DOI Artikel:
Sulewska, Renata: Augsburskie wzory wyposażenia kościołów Prus Królewskich w drugiej połowie XVIII w.
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.43437#0036
Renata
Sulewska
Augsburg Furnishings Patterns
Numerous Rococo furnishings elements in the churches in Royal Prussia were
made following “ornamental prints” published in the printing houses in Augsburg,
a leading centre of graphic art production in 18th-century Europe, which perfectly tes-
tifies to the enormous impact those works had when used as patterns. Artists using the
Augsburg prints as a source of inspiration found them extremely stimulating in view
of their “thematic” variety The forms of the preserved altars, pulpits, baptismal fonts,
or organ casings, confirm that it was the prints by Franz Xaver Habermann which
enjoyed the highest popularity (possibly also due to the number of published prints),
although works by other artists were also known, e.g., by Joseph Anton Feucht-
mayer, Carl Ignaz Junck, Emanuel Eichel (1717-1782), Christian Friedrich Rudolph
(1692-1754) Jeremias Wachsmuth (1711 (?)—1771), Johann Joseph Obrist (d, 1756),
the Klaubers (Joseph Sebastian, ca. 1700-1768; Johann Baptist 1712- afterl787).
Pattern-derived works from Royal Prussia dependant on the Augsburg “ornamen-
tal prints” illustrate well the possible ways of model adaptation: from their faithful
repetition, through slight modifications (elements added or reduced), up to the appli-
cation of single motifs, though occasionally in different interpretation, in works of
a totally different character. It should additionally be strongly emphasized that the
Augsburg “ornamental prints” served as an important source of inspiration for figural
sculpture complementing architectural structures.
Through the formal analysis of the works executed following the patterns it can
be concluded that their impact is not to be associated with the oeuvre of one mas-
ter only, while the same prints formed part of the collections of different workshops.
Furthermore, a work, itself copying an “ornamental print”, may have turned into
a source of inspiration for another one, hence cases when several projects across Royal
Prussia refer to one pattern, yet they cannot be associated with one single workshop.
It also remains unresolved whether the use of certain “ornamental prints” as a source
of inspiration for the works created in Royal Prussia in the latter half of the 18th century
was the works authors choice or maybe the works founders selection.
The application of patterns published by Augsburg publishers in woodcarving
in Royal Prussia in the second half of the 18th century constitutes an issue which per-
fectly fits the broader phenomenon of the impact of the prints published there or, even
more widely, of the art of southern Germany that could be observed throughout the
Polish-Eithuanian Commonwealth.
Sulewska
Augsburg Furnishings Patterns
Numerous Rococo furnishings elements in the churches in Royal Prussia were
made following “ornamental prints” published in the printing houses in Augsburg,
a leading centre of graphic art production in 18th-century Europe, which perfectly tes-
tifies to the enormous impact those works had when used as patterns. Artists using the
Augsburg prints as a source of inspiration found them extremely stimulating in view
of their “thematic” variety The forms of the preserved altars, pulpits, baptismal fonts,
or organ casings, confirm that it was the prints by Franz Xaver Habermann which
enjoyed the highest popularity (possibly also due to the number of published prints),
although works by other artists were also known, e.g., by Joseph Anton Feucht-
mayer, Carl Ignaz Junck, Emanuel Eichel (1717-1782), Christian Friedrich Rudolph
(1692-1754) Jeremias Wachsmuth (1711 (?)—1771), Johann Joseph Obrist (d, 1756),
the Klaubers (Joseph Sebastian, ca. 1700-1768; Johann Baptist 1712- afterl787).
Pattern-derived works from Royal Prussia dependant on the Augsburg “ornamen-
tal prints” illustrate well the possible ways of model adaptation: from their faithful
repetition, through slight modifications (elements added or reduced), up to the appli-
cation of single motifs, though occasionally in different interpretation, in works of
a totally different character. It should additionally be strongly emphasized that the
Augsburg “ornamental prints” served as an important source of inspiration for figural
sculpture complementing architectural structures.
Through the formal analysis of the works executed following the patterns it can
be concluded that their impact is not to be associated with the oeuvre of one mas-
ter only, while the same prints formed part of the collections of different workshops.
Furthermore, a work, itself copying an “ornamental print”, may have turned into
a source of inspiration for another one, hence cases when several projects across Royal
Prussia refer to one pattern, yet they cannot be associated with one single workshop.
It also remains unresolved whether the use of certain “ornamental prints” as a source
of inspiration for the works created in Royal Prussia in the latter half of the 18th century
was the works authors choice or maybe the works founders selection.
The application of patterns published by Augsburg publishers in woodcarving
in Royal Prussia in the second half of the 18th century constitutes an issue which per-
fectly fits the broader phenomenon of the impact of the prints published there or, even
more widely, of the art of southern Germany that could be observed throughout the
Polish-Eithuanian Commonwealth.