DOI Artikel:
Kandt, Kevin E.: Some notes on two allegorical drawings attributed to Andreas Schlüter the Younger from the Jacob Kabrun collection in the National Museum of Gdańsk
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.43437#0180
Kevin
E. Kandt
Fig. 14. Andreas Schluter and Johann Georg Glume (?), A Relief from the
Sarcophagus for the Margrave of Brandenburg- Schwedt (c. 1712-1715), Berlin
Cathedral
The subject-matter and compositional design of this allegorical drawing is
not an image which readily lends itself to convenient categorization within
the artist’s most commonly-known works. Yet it can be noted that the
unusual quarter-view profile of the face, for example, had already been pre-
viously used by the sculptor during his Polish years on the vase-relief from
the Jakob Sobieski Tomb at the Parish Church in Żółkiew (Źolkwa) in the
Ukraine.55 (fig. 15)
Truly notable as well is the distinctive pose of the National Museum Time
figure, which seems extraordinary seen within the development of known works
by Schluter somehow even anticipating the Rococo style, since it actually com-
pares surprisingly well with paintings by Franęois Boucher.56 (fig. 16) These quali-
ties are, in fact, some less-commonly recognized Schliiterian traits found espe-
cially in his late-period work and foreshadow newer stylistic developments that
had begun to manifest in his art. For example, from the now-destroyed Villa von
55 For the figure in one-quarter profile view, compare: Kevin Kandt, Andreas Schluter and
Otto van Veen - The Source, Context and Adaptation of a Classicizing Emblem for the Tomb of
Jakub Sobieski, “Artium Quaestiones” 2000, t. 10, p. 44 (illustration 6a-b), 80.
56 In addition to this Brunette Odalisque (1745) in the Louvre, Paris, there are also the two
versions of the Resting Girl (Marie-Louise OMurphy) in the Wallraf-Richartz-Museum in Cologne
(1751) and in the Alte Pinakothek, Munich (dated 1752). Compare: Colin Baily, Meisterwerke der
Franzdsichen Genremalerei im Zeitaltervon Watteau, Chardin und Fragonard, exhibition catalogue,
Berlin and Cologne 2004, p. 236,244-245.
178
E. Kandt
Fig. 14. Andreas Schluter and Johann Georg Glume (?), A Relief from the
Sarcophagus for the Margrave of Brandenburg- Schwedt (c. 1712-1715), Berlin
Cathedral
The subject-matter and compositional design of this allegorical drawing is
not an image which readily lends itself to convenient categorization within
the artist’s most commonly-known works. Yet it can be noted that the
unusual quarter-view profile of the face, for example, had already been pre-
viously used by the sculptor during his Polish years on the vase-relief from
the Jakob Sobieski Tomb at the Parish Church in Żółkiew (Źolkwa) in the
Ukraine.55 (fig. 15)
Truly notable as well is the distinctive pose of the National Museum Time
figure, which seems extraordinary seen within the development of known works
by Schluter somehow even anticipating the Rococo style, since it actually com-
pares surprisingly well with paintings by Franęois Boucher.56 (fig. 16) These quali-
ties are, in fact, some less-commonly recognized Schliiterian traits found espe-
cially in his late-period work and foreshadow newer stylistic developments that
had begun to manifest in his art. For example, from the now-destroyed Villa von
55 For the figure in one-quarter profile view, compare: Kevin Kandt, Andreas Schluter and
Otto van Veen - The Source, Context and Adaptation of a Classicizing Emblem for the Tomb of
Jakub Sobieski, “Artium Quaestiones” 2000, t. 10, p. 44 (illustration 6a-b), 80.
56 In addition to this Brunette Odalisque (1745) in the Louvre, Paris, there are also the two
versions of the Resting Girl (Marie-Louise OMurphy) in the Wallraf-Richartz-Museum in Cologne
(1751) and in the Alte Pinakothek, Munich (dated 1752). Compare: Colin Baily, Meisterwerke der
Franzdsichen Genremalerei im Zeitaltervon Watteau, Chardin und Fragonard, exhibition catalogue,
Berlin and Cologne 2004, p. 236,244-245.
178