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#0087
artistic character of the artist to a much greater degree, betray only a very
general relationship with the “rudolphian” models. Only in two cases: an
Allegorical Scene (cat. no. 20) and in the lost depiction of Truth Threatened by
the Devil, Soaring up with Chronos, can Heidenreich be accused of copying
the compositional ideas and motifs directly from the drawings of Joseph Heintz
the Elder.35 Heidenreich’s contact with the painting and drawing manner of
these Prague artists who, like Spranger created “uyt den geest” following the
model of “ideal imitation”,36 led him to extend his canon of the human body in
keeping with the Mannerist model. It also underlined the ornamental aspect
of his works beyond their strictly representational level (cat. nos. 18v, 19v).
The manner in which the Wroclaw master used thin contour lines to gradually build
up the final shapes, particularly when drawing folds of fabric or parts of the
human body such as the shoulders or feet is in itself a testimony to his careful
Prague studies of the ink drawings of Hans von Aachen and Bartholomaeus
Spranger.1 The few remaining sketches of these artists "s closest resembling those
of Heidenreich in their combined technique and overall expression, may have
very well provided the Wroclaw artist with lessons in capturing the process of
inventing a new scene. Evidence of such lessons are to be found in his
sketchbook.
It is quite apparent that “rudolphian” inspiration influenced the work of
Heidenreich to a much greater degree than did his local artistic circle in
Wroclaw. The only visible characteristic linking Heidenreich’s work to the
drawings of local artists such as Peter Schmidt or Bartholomaeus Strobel the
Younger is, the particularly expressive character of reception of the accepted
“rudolphian” models underlined by art historians (cat. nos. 6, 18). In the case
of Heidenreich’s sketches, this phenomenon can be to a large extent explained
by their function. Looking at the drawings of both Heidenreich as well as those
of the rest of the mentioned Wroclaw artists, one gets the impression that this
local expressionism was a result of the adoption of the refined and elite
“rudolphian” Mannerist style by traditional guild artists who, never having
been to Italy, did not possess even the basics of classical academy training.
- Triumph of the Emperor’s Affair in Time from the Staatsgalerie in Stuttgart - Oszczanowski/
Gromadzki 1995, nos. 274, 275-276.
35 The figure of a woman kneeling in The Allegorical Scene is almost an identical redrawing of
Diana from Joseph Heintz the Elder’s Diana Discovers the Pregnancy of Kalisto (antique trade,
Paris) or of the drawing associated with this painting (Kupferstichkabinett, Berlin), see Zimmer
1988, no. A 59, ill. VI, 98. The drawing of Truth Threatened by the Devil, Soaring up with Chronos
is a compilation of motives from two of Heintz’s drawings that of Truth from Time Brings Truth
into the Daylight and that of Chronos from Allegory with Glory, Chronos, and Other Figures, see
Zimmer 1988, no. A 14, ill. 46 as well as A 38, ill. II, 74.
36 Kaufmann 1988, pp. 90-99.
37 For examples, see von Aachen’s Archangel Michael and The Resurrection of Christ (both at the
Moravska Galeria, Brno) as well as Spranger’s The Triumph of Athena over Jealousy and Ignorance
(Kunsthalle, Karlsruhe) - Fudikovâ 1987, ill. X VI, and 9.
38 For examples, please see Spranger’s The Allegory of Time and Art (Ossolineum, Wroclaw) as
well as his Amor and Psyche (Prentenkabinet, Leiden) - Fudikovâ 1987, ill. 8.
85
general relationship with the “rudolphian” models. Only in two cases: an
Allegorical Scene (cat. no. 20) and in the lost depiction of Truth Threatened by
the Devil, Soaring up with Chronos, can Heidenreich be accused of copying
the compositional ideas and motifs directly from the drawings of Joseph Heintz
the Elder.35 Heidenreich’s contact with the painting and drawing manner of
these Prague artists who, like Spranger created “uyt den geest” following the
model of “ideal imitation”,36 led him to extend his canon of the human body in
keeping with the Mannerist model. It also underlined the ornamental aspect
of his works beyond their strictly representational level (cat. nos. 18v, 19v).
The manner in which the Wroclaw master used thin contour lines to gradually build
up the final shapes, particularly when drawing folds of fabric or parts of the
human body such as the shoulders or feet is in itself a testimony to his careful
Prague studies of the ink drawings of Hans von Aachen and Bartholomaeus
Spranger.1 The few remaining sketches of these artists "s closest resembling those
of Heidenreich in their combined technique and overall expression, may have
very well provided the Wroclaw artist with lessons in capturing the process of
inventing a new scene. Evidence of such lessons are to be found in his
sketchbook.
It is quite apparent that “rudolphian” inspiration influenced the work of
Heidenreich to a much greater degree than did his local artistic circle in
Wroclaw. The only visible characteristic linking Heidenreich’s work to the
drawings of local artists such as Peter Schmidt or Bartholomaeus Strobel the
Younger is, the particularly expressive character of reception of the accepted
“rudolphian” models underlined by art historians (cat. nos. 6, 18). In the case
of Heidenreich’s sketches, this phenomenon can be to a large extent explained
by their function. Looking at the drawings of both Heidenreich as well as those
of the rest of the mentioned Wroclaw artists, one gets the impression that this
local expressionism was a result of the adoption of the refined and elite
“rudolphian” Mannerist style by traditional guild artists who, never having
been to Italy, did not possess even the basics of classical academy training.
- Triumph of the Emperor’s Affair in Time from the Staatsgalerie in Stuttgart - Oszczanowski/
Gromadzki 1995, nos. 274, 275-276.
35 The figure of a woman kneeling in The Allegorical Scene is almost an identical redrawing of
Diana from Joseph Heintz the Elder’s Diana Discovers the Pregnancy of Kalisto (antique trade,
Paris) or of the drawing associated with this painting (Kupferstichkabinett, Berlin), see Zimmer
1988, no. A 59, ill. VI, 98. The drawing of Truth Threatened by the Devil, Soaring up with Chronos
is a compilation of motives from two of Heintz’s drawings that of Truth from Time Brings Truth
into the Daylight and that of Chronos from Allegory with Glory, Chronos, and Other Figures, see
Zimmer 1988, no. A 14, ill. 46 as well as A 38, ill. II, 74.
36 Kaufmann 1988, pp. 90-99.
37 For examples, see von Aachen’s Archangel Michael and The Resurrection of Christ (both at the
Moravska Galeria, Brno) as well as Spranger’s The Triumph of Athena over Jealousy and Ignorance
(Kunsthalle, Karlsruhe) - Fudikovâ 1987, ill. X VI, and 9.
38 For examples, please see Spranger’s The Allegory of Time and Art (Ossolineum, Wroclaw) as
well as his Amor and Psyche (Prentenkabinet, Leiden) - Fudikovâ 1987, ill. 8.
85