The function of Michael Willmann’s drawings

Fig. 1 (right): J. Gregory according to M. Will- mann, The Holy Family with Young St. John the Baptist, 1795, Prague, National Gallery, Photo by the gallery.

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Andrzej Koziel

The Function of Michael Willmann's Drawings' 1

* This article presents part of the results of the research project Michael Willmann Drawings (No. lHOlE 005 10) supported by Commitee of Scientific Research (Komitet Badan Nauko- ivych).

T h e f u n d a m e n t a l issue o f i n t e r d e p e n d e n c e o f the f o r m o f d r a w i n g s a n d their f u n c t i o n has attracted surprisingly little a t t e n t i o n in h i t h­

erto c o n d u c t e d research o n M i c h a e l W i l l ­ m a n n ' s drawings. T h o u g h as far b a c k as i n 1919 J o s e p h M e d e r in his i n c o m p a r a b l e w o r k w a r n e d against treating d r a w i n g as einheit- liche Kunstgattung [. . .], als etwas Absolutes, r e c o m m e n d i n g : Vor jeder Zeichnung f. . .]

nach Zweck, Absicht oder Bestimmung frageri, a l o n g lasting line o f the description o f W i l l ­ m a n n ' s drawings has been established b y the picture o f W i l l m a n n as a r o m a n t i c genius- creator, v e h e m e n t visionary, expressing i n art his religious exultation - the picture suggesti­

vely sketched b y Ernst Kloss in his f u n d a ­ m e n t a l m o n o g r a p h o f the artist . T h u s n o t ­ w i t h s t a n d i n g the o b v i o u s " s u b s i d i a r y " char­

acter o f the existing W i l l m a n n ' s w o r k s , they were treated a l m o s t as an a u t o n o m o u s f o r ­ m u l a o f the artist's creation'. T h e f o r m a l v a ­ riety o f the w o r k s was to n o effect described b o t h i n the categories o f the e v o l u t i o n o f style a n d as an expression o f the artist, a b o u t w h o m H u b e r t u s L o s s o w as late as in 1 9 9 4 w r o t e that es verging wohl kaum ein Tag in sei- nem Leben, an dem er nicht gezeichnet hat.

T h e present paper - a belated effort to gain an answer for the postulated b y M e d e r ele­

m e n t a r y q u e s t i o n — s h o w s the d r a w i n g activ­

ity o f the artist i n a n e w light. I n all p r o b a b i l ­

ity, W i l l m a n n w a s n o t such a passionate d r a u g h t s m a n as it was t h o u g h t until recently.

H i s less n u m e r o u s l y p r o d u c e d drawings in fact seem to originate rather f r o m a deeply- rooted g u i l d tradition a n d w o r k s h o p praxis, than c o n c e i v e d in the category o f disegno cre­

ation o f a m o d e r n artist.

A g r o u p o f m o s t l y lost R e m b r a n d t e s q u e d r a w i n g s b y W i l l m a n n , k n o w n f r o m the fac­

simile series b y J o s e p h G r e g o r y f r o m the e n d o f 18th century', o c c u p i e d a special place in the artist's ceuvre. A n e x t r e m e l y sketchy as­

pect o f those w o r k s as well as the lack o f c o n ­ n e c t i o n w i t h the paintings r a n k e d t h e m , ac­

c o r d i n g to the J a r o m i r N e u m a n n ' s expres­

sion, as the drawing monologue o f the artist - the apogee o f the d r a w i n g o u t p u t o f W i l l ­ m a n n " . T h a t r o m a n t i c m o n o l o g u e in reality t u r n e d o u t to be a p r a g m a t i c d i a l o g u e o f y o u n g W i l l m a n n , s t u d y i n g in A m s t e r d a m the r u d i m e n t s o f c o m p o s i t i o n , w i t h the ac­

cessible art o f m a i n l y Italian Renaissance, available for h i m in the f o r m o f engravings . A c c o r d i n g to the b i o g r a p h y o f the artist p u b ­ lished in the Latin e d i t i o n o f J o a c h i m v o n Sandrart's Teutsche Academic W i l l m a n n , w h o c o u l d n o t a f f o r d apprenticeship at a very fa­

mous master's, b o u g h t a set o f " p r o t o t y p e s " , basing o n w h i c h , a d o p t i n g the methods of Ja­

cob Backer and also of Rembrandt and others, started very severe exercises.

