Originalveröffentlichung in: Barockberichte : Informationsblätter aus dem Salzburger Barockmuseum zur bildenden Kunst des 17. und 18. Jahrhunderts, 20/21 (1998), S. 231-240

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 The fundamental issue of interdependence of ity, Willmann was not such a passionate research project Michael Willmann Drawings the form of drawings and their function has draughtsman as it was thought until recently. (No. lHOlE 005 10) supported by Commitee attracted surprisingly little attention in hith­ His less numerously produced drawings in of Scientific Research (Komitet Badan Nauko- erto conducted research on Michael Will­ fact seem to originate rather from a deeply- ivych). mann's drawings. Though as far back as in rooted guild tradition and workshop praxis, 1919 Joseph Meder in his incomparable work than conceived in the category of disegno cre­ warned against treating drawing as einheit- ation of a modern artist. liche Kunstgattung [. . .], als etwas Absolutes, A group of mostly lost Rembrandtesque recommending: Vor jeder Zeichnung f. . .] drawings by Willmann, known from the fac­ nach Zweck, Absicht oder Bestimmung frageri, simile series by Joseph Gregory from the end a long lasting line of the description of Will­ of 18th century', occupied a special place in mann's drawings has been established by the the artist's ceuvre. An extremely sketchy as­ picture of Willmann as a romantic genius- pect of those works as well as the lack of con­ creator, vehement visionary, expressing in art nection with the paintings ranked them, ac­ his religious exultation - the picture suggesti­ cording to the Jaromir Neumann's expres­ vely sketched by Ernst Kloss in his funda­ sion, as the drawing monologue of the artist - mental monograph of the artist . Thus not­ the apogee of the drawing output of Will­ withstanding the obvious "subsidiary" char­ mann". That romantic monologue in reality acter of the existing Willmann's works, they turned out to be a pragmatic dialogue of were treated almost as an autonomous for­ young Willmann, studying in Amsterdam mula of the artist's creation'. The formal va­ the rudiments of composition, with the ac­ riety of the works was to no effect described cessible art of mainly Italian Renaissance, both in the categories of the evolution of available for him in the form of engravings . style and as an expression of the artist, about According to the biography of the artist pub­ whom Hubertus Lossow as late as in 1994 lished in the Latin edition of Joachim von wrote that es verging wohl kaum ein Tag in sei- Sandrart's Teutsche Academic Willmann, who nem Leben, an dem er nicht gezeichnet hat. could not afford apprenticeship at a very fa­ The present paper - a belated effort to gain mous master's, bought a set of "prototypes", an answer for the postulated by Meder ele­ basing on which, adopting the methods of Ja­ mentary question — shows the drawing activ­ cob Backer and also of Rembrandt and others, ity of the artist in a new light. In all probabil­ started very severe exercises.

