuttgart, Staatsgalerie;
cat. no. 14v
(Phot. Staatsgalerie,
Stuttgart)
a waterfall and a fisherman (cat. no. 14r) most likely inspired by the drawings
of Roe I ant Savery, is akin to the layout illustrating fragment of Psalm 73 (cat.
no. 3). The illustrations accompanying fragments of the ancient text “Amor
and Psyche” written by Apuleus of Madaura (cat. nos. 15, 17r) on the other
hand, as well as the visual concepts of scenes with typically mythological (Venus
and Baachns, cat. no. 19v) or allegorical (Industria et Dignitas, cat no. 11 or
the Seven Arts Liberated, cat. no. 5r) character are adjoining sketches of
religious scenes such ats the Resurrection (cat. no. 18r), Christ Child Holding
a Cross (cat. no. 1 lv), or Memento Mori (cat. no. 15).
The bank of visual concepts accumulated by the artist in his sketchbook
completed pieces that, as one can well imagine, transmitted his own personal
beliefs. Next to the projects of two twin scenes, featuring the Allegory
of Painting and Melancholy (cat. nos. 9 and 10), which may provide
a commentary on Heidenreich’s own art, sketches with subject-matter directly
referring to the artist’s personal religious beliefs such as, allegorical figures of
Honour and Veritas and Justicia and Pax accompanied by a longer inscription
77