Originalveröffentlichung in: Barockberichte : Informationsblätter aus dem Salzburger Barockmuseum zur bildenden Kunst des 17. und 18.

Jahrhunderts, 20/21 (1998), S. 231-240

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Fig. 2 (above left): J. Gregory according to M.

Willmann, The Birth of Mary, 1794, Prague, National Gallery, Photo by the gallery.

Fig. 3 (below left): J. Gregory according to M.

Willmann, The Massacre of the Innocents, 1794, Prague, National Gallery, Photo by the gallery.

Fig. 4 (above right): M. Willmann, Six Days of Creation, 1668, Warsaw, National Library, Photo by the library.

That autodidactics of his was begun by a ru­

dimentary practice, namely the study of sin­

gle figure or a group of several figures, such as for example The Holy Family with St. John the Baptist [fig. 1], based on the engraving by M. Rota after Tycian (II. Bartsch 2). Next step Willmann learned was to ameliorate thus copied scenes by adding onto them new human figures. For example, the scene The Birth of Mary [fig. 2], copied in its entirety from rhe anonymous engraving after G. Ro­

mano (II. Bartsch 6), was developed by the addition of three figures placed in the back­

ground. The most creative exercise by Will­

mann were the efforts to make a totally new composition by an appropriate arrangement of separate fragments of one or two engrav­

ings. A dynamic but uniform and balanced composition of the exemplary drawing The Massacre of the Innocents [fig. 3] was created by compiling single figures and groups re­

drawn from the two engravings: by M. Den- ta after B. Bandinelli (II. Bartsch 21) and by Ph. Galle after F. Floris (II. Bartsch 29). Thus the emphasized by the researchers sketchy form of those works in fact appears to result from rhe specific compositional interpreta­

tion of the graphic "prototype". In other words, it ensues directly from the attempt to capture in a model those elements and their connecting relations which constitute - in Willmann's own term - Ordinanz of the vi­

sual representation . It is not known for how long after having left Amsterdam Willmann continued making such compositional sketches. Undoubtedly, they were purpose­

fully kept by the artist and together with his

collection of the graphic "prototypes", ac­

companied him in his later artistic career.

In 1660 Willmann settled down in Leubus in Silesia upon the invitation of the abbot of the local Cistercian monaster)', Arnold Frei- berger. This fact precipitated the period of intense creative activity of the artist, marked by unremitting work for numerous catholic and protestant customers, as well as for secu­

lar founders. The necessity of prompt coping with the flood of orders made Willmann effi­

ciently reorganize his workshop. Most prob­

ably, already since the work on the first part of the Leubuser martyrdom series (1661—62) the painter hired for larger orders additional collaborators" while the very process of pro­

duction of a standard religious picture be­

came extremely simplified. Most of large-for­

mat canvases meant for church interiors were left in the form of rough sketches, where very often beneath a layer of paint a bole ground could be seen. The inventive phase of the work was no less simplified by the extensive use of the artist's collection of graphic mod­

els and Willmann's artistic skill, gained through the aforementioned Amsterdam practice. In this way, the composition of a picture consisted of assembling suitable "pro­

totypes", which Willmann copied in their entirety, as was the case with the lost Angels' Pieta from 1661, based on the anonymous engraving after Otto van Veen (Holl. 3), or compiled from their fragments a new work of art. The latter procedure is evidenced for example by The Martyrdom of St. Andrew from 1662, based on the engraving by A.

Voet II according to Rubens, enlarged by

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1692, Berlin, Staatliche Museen zu Berlin, Kupferstichkabinett, Photo by Jorg P. Anders.

Fig. 6 (above left): M. Willmann, Abraham's Sacrifice, Berlin, Staatliche Museen zu Berlin, Kupferstichkabinett, Photo by Jorg P. Anders.

Fig. 7(above): M. Willmann, The Model of a Sitting Woman with Stud­

ies of Feet, Warsaw, National Museum, Photo by the museum.

Fig. 8 (below left): J. Eibelwieser, The Models of Heads, Berlin, Staatliche Museen zu Berlin, Kupferstichkabinett, Photo by Jorg P. Anders.

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adding among else the figure of the kneeling man, adopted from L. Vosterman's engrav­

ing, also according to Rubens (Holl. 88).