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232 Fig. 2 (above left): J. Gregory according to M. That autodidactics of his was begun by a ru­ collection of the graphic "prototypes", ac­ Willmann, The Birth of Mary, 1794, Prague, dimentary practice, namely the study of sin­ companied him in his later artistic career. National Gallery, Photo by the gallery. gle figure or a group of several figures, such In 1660 Willmann settled down in Leubus in as for example The Holy Family with St. John Silesia upon the invitation of the abbot of the the Baptist [fig. 1], based on the engraving by local Cistercian monaster)', Arnold Frei- Fig. 3 (below left): J. Gregory according to M. M. Rota after Tycian (II. Bartsch 2). Next berger. This fact precipitated the period of Willmann, The Massacre of the Innocents, step Willmann learned was to ameliorate intense creative activity of the artist, marked 1794, Prague, National Gallery, Photo by the thus copied scenes by adding onto them new by unremitting work for numerous catholic gallery. human figures. For example, the scene The and protestant customers, as well as for secu­ Birth of Mary [fig. 2], copied in its entirety lar founders. The necessity of prompt coping from rhe anonymous engraving after G. Ro­ with the flood of orders made Willmann effi­ mano (II. Bartsch 6), was developed by the ciently reorganize his workshop. Most prob­ addition of three figures placed in the back­ ably, already since the work on the first part ground. The most creative exercise by Will­ of the Leubuser martyrdom series (1661—62) mann were the efforts to make a totally new the painter hired for larger orders additional composition by an appropriate arrangement collaborators" while the very process of pro­ of separate fragments of one or two engrav­ duction of a standard religious picture be­ ings. A dynamic but uniform and balanced came extremely simplified. Most of large-for­ composition of the exemplary drawing The mat canvases meant for church interiors were Massacre of the Innocents [fig. 3] was created left in the form of rough sketches, where very by compiling single figures and groups re­ often beneath a layer of paint a bole ground drawn from the two engravings: by M. Den- could be seen. The inventive phase of the ta after B. Bandinelli (II. Bartsch 21) and by work was no less simplified by the extensive Ph. Galle after F. Floris (II. Bartsch 29). Thus use of the artist's collection of graphic mod­ the emphasized by the researchers sketchy els and Willmann's artistic skill, gained form of those works in fact appears to result through the aforementioned Amsterdam from rhe specific compositional interpreta­ practice. In this way, the composition of a tion of the graphic "prototype". In other picture consisted of assembling suitable "pro­ words, it ensues directly from the attempt to totypes", which Willmann copied in their capture in a model those elements and their entirety, as was the case with the lost Angels' connecting relations which constitute - in Pieta from 1661, based on the anonymous Willmann's own term - Ordinanz of the vi­ engraving after Otto van Veen (Holl. 3), or sual representation . It is not known for how compiled from their fragments a new work long after having left Amsterdam Willmann of art. The latter procedure is evidenced for Fig. 4 (above right): M. Willmann, Six Days of continued making such compositional example by The Martyrdom of St. Andrew Creation, 1668, Warsaw, National Library, sketches. Undoubtedly, they were purpose­ from 1662, based on the engraving by A. Photo by the library. fully kept by the artist and together with his Voet II according to Rubens, enlarged by

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

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Fig. 7(above): M. Willmann, The Model of a Sitting Woman with Stud­ «, > ies of Feet, Warsaw, National Museum, Photo by the museum. s. t-

,-r-r 31 a .-• -1 * Fig. 8 (below left): J. Eibelwieser, The Models of Heads, Berlin, Staatliche Museen zu Berlin, Kupferstichkabinett, Photo by Jorg P. Anders.

234 adding among else the figure of the kneeling seph church in Griissau", which required rhe derpainting layer. Apart from the sketchy, man, adopted from L. Vosterman's engrav­ prior preparation of a cartoon. This, of nearly alia prima formula of working out the ing, also according to Rubens (Holl. 88). course, does not rule out rhe possibility that paintings another argument supporting this Noteworthy is the fact that only two Will- some general compositional sketches of the hypothesis is the way Willmann's "master ", mann's drawings are known, which are di­ paintings were prepared by the artist and af­ Rembrandr, worked. According to the latest rectly connected with the phase of the artist's ter having been made use of, discarded or re­ findings of the Netherlandish team of re­ work on composition and its transfer onto used as a surface for a new drawing. In my searchers, Rembrandt supplanted the prepar­ the support of the prepared picture: the pre­ opinion, however, it is more likely that Will- atory drawing on paper by a monochromaric cisely rendered Six Days of Creation [fig. 4] mann, widely availing himself of graphic brush sketch in oil made directly on the sur­ and the more sketchy work The Ancestors of "prototypes", made compositional sketches face of the grounded support". St. Joseph [fig. 5]". Moreover, both works for his pictures only sporadically, in special Willmann seems to have made mote often were created during the realisation of partic­ cases, while his staple procedure was to make drawings which were not connected with any ular orders - a canvas with a large number of a contour brush sketch directly on the particular painting but were supposed to small details' and fresco decoration in St. Jo­ grounded surface of the painting, in the un- complete his bank of graphic models - the

