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#0186
Kevin
E. Kandt
Fig. 20. Andreas Schluter (attributed), Detail from a Design for the Garden Faęade of the
Villa von Kameke (1711), pen and ink wash, Stiftung Preussische Schlosser und Garten -
Berlin/Brandenburg, Potsdam, repr. Aspekte der Kunst...
Yet one of them, showing Jupiter and Venus (fig. 22.), has itself been
a work of variously disputed authorship.65 While certain characteristics can be
assigned to Baroque-era drawing practices and techniques, the variety in the
kinds of media used and the resulting visual-effects seen in all the attributed
Schluter and Terwesten drawings bring even more diversity and dissimilarity
to the fore than real consistency with regard to a coherent “artistic signature”
when the works are examined more carefully.
In this case, one should also consider the fact that not all the later inscrip-
tions written on such drawings may necessarily be reliable proof of author-
ship, nor do they necessarily assist in accurately attributing or distinguishing
between work done by the master and/or his workshop followers.66 However,
65 The attribution to Terwesten was the third given to this drawing. It was formerly
considered to have been a work by Hans Rottenhammer II (1627-1668) and Johann Andreas
Wolff (1652-1716). It is currently listed as an anonymous 17th century German work. Many
thanks go to Ms. Sabine Wolfel of the Staatliche Graphische Sammlung in Munich for providing
me information on the earlier attributions. For the Terwesten attribution, see: Berckenhagen,
Zeichnungen von Augustin Terwesten..., p. 16-18.
66 Attribution problems of precisely this kind for early Baroque-period drawings are dealt
within: Andrzej Kozieł, Michael Willmann - i.e. DavidHeidenreich. The ‘Rudophinian Drawings
of Michael Willmann, “Bulletin du Musee National de Varsovie” 1997, vol. 38, no. 1-4, p. 66-93;
idem, Kozieł, Rysunki Michaela Willmanna [The Drawings of Michael Willmann] (1630-1706),
Wrocław 2000, p. 13-50.
184
E. Kandt
Fig. 20. Andreas Schluter (attributed), Detail from a Design for the Garden Faęade of the
Villa von Kameke (1711), pen and ink wash, Stiftung Preussische Schlosser und Garten -
Berlin/Brandenburg, Potsdam, repr. Aspekte der Kunst...
Yet one of them, showing Jupiter and Venus (fig. 22.), has itself been
a work of variously disputed authorship.65 While certain characteristics can be
assigned to Baroque-era drawing practices and techniques, the variety in the
kinds of media used and the resulting visual-effects seen in all the attributed
Schluter and Terwesten drawings bring even more diversity and dissimilarity
to the fore than real consistency with regard to a coherent “artistic signature”
when the works are examined more carefully.
In this case, one should also consider the fact that not all the later inscrip-
tions written on such drawings may necessarily be reliable proof of author-
ship, nor do they necessarily assist in accurately attributing or distinguishing
between work done by the master and/or his workshop followers.66 However,
65 The attribution to Terwesten was the third given to this drawing. It was formerly
considered to have been a work by Hans Rottenhammer II (1627-1668) and Johann Andreas
Wolff (1652-1716). It is currently listed as an anonymous 17th century German work. Many
thanks go to Ms. Sabine Wolfel of the Staatliche Graphische Sammlung in Munich for providing
me information on the earlier attributions. For the Terwesten attribution, see: Berckenhagen,
Zeichnungen von Augustin Terwesten..., p. 16-18.
66 Attribution problems of precisely this kind for early Baroque-period drawings are dealt
within: Andrzej Kozieł, Michael Willmann - i.e. DavidHeidenreich. The ‘Rudophinian Drawings
of Michael Willmann, “Bulletin du Musee National de Varsovie” 1997, vol. 38, no. 1-4, p. 66-93;
idem, Kozieł, Rysunki Michaela Willmanna [The Drawings of Michael Willmann] (1630-1706),
Wrocław 2000, p. 13-50.
184