Noteworthy is the fact that only two Will- mann's drawings are known, which are di­

rectly connected with the phase of the artist's work on composition and its transfer onto the support of the prepared picture: the pre­

cisely rendered Six Days of Creation [fig. 4]

and the more sketchy work The Ancestors of St. Joseph [fig. 5]". Moreover, both works were created during the realisation of partic­

ular orders - a canvas with a large number of small details' and fresco decoration in St. Jo­

seph church in Griissau", which required rhe prior preparation of a cartoon. This, o f course, does not rule out rhe possibility that some general compositional sketches of the paintings were prepared by the artist and af­

ter having been made use of, discarded or re­

used as a surface for a new drawing. In my opinion, however, it is more likely that Will- mann, widely availing himself of graphic

"prototypes", made compositional sketches for his pictures only sporadically, in special cases, while his staple procedure was to make a contour brush sketch directly on the grounded surface of the painting, in the un-

derpainting layer. Apart from the sketchy, nearly alia prima formula of working out the paintings another argument supporting this hypothesis is the way Willmann's "master ", Rembrandr, worked. According to the latest findings of the Netherlandish team of re­

searchers, Rembrandt supplanted the prepar­

atory drawing on paper by a monochromaric brush sketch in oil made directly on the sur­

face of the grounded support".

Willmann seems to have made mote often drawings which were not connected with any particular painting but were supposed to complete his bank of graphic models - the

w o r k s , to w h i c h the painter's o w n phrase - Inventionis c o u l d be applied. T h i s m a y have been the f u n c t i o n o f the u n p u b l i s h e d so far representation o f Abraham's Sacrifice [fig. 6 ] . T h e scene was a c c o m p a n i e d b y an extensive artist's c o m m e n t a r y w h i c h , as I s u p p o s e , c o u l d have p o i n t e d o u t subjects o f the scenes for the f u t u r e use o f the d r a w i n g as a " p r o t o­ t y p e " o f c o m p o s i t i o n ". A p a r t f r o m the e n u ­ m e r a t i o n o f the six b u r n t - o f f e r i n g s f r o m rhe O l d T e s t a m e n t , together w i t h a m e t i c u l o u s i d e n t i f i c a t i o n of their biblical source, o n the back o f the d r a w i n g s o m e a d d i t i o n a l notes c o n c e r n i n g the age o f the biblical persons as well as the q u a n t i f y , species a n d the age of the sacrified a n i m a l s were a n n o t a t e d . O n e of the inscriptions: /sac ist 25 Jahr alt [. . .] da er solten geschlachtet werden c o u l d have been for W i l l m a n n the clue c o n d u c t i n g h i m to m a k e use of Abraham's Sacrifice as o n e o f the m o d ­ els for The Ancestors of Joseph [fig. 5], specifi­

cally a silhouette o f k n e e l i n g Isaac.

T h i s set o f g r a p h i c a n d d r a w i n g c o m p o s i ­ tional m o d e l s , w h i c h was the basis o f the f u n c t i o n i n g o f the painter's w o r k s h o p , w a s

surely s u p p l e m e n t e d b y s o m e m o d e l s o f the representation o f a single h u m a n figure, such as for e x a m p l e The Model ofia Sitting Woman with Studies of Teet"' [fig. 7 ] , a n d also b y d r a w i n g sets o f " p r o t o t y p e s " o f heads a n d o t h e r e l e m e n t s o f h u m a n b o d y . A l t h o u g h w e are n o t i n t h e possession o f a u t h e n t i c W i i l - m a n n ' s d r a w i n g s o f this type, there are s i x ­ teen d r a w i n g s m a d e b y his associate, J o h a n n Eibelwieser f r o m Breslau, till n o w ascribed to W i l l m a n n [fig. 8]' . T h o s e d r a w i n g s a l l o w us t o infer that W i l l m a n n , f o l l o w i n g in the steps o f R e m b r a n d t " , used to m a n u f a c t u r e this type o f w o r k s serving as w o r k s h o p m o d ­ els for his apprentices a n d associates.

T h e h i t h e r t o c o n d u c t e d research o n W i l l ­ m a n n arristic activity has revealed b u t scarce reflections o n the m o d e l o f f u n c t i o n i n g o f the m u l t i - p e r s o n a l artist's w o r k s h o p . T h e lack o f a n y holistic e x a m i n a t i o n s o f t h e p a i n t i n g oeuvre b y W i l l m a n n a n d his circle t u r n s us to t h e w o r d s o f the artist h i m s e l f , recorded i n the o n e o f the letters to the a b b o t o f Sedlec, H e i n r i c h S n o p e k . W i l l m a n n , rec­

o m m e n d i n g his stepson a n d p u p i l J o h a n n

Tig. 9 (above left): M. Willmann, An Apostle, before 1692, Warsaw, National Museum, Pho­

to by the museum.