235 works, to which the painter's own phrase - surely supplemented by some models of the Tig. 9 (above left): M. Willmann, An Apostle, Inventionis could be applied. This may have representation of a single human figure, such before 1692, Warsaw, National Museum, Pho­ been the function of the unpublished so far as for example The Model ofia Sitting Woman to by the museum. representation of Abraham's Sacrifice [fig. 6]. with Studies of Teet"' [fig. 7], and also by The scene was accompanied by an extensive drawing sets of "prototypes" of heads and Tig. 10 (above right): M. Willmann, The As­ artist's commentary which, as I suppose, other elements of human body. Although we sumption of Mary, 1702, Berlin, Staatliche could have pointed out subjects of the scenes are not in the possession of authentic Wiil- Museen zu Berlin, Kupferstichkabinett, Photo for the future use of the drawing as a "proto­ mann's drawings of this type, there are six­ by /org P. Anders. type" of composition ". Apart from the enu­ teen drawings made by his associate, Johann meration of the six burnt-offerings from rhe Eibelwieser from Breslau, till now ascribed to Old Testament, together with a meticulous Willmann [fig. 8]' . Those drawings allow us identification of their biblical source, on the to infer that Willmann, following in the back of the drawing some additional notes steps of Rembrandt", used to manufacture concerning the age of the biblical persons as this type of works serving as workshop mod­ well as the quantify, species and the age of els for his apprentices and associates. the sacrified animals were annotated. One of The hitherto conducted research on Will­ the inscriptions: /sac ist 25 Jahr alt [. . .] da er mann arristic activity has revealed but scarce solten geschlachtet werden could have been for reflections on the model of functioning of Willmann the clue conducting him to make the multi-personal artist's workshop. The use of Abraham's Sacrifice as one of the mod­ lack of any holistic examinations of the els for The Ancestors of Joseph [fig. 5], specifi­ painting oeuvre by Willmann and his circle cally a silhouette of kneeling Isaac. turns us to the words of the artist himself, Tig. 11 (opposite above): M. Willmann, Christ This set of graphic and drawing composi­ recorded in the one of the letters to the abbot Healing the Sick, 1676—78, Vienna, Gra- tional models, which was the basis of the of Sedlec, Heinrich Snopek. Willmann, rec­ phische Sammlung Albertina, Photo by the functioning of the painter's workshop, was ommending his stepson and pupil Johann Graphische Sammlung Albertina.

