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Johann Heinrich Schonfeld worked in Naples. In May I65 I Prince Paolo Giordano II Orsini, German, z6o9-z684 Duke of Bracciano, granted Schonfeld leave from his obliga­ THE OATH OF HANNIBAL tions in Rome to attend to personal affairs in . He obtained citizenship in and married in July 1652. Oil on canvas; 423/s X 72/.; in. (107.5 X 183.5 em.) Signed (lower left): SchOnfeldt Fecit Schonfeld's career thrived in the imperial heartlands from inv. no. 1264 the mid-r6sos. He painted religious pictures and historical and mythological subjects in Augsburg (where he had numerous Schonfeld was the object of unrestrained admiration in Ger­ commissions in the r66os and I67os), , Salzburg, many during his lifetime and through the eighteenth century. and probably Vienna. In I666-67 he executed the ceiling paint­ With the exception of Adam Elsheimer, few German artists of ings (now lost) for the Munich Residenz (Pee 197 r, no. 109). the seventeenth century are renowned today, but Schonfeld and Schonfeld might be described as one of those Baroque paint­ Johann Liss have been the subjects of recent exhibitions and a ers who stand midway between late Mannerism and early Ro­ flourish of scholarly literature. coco. His provincial origin and an inclination toward stylish During the turmoil of the Thirty Years' War (1618-48) the rather than weighty ideas made him open to a cornucopian small, separate did not provide painters with assortment of sources during his early years. Of those usually prospects nearly so promising as those in other European coun­ mentioned, Jacques Callot's etchings are the most interesting tries. No German artist of consequence could fail to spend some for Schonfeld's figure style and his imaginary architecture (Voss of his formative years studying abroad. Schonfeld, the son of a I964, pp. r I, 14; Pee 197 r, p. 19). The Swabian's interest in goldsmith and burgomaster of an der , near French art should probably be given more attention than it has in , went to Rome around r633 (Pee 1971, p. 12). hitherto received: not only Callot and Abraham Bosse but Jacques He was active there during the first and last few years of his Bellange and even Francesco Primaticcio and Niccolo dell' Abate eighteen-year Italian period; from about r637 to about r648 he are brought to mind by Schonfeld's tapering, twisting, balletic

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