Tig. 10 (above right): M. Willmann, The As­

sumption of Mary, 1702, Berlin, Staatliche Museen zu Berlin, Kupferstichkabinett, Photo by /org P. Anders.

Tig. 11 (opposite above): M. Willmann, Christ Healing the Sick, 1676—78, Vienna, Gra- phische Sammlung Albertina, Photo by the

Graphische Sammlung Albertina.

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Christoph Liska, as a fully self-dependent painter stressed that . . . mein Stieffsohn brancht auch weder meiner Modelley noch In- ventionis . . This meant that Liska, already as a student and associate of his step-father not only have used the set of master's com­

positional ideas but also, that working on a picture, he needed a previously prepared Modell — as can be assumed from the corre­

spondence — an oil sketch1. This in turn im­

plies that the preparation of final models of the realised by Willmann paintings took place in a technique much easier, faster and having more potential than drawing - an oil sketch made on canvas or paper. A consider­

able amount of preserved sketches - we are cognizant of seventeen retrospective pieces [fig. 9] - indicates clearly that this type of procedure was a constant element in the functioning of the painter's workshop"'.

Neumann supposed that the oil model of the painting The Martyrdom of St. Philip and Ja­

cob for Sedlec was sent by Willmann for ac­

ceptance to the abbot Snopek . It seems however, that presenting oil sketches of the ordered works to the founders, if ever hap­

pened, was sporadic. It may have taken place with the respect to an abbot of the monastery where Willmann's workshop realised the or­

der. T h e analysis of the preserved corre­

spondence between Willmann and the abbot Snopek, as well as the letters sent by the ab­

bot of the Cistercian monastery in Camenz to the painter, his widow and his step-son"' makes ground for the hypothesis that Will­

mann presented the projects of the works to the not-Leubus customers using the means of drawings on paper. However, the preparation of such work, referred to in the letters as Ent- wurff, was restricted to the paintings most important to the founder. Among the six pic­

tures sent to the abbot Snopek, only the painting meant for the main altar of the new monastery church, was proceeded by two, not extant drawings, which were the design of the work. Similarly, out of the eleven pic­

tures ordered for the monastery church in Camenz only The Assumption of Alary from the main altar had been as an Entwurff pre­

sented for approval to the abbot Gerard Woi- wode. O n the basis of such drawings foun­

ders expressed to the artist their opinion of works. The abbot of Camenz, very content of the received work, which most probably was Berlinian Assumption [fig. 10], ordered the execution of the project but aufler dafider heyl. Geist, so im oberen Blathe [. . .] kommei\

which was taken into account by the artist in the painting25. T h e accepted drawn Entwurff used to be most probably kept by the foun­

ders, or, in the case of signed contract, used to be enclosed with it. From the above pre­

sented facts it seems right to conclude that a group of Willmann's drawings, formally cor­

responding to the Berlinian Assumption, which means works of relatively completed form, made sometimes on blue paper and characterized by the high degree of conform- ability with the corresponding Willmann's paintings - for example Vienna's Christ Healing the Sick [fig. 11] or signed The Apo­

theosis of the Great Kurfirst from Braunsch­

weig '" - are precisely these drawings, which were sent to the foreign founders as Ent­

wurff.

That set of works, constituting a separate for­

mal modus, should be enlarged by the nu­

merous preserved drawn projects to engrav­

ings made by mainly Augsburger and Ntirn- berger engravers. These works represented mostly religious themes, such as a series of il­

lustrations to the Griissauer Passionsbuch', depictions of Cistercian saints1*, or, realised graphically only in the second half of the 18th century, cycle Joys and Sorrows of St. Jo­

seph'". Those drawings, made by Willmann to the order of the editors of the engravings - the abbots of the Cistercians monasteries, es­

pecially Bernard Rosa from Griissau, formal­

ly fluctuated from relatively precise, meant

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% 72 (below left): M. Willmann, St. Benedict, 1686-88, Oslo, Nas­

jonalgalleriet, Photo by J. Lathion, © Nasjonalgalleriet.