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Christoph Liska, as a fully self-dependent spondence between Willmann and the abbot ders, or, in the case of signed contract, used painter stressed that . . . mein Stieffsohn Snopek, as well as the letters sent by the ab­ to be enclosed with it. From the above pre­ brancht auch weder meiner Modelley noch In- bot of the Cistercian monastery in Camenz sented facts it seems right to conclude that a ventionis . . This meant that Liska, already to the painter, his widow and his step-son"' group of Willmann's drawings, formally cor­ as a student and associate of his step-father makes ground for the hypothesis that Will­ responding to the Berlinian Assumption, not only have used the set of master's com­ mann presented the projects of the works to which means works of relatively completed positional ideas but also, that working on a the not-Leubus customers using the means of form, made sometimes on blue paper and picture, he needed a previously prepared drawings on paper. However, the preparation characterized by the high degree of conform- Modell — as can be assumed from the corre­ of such work, referred to in the letters as Ent- ability with the corresponding Willmann's spondence — an oil sketch1. This in turn im­ wurff, was restricted to the paintings most paintings - for example Vienna's Christ plies that the preparation of final models of important to the founder. Among the six pic­ Healing the Sick [fig. 11] or signed The Apo­ the realised by Willmann paintings took tures sent to the abbot Snopek, only the theosis of the Great Kurfirst from Braunsch­ place in a technique much easier, faster and painting meant for the main altar of the new weig '" - are precisely these drawings, which having more potential than drawing - an oil monastery church, was proceeded by two, were sent to the foreign founders as Ent­ sketch made on canvas or paper. A consider­ not extant drawings, which were the design wurff. able amount of preserved sketches - we are of the work. Similarly, out of the eleven pic­ That set of works, constituting a separate for­ cognizant of seventeen retrospective pieces tures ordered for the monastery church in mal modus, should be enlarged by the nu­ [fig. 9] - indicates clearly that this type of Camenz only The Assumption of Alary from merous preserved drawn projects to engrav­ procedure was a constant element in the the main altar had been as an Entwurff pre­ ings made by mainly Augsburger and Ntirn- functioning of the painter's workshop"'. sented for approval to the abbot Gerard Woi- berger engravers. These works represented Neumann supposed that the oil model of the wode. On the basis of such drawings foun­ mostly religious themes, such as a series of il­ painting The Martyrdom of St. Philip and Ja­ ders expressed to the artist their opinion of lustrations to the Griissauer Passionsbuch', cob for Sedlec was sent by Willmann for ac­ works. The abbot of Camenz, very content depictions of Cistercian saints1*, or, realised ceptance to the abbot Snopek . It seems of the received work, which most probably graphically only in the second half of the however, that presenting oil sketches of the was Berlinian Assumption [fig. 10], ordered 18th century, cycle Joys and Sorrows of St. Jo­ ordered works to the founders, if ever hap­ the execution of the project but aufler dafider seph'". Those drawings, made by Willmann pened, was sporadic. It may have taken place heyl. Geist, so im oberen Blathe [. . .] kommei\ to the order of the editors of the engravings - with the respect to an abbot of the monastery which was taken into account by the artist in the abbots of the Cistercians monasteries, es­ where Willmann's workshop realised the or­ the painting25. The accepted drawn Entwurff pecially Bernard Rosa from Griissau, formal­ der. The analysis of the preserved corre­ used to be most probably kept by the foun­ ly fluctuated from relatively precise, meant

237 % 72 (below left): M. Willmann, St. Benedict, 1686-88, Oslo, Nas­ _j 7 jonalgalleriet, Photo by J. Lathion, © Nasjonalgalleriet.

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

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

1 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. for gaining the founder's acceptance linear background parts of the drawing were not so of the bishop of Wroclaw3". This must have EntwMrj^formula — such as for example the elaborated and Willmann, as if knowing been the procedure resorted to quite often by unpublished so far drawing St. Benedict Sandrart's negative attitude to anything un- the Silesian clergy in order to secure the em­ [fig. 12] from the Cistercian saints series30 — ausgesonnen or wild-durchgangen, self-critical- peror's grace because four years later abbot to the fluid, brush-painted sketches, such as ly admitted in the letter that the drawing is Rosa, pleading with emperor Leopold I as a Christ Meeting His Mother [fig. 13] from the an villen orten sehr gestimppelf', the drawn representative of Silesian states the lowering passion cycle3', which resembled in form oil Apotheosis must have been so evocative of the of taxes, gave the emperor a costly Will­ Modells, made by the artist for his collabora­ skill of the master of Leubus that Sandrart, mann's picture The Return of Holy Family tors. probably not knowing any other Willmann's from Egypt'. If the ordered at Willmann's The elaborated form of drawn Entwurffs, work, decided to place his biography in the drawing really was to be given to the empe­ which as complete drawings surely had an Latin edition of his work, published a year ror, that meant the highest possible at the impact on the founder also by the author's later. time appraisal of the artist's skill as draughts­ artistic skill, corresponded to a large extent The formula of fleissig elaborated pen draw­ man. Treating the drawing, made as Sandrart to the formal shape of Willmann's autono­ ing was most probably utilised by Willmann would have said, mit Kunst und Fleiss, as a mous drawings. The Apotheosis of Joachim also in works executed on orders, as inde­ work which could secure emperor's support, von Sandrart [fig. 14], enclosed with the pendent drawings. The unpublished so far in fact equalled autonomous drawings by flattering lettet to the author of Teutsche presentative drawing, depicting The Adora­ Willmann with his paintings as a form of art­ Academic1 was given the shape surprisingly tion of Mary as Empress and Queen [fig. 15]" istic expression. That high artistic value of conformable with the expressed by Sandrart came into being probably on the order of the the drawing was emphasised by Willmann in his work preferences as far as the form of cardinal Friedrich von Hessen, posed in the himself by giving the work truly "pictorial" the drawing was concerned. Meticulously bottom left corner of the scene as a worship­ dimensions (430x620 mm) as well as by elaborated by Willmann foreground with the per and signed as der Canonicus fridericus. signing in the bottom left corner, under the central figure of Sandrart seems to plead the This adorable Willmann's work was made in figure of the foundet, with the full signatute compliment fleissigused by Sandrart with the 1668 on the ocassion of the cardinal's ap­ in Latin version, reserved for large-format respect to the drawings by Dtirer and Alde- pointment to the post of cathedral dean in etchings and more important paintings - grever, or the words of appraisal written Wroclaw and was probably meant to be pre­ works, which as has been written in the biog­ about Holbein's anticlerical works: anf das sented to the emperor in order to gain his raphy of the master, made his name widely fa­ alleremsigste und sorgfaltigste". Although the support for Friedrich's exertions for the post mous*.