Fig. 13 (above left): M. Willmann, Christ Meeting His Mother, 1678- 82, Stuttgart, Staatsgalerie, Photo by the gallery.

Fig. 14 (above): M. Willmann, The Apotheosis of Joachim von Sand- rart, 1682, Vienna, Graphische Sammlung Albertina, Photo by the Graphische Sammlung Albertina.

Fig. 15 (opposite above): M. Willmann, The Adoration of Mary as Em­

press and Queen of Austria, 1668, Oslo, Nasjonalgalleriet, Photo by J.

Lathion, ©Nasjonalgalleriet.

f o r g a i n i n g t h e f o u n d e r ' s a c c e p t a n c e l i n e a r EntwMrj^formula — s u c h as for e x a m p l e t h e u n p u b l i s h e d so far d r a w i n g St. Benedict [fig. 12] f r o m t h e C i s t e r c i a n saints series30 — to the f l u i d , b r u s h - p a i n t e d sketches, such as Christ Meeting His Mother [fig. 13] f r o m the p a s s i o n cycle3', w h i c h r e s e m b l e d i n f o r m oil Modells, m a d e b y the artist for his c o l l a b o r a­ tors.

T h e e l a b o r a t e d f o r m o f d r a w n Entwurffs, w h i c h as c o m p l e t e d r a w i n g s surely h a d a n i m p a c t o n t h e f o u n d e r also b y t h e a u t h o r ' s artistic skill, c o r r e s p o n d e d t o a large e x t e n t t o t h e f o r m a l s h a p e o f W i l l m a n n ' s a u t o n o ­ m o u s d r a w i n g s . The Apotheosis of Joachim von Sandrart [fig. 14], e n c l o s e d w i t h t h e f l a t t e r i n g lettet t o t h e a u t h o r o f Teutsche Academic1 was g i v e n the shape s u r p r i s i n g l y c o n f o r m a b l e w i t h the expressed b y S a n d r a r t in his w o r k preferences as far as the f o r m o f the d r a w i n g was c o n c e r n e d . M e t i c u l o u s l y elaborated b y W i l l m a n n f o r e g r o u n d w i t h the central figure o f S a n d r a r t seems t o p l e a d the c o m p l i m e n t fleissigused b y Sandrart w i t h the respect t o t h e d r a w i n g s b y Dtirer a n d A l d e - grever, o r the w o r d s o f appraisal w r i t t e n a b o u t H o l b e i n ' s anticlerical w o r k s : anf das alleremsigste und sorgfaltigste". A l t h o u g h the

b a c k g r o u n d parts o f the d r a w i n g were n o t so elaborated a n d W i l l m a n n , as i f k n o w i n g Sandrart's negative a t t i t u d e to a n y t h i n g un- ausgesonnen o r wild-durchgangen, self-critical- ly a d m i t t e d in the letter that t h e d r a w i n g is an villen orten sehr gestimppelf', the d r a w n Apotheosis m u s t h a v e been so e v o c a t i v e o f the skill o f the master o f L e u b u s that Sandrart, p r o b a b l y n o t k n o w i n g a n y o t h e r W i l l m a n n ' s w o r k , d e c i d e d t o place his b i o g r a p h y in the L a t i n e d i t i o n o f his w o r k , p u b l i s h e d a year later.

T h e f o r m u l a o f fleissig elaborated pen d r a w ­ i n g was m o s t p r o b a b l y utilised b y W i l l m a n n also in w o r k s e x e c u t e d o n orders, as i n d e ­ p e n d e n t d r a w i n g s . T h e u n p u b l i s h e d so far presentative d r a w i n g , d e p i c t i n g The Adora­

tion of Mary as Empress and Queen [fig. 1 5 ] "

c a m e i n t o b e i n g p r o b a b l y o n t h e order o f the cardinal Friedrich v o n H e s s e n , p o s e d in t h e b o t t o m left c o r n e r o f the scene as a w o r s h i p ­ per a n d signed as der Canonicus fridericus.

T h i s adorable W i l l m a n n ' s w o r k was m a d e in 1 6 6 8 o n the ocassion o f the cardinal's a p ­ p o i n t m e n t to t h e post o f cathedral d e a n in W r o c l a w a n d was p r o b a b l y m e a n t t o be p r e ­ sented to the e m p e r o r in order t o g a i n his s u p p o r t for Friedrich's exertions for the post

o f the b i s h o p o f W r o c l a w3" . T h i s m u s t have been the p r o c e d u r e resorted t o q u i t e o f t e n b y the Silesian clergy in o r d e r t o secure the e m ­ peror's grace because f o u r years later a b b o t R o s a , p l e a d i n g w i t h e m p e r o r L e o p o l d I as a representative o f Silesian states the l o w e r i n g o f taxes, gave the e m p e r o r a costly W i l l ­ m a n n ' s p i c t u r e The Return of Holy Family from Egypt'. I f the o r d e r e d at W i l l m a n n ' s d r a w i n g really was t o b e g i v e n t o the e m p e ­ ror, that m e a n t the highest possible at t h e t i m e appraisal o f the artist's skill as d r a u g h t s ­ m a n . T r e a t i n g t h e d r a w i n g , m a d e as Sandrart w o u l d h a v e said, mit Kunst und Fleiss, as a w o r k w h i c h c o u l d secure e m p e r o r ' s s u p p o r t , in fact e q u a l l e d a u t o n o m o u s d r a w i n g s b y W i l l m a n n w i t h his p a i n t i n g s as a f o r m o f art­

istic expression. T h a t h i g h artistic v a l u e o f the d r a w i n g was e m p h a s i s e d b y W i l l m a n n h i m s e l f b y g i v i n g the w o r k truly " p i c t o r i a l "

d i m e n s i o n s ( 4 3 0 x 6 2 0 m m ) as well as b y s i g n i n g in the b o t t o m left corner, u n d e r the figure of the f o u n d e t , w i t h the full s i g n a t u t e in L a t i n version, reserved for l a r g e - f o r m a t etchings a n d m o r e i m p o r t a n t p a i n t i n g s - w o r k s , w h i c h as has been w r i t t e n in the b i o g ­ r a p h y o f the master, made his name widely fa­

mous*.

Notes

(1) J. Meder, Die Handzeichnung. Ihre Technik und Entwicklung Wien 1919, p. 21, footnote 1.

(2) E. Kloss, Michael WiUmann. Leben und Werke eines deutschen Barockmalers, Breslau [1934].

(3) Kloss 1934, pp. 142-145; J. Neumann, Ex- presivni tendence v ceske barokni malbe. 2,

„Galeria", 8 (1984), pp. 206-207, 223-224;

H. Lossow, Michael WiUmann (1630-1706) - Master der Barockmalerei, Wiirzburg 1994, pp. 84-93; V. Manuth, Aspekte der Zeichen- kunst Willmanns, [in:] Michael WiUmann (1630—1706). Studien zu seinem Werk. exh.

cat., ed. M. Adamski, P. Lukaszewicz, F.

Wagner. Salzburg 1994, pp. 143-160, (4) Lossow 1994, p. 93.

(5) 20 etchings published in Prague in 1805 (Grafickd sbirka Ndrodni galerie, Prague, Inv.

Nos. R 55001-55020). So far only one work from the copied drawings, the scene Unfaithful Thomas before Christ, has been found by Pavel Preiss (Museum of Czech Literature, Prague, Inv. No. IK- 1324M19).

(6) Neumann 1984, p. 207.

(7) See: A. Koziel, Michaela Willmanna droga na „szczyty sztuki". Wczesne rysunki artysty w grafikach Josefa Gregory'ego, „Biuletyn Historii Sztuki", 58 (1996), Nos. 3-4, pp. 285-306.

(8) J. de Sandrart, Academia nobilissimae Artis Pictoriae [. . .], Noribergae 1683, part II, book III, p. 393ff.

(9) The letter dated 22nd May 1702 - Stdtni oblastni archiv, Tfebon, sign. XLVII/4.

(10) Kloss 1934, p. 62.

(11) Aneks do katalogu wystawy ..Michael WiU­

mann (1630-1706)", [Wroclaw 1994], No. II.

1; Salzburg 1994 exh. cat., No. R 10 (V.

Manuth).

(12) Lossow 1994, No. A 1.

(13) Ibidem, No. A 149.

(14) E. van de Wetering, Studies in the ivork- shop practice of the early Rembrandt, Amster­

dam 1986, pp. 17-23.

(15) Staatliche Museen zu Berlin, Kupfer- stichkabinett (Inv. No. KdZ. 16229).