239 Notes (21) Lossow 1994, Nos. A 10, 12, 52, 73, 74, 83, 92, 96, 108, 114, 119, 146; A. Koziel, re­ (1) J. Meder, Die Handzeichnung. Ihre Technik view from: Lossow 1994, „Dziela i Interpre- und Entwicklung Wien 1919, p. 21, footnote 1. tacje", 3 (1995), pp. 127-143, Nos. 47, 54, (2) E. Kloss, Michael WiUmann. Leben und 55; Salzburg 1994 exh. cat.. No. R 12 (V. Werke eines deutschen Barockmalers, Breslau Manuth); The auction catalogue: Sotheby, New [1934]. York, 20. 5. 1993, No. 303. (3) Kloss 1934, pp. 142-145; J. Neumann, Ex- (22) Neumann 1984, pp. 180-181. presivni tendence v ceske barokni malbe. 2, (23) Stdtni oblastni archiv . . .; O. Hejnic, Pri- „Galeria", 8 (1984), pp. 206-207, 223-224; cinky k dejindm stavby chrdmu Panny Marie v H. Lossow, Michael WiUmann (1630-1706) - Sedlci u Kutne Hory, „Pamdtky archeologicke a Master der Barockmalerei, Wiirzburg 1994, mistopisne", 23 (1908-1909), pp. 418-432 pp. 84-93; V. Manuth, Aspekte der Zeichen- (Nos. 3, 5); P. Skobel, Michael WiUmann s Ge- kunst Willmanns, [in:] Michael WiUmann mdlde in der ehemal. Cisterzienser Stiftskirche (1630—1706). Studien zu seinem Werk. exh. zu Kamenz in Schlesien, Schweidnitz 1920. cat., ed. M. Adamski, P. Lukaszewicz, F. (24) Skobel 1920, p. 7. Wagner. Salzburg 1994, pp. 143-160, (25) Lossow 1994, No. A 48. (4) Lossow 1994, p. 93. (26) Salzburg 1994 exh. cat., No. R 2 (V. (5) 20 etchings published in Prague in 1805 Manuth); Lossow 1994, No. B 23. (Grafickd sbirka Ndrodni galerie, Prague, Inv. (27) Salzburg 1994 exh. cat., Nos. R 14 a-s (V. Nos. R 55001-55020). So far only one work Manuth). from the copied drawings, the scene Unfaithful (28) C. K. Nagler, Neues allgemeines Kiinstler- Thomas before Christ, has been found by Pavel Lexikon . . ., vol. 22, Miinchen 1852, p. 63, Preiss (Museum of Czech Literature, Prague, No. 32. Inv. No. IK- 1324M19). (29) P. Preiss, Zwei Marginalien zur Griissauer (6) Neumann 1984, p. 207. Ikonographie [in:] Krzeszow uswiecony laskq, (7) See: A. Koziel, Michaela Willmanna droga ed. by K. Bobowski, H. Dziurla, Wroclaw na „szczyty sztuki". Wczesne rysunki artysty w 1997, pp. 216-228. grafikach Josefa Gregory'ego, „Biuletyn Historii (30) Oslo, Nasjonalgalleriet (Inv. No. NG. K. Sztuki", 58 (1996), Nos. 3-4, pp. 285-306. &H. B. 16382). (8) J. de Sandrart, Academia nobilissimae Artis (31) Salzburg 1994 exh. cat., No. R 14 k (V. Pictoriae [. . .], Noribergae 1683, part II, book Manuth). III, p. 393ff. (32) Ibidem, No.R8(V. Manuth). (9) The letter dated 22nd May 1702 - Stdtni (33) Quotation after: J. S. Held, The Early Ap­ oblastni archiv, Tfebon, sign. XLVII/4. preciation of Drawings, [in:] Studies in West­ (10) Kloss 1934, p. 62. ern Art: Acts of the Twentieth International (11) Aneks do katalogu wystawy ..Michael WiU­ Congress of the History of Art, ed. M. Meiss, mann (1630-1706)", [Wroclaw 1994], No. II. Princeton 1963, vol. 3, p. 84. 1; Salzburg 1994 exh. cat., No. R 10 (V. (34) Quotation after: Kloss 1934, p. 149. Manuth). (35) Oslo, Nasjonalgalleriet (Inv. No. NG. K (12) Lossow 1994, No. A 1. & H. B. 16825). See: A. Coreth, Pietas (13) Ibidem, No. A 149. Austriaca. Ursprung und Entwicklung ba- (14) E. van de Wetering, Studies in the ivork- rocker Frommigkeit in Osterreich, Wien 1959, shop practice of the early Rembrandt, Amster­ pp. 54-59. dam 1986, pp. 17-23. (36) See: W. Dersch, Beitrdge zur Geschichte (15) Staatliche Museen zu Berlin, Kupfer- des Kardinals Friedrich von Hessen, Bischofs stichkabinett (Inv. No. KdZ. 16229). von Breslau (1671—1682), „Zeitschrift des (16) A. Kozak, Rysunki Michaela Willmanna Vereins fur Geschichte Schlesiens", 62 (1928), iv Muzeum Narodowym w Warszawie, [in] S. 272-330. I am deeply grateful to Piotr Materiaiy konferencji poswieconej sztuce Mi­ Oszczanowski for help to solve the problem of chaela Willmanna, ed. by B. Steinborn, foundation of this drawing. Wroclaw 1995, pp. 49-50, fig. 13. (37) N. von Lutterotti, Archivalische Belegefur (17) E. Bock, Die deutschen Meister. Beschrei- Arbeiten Michael Willmanns und seiner Werk- bendes Verzeichnis siimtlicher Zeichnungen. statt im Auftrag des Klosters Grussau, „Zeit- Staatliche Museen zu Berlin, Berlin 1921, Nos. schrift des Vereins fur Geschichte Schlesiens", 7471-7477, 7493; Master Drawings from 64 (1930), p. 129. Sacramento. The E. B. Crocker Art Gallery, (38) Sandrart 1683, p. 393. Sacramento 1971 (Checklist), Nos. 41, 46-49, 51-52; Lossow 1994, No. B. 58. (18) J. Bruyn, On Rembrandt's Use of Studio- Translated by Malgorzata Haiadewicz-Grzelak Props and Model Drawings During the 1630s, [in:] Essays in Nothern European Art presented Author: to Egbert Haverkamp-Begemann on his sixtieth birthday, Doornspijk 1983, p. 57. Andrzej Kozier M. A. (19) The letter dated 22nd April 1702 - Stdtni Instytut Historii Sztuki oblastni archiv . . . Uniwersytetu Wroctawskiego (20) The letter dated 22nd May 1702 - Stdtni ul. Szewska 49 oblastni archiv . . . PL-50-139 Wrocfew

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