(16) A. Kozak, Rysunki Michaela Willmanna iv Muzeum Narodowym w Warszawie, [in]

Materiaiy konferencji poswieconej sztuce Mi­

chaela Willmanna, ed. by B. Steinborn, Wroclaw 1995, pp. 49-50, fig. 13.

(17) E. Bock, Die deutschen Meister. Beschrei- bendes Verzeichnis siimtlicher Zeichnungen.

Staatliche Museen zu Berlin, Berlin 1921, Nos.

7471-7477, 7493; Master Drawings from Sacramento. The E. B. Crocker Art Gallery, Sacramento 1971 (Checklist), Nos. 41, 46-49, 51-52; Lossow 1994, No. B. 58.

(18) J. Bruyn, On Rembrandt's Use of Studio- Props and Model Drawings During the 1630s, [in:] Essays in Nothern European Art presented to Egbert Haverkamp-Begemann on his sixtieth birthday, Doornspijk 1983, p. 57.

(19) The letter dated 22nd April 1702 - Stdtni oblastni archiv . . .

(20) The letter dated 22nd May 1702 - Stdtni oblastni archiv . . .

(21) Lossow 1994, Nos. A 10, 12, 52, 73, 74, 83, 92, 96, 108, 114, 119, 146; A. Koziel, re­

view from: Lossow 1994, „Dziela i Interpre- tacje", 3 (1995), pp. 127-143, Nos. 47, 54, 55; Salzburg 1994 exh. cat.. No. R 12 (V.

Manuth); The auction catalogue: Sotheby, New York, 20. 5. 1993, No. 303.

(22) Neumann 1984, pp. 180-181.

(23) Stdtni oblastni archiv . . .; O. Hejnic, Pri- cinky k dejindm stavby chrdmu Panny Marie v Sedlci u Kutne Hory, „Pamdtky archeologicke a mistopisne", 23 (1908-1909), pp. 418-432 (Nos. 3, 5); P. Skobel, Michael WiUmann s Ge- mdlde in der ehemal. Cisterzienser Stiftskirche zu Kamenz in Schlesien, Schweidnitz 1920.

(24) Skobel 1920, p. 7.

(25) Lossow 1994, No. A 48.

(26) Salzburg 1994 exh. cat., No. R 2 (V.

Manuth); Lossow 1994, No. B 23.

(27) Salzburg 1994 exh. cat., Nos. R 14 a-s (V.

Manuth).

(28) C. K. Nagler, Neues allgemeines Kiinstler- Lexikon . . ., vol. 22, Miinchen 1852, p. 63, No. 32.

(29) P. Preiss, Zwei Marginalien zur Griissauer Ikonographie [in:] Krzeszow uswiecony laskq, ed. by K. Bobowski, H. Dziurla, Wroclaw 1997, pp. 216-228.

(30) Oslo, Nasjonalgalleriet (Inv. No. NG. K.

&H. B. 16382).

(31) Salzburg 1994 exh. cat., No. R 14 k (V.

Manuth).

(32) Ibidem, No.R8(V. Manuth).

(33) Quotation after: J. S. Held, The Early Ap­

preciation of Drawings, [in:] Studies in West­

ern Art: Acts of the Twentieth International Congress of the History of Art, ed. M. Meiss, Princeton 1963, vol. 3, p. 84.

(34) Quotation after: Kloss 1934, p. 149.

(35) Oslo, Nasjonalgalleriet (Inv. No. NG. K

& H. B. 16825). See: A. Coreth, Pietas Austriaca. Ursprung und Entwicklung ba-

rocker Frommigkeit in Osterreich, Wien 1959, pp. 54-59.

(36) See: W. Dersch, Beitrdge zur Geschichte des Kardinals Friedrich von Hessen, Bischofs von Breslau (1671—1682), „Zeitschrift des Vereins fur Geschichte Schlesiens", 62 (1928), S. 272-330. I am deeply grateful to Piotr Oszczanowski for help to solve the problem of foundation of this drawing.

(37) N. von Lutterotti, Archivalische Belegefur Arbeiten Michael Willmanns und seiner Werk- statt im Auftrag des Klosters Grussau, „Zeit- schrift des Vereins fur Geschichte Schlesiens", 64 (1930), p. 129.

(38) Sandrart 1683, p. 393.

Translated by Malgorzata Haiadewicz-Grzelak Author:

Andrzej Kozier M. A.

Instytut Historii Sztuki Uniwersytetu Wroctawskiego ul. Szewska 49

PL-50-139 Wrocfew