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An Allegory of Sight Attributed to Hans Christoph Schürer in the Nationalmuseum

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An Allegory of Sight Attributed to Hans Christoph Schürer in the Nationalmuseum An Allegory of Sight attributed to Hans Christoph Schürer in the Nationalmuseum Thomas Fusenig PhD, Essen, Germany Art Bulletin of Nationalmuseum Stockholm Volume 21 Art Bulletin of Nationalmuseum, Stockholm, Photo Credits Every effort has been made by the publisher to is published with generous support from © Palazzo d’Arco, Mantua, inv. 4494/Photo: credit organizations and individuals with regard the Friends of the Nationalmuseum. Nationalmuseum Image Archives, from Domenico to the supply of photographs. Please notify the Fetti 1588/89–1623, Eduard Safarik (ed.), Milan, publisher regarding corrections. Nationalmuseum collaborates with 1996, p. 280, fig. 82 (Figs. 2 and 9A, pp. 13 and Svenska Dagbladet and Grand Hôtel Stockholm. 19) Graphic Design We would also like to thank FCB Fältman & © Pushkin State Museum of Fine Arts, Moscow BIGG Malmén. (Fig. 3, p. 13) © bpk/Staatliche Kunstsammlungen Dresden/ Layout Cover Illustrations Elke Estel/Hans-Peter Klut (Figs. 4, 5B, 6B and Agneta Bervokk Domenico Fetti (1588/89–1623), David with the 7B, pp. 14–17) Head of Goliath, c. 1617/20. Oil on canvas, © Digital image courtesy of the Getty’s Open Translation and Language Editing 161 x 99.5 cm. Purchase: The Wiros Fund. Content Program (Figs. 8 and 10B, pp. 18 and Gabriella Berggren, Martin Naylor and Kristin Nationalmuseum, NM 7280. 20) Belkin. © CATS-SMK (Fig. 10A, p. 20) Publisher © Dag Fosse/KODE (p. 25) Publishing Berndt Arell, Director General © Nasjonalmuseet for kunst, arkitektur og design/ Ingrid Lindell (Publications Manager) and The National Museum of Art, Architecture and Janna Herder (Editor). Editor Design, Oslo (p. 28) Janna Herder © SMK Photo (p. 31) Art Bulletin of Nationalmuseum is published © From the article ”La Tour and Lundberg’s annually and contains articles on the history and Editorial Committee portraits of la princesse de Rohan”, by Neil Jeffares, theory of art relating to the collections of the Mikael Ahlund, Magdalena Gram, Janna Herder, http://www.pastellists.com/Essays/LaTour_ Nationalmuseum. Helena Kåberg, Magnus Olausson and Lidia Rohan.pdf, 2015-09-21, (p. 40) Westerberg Olofsson. © The National Gallery, London. Bought, Cour- Nationalmuseum tauld Fund, 1924 (p. 42) Box 16176 Photographs © Stockholms Auktionsverk (p. 47) SE–103 24 Stockholm, Sweden Nationalmuseum Photographic Studio/ © Bukowskis, Stockholm (p. 94) www.nationalmuseum.se Linn Ahlgren, Olle Andersson, Erik Cornelius, © Thron Ullberg 2008 (p. 108) © Nationalmuseum, the authors and the owners Anna Danielsson, Cecilia Heisser, Bodil Karlsson © 2014, State Russian Museum, St. Petersburg of the reproduced works and Sofia Persson. (pp. 133–134) © Anhaltische Gemäldegalerie Dessau (pp. 138–139) Picture Editor © Museen der Stadt Bamberg (pp. 140 and 142) Rikard Nordström © Archive of Thomas Fusenig (p. 141) © Nordiska museet, Stockholm/Karolina Kristensson (pp. 148–149) Art Bulletin of Nationalmuseum Volume 21, 2014 4 history and theory of art/an allegory of sight attributed to hans christoph schürer An Allegory of Sight attributed to Hans Christoph Schürer in the Nationalmuseum Thomas Fusenig PhD, Essen, Germany Fig. 1 Hans Christoph Schürer (c. 1590–1620), Allegory of Sight (Visus). Oil on panel, 67 x 51.2 cm. Nationalmuseum, NM 5637. 137 Art Bulletin of Nationalmuseum Volume 21, 2014 history and theory of art/an allegory of sight attributed to hans christoph schürer Figs. 2 A–D Hans Christoph Schürer (c. 1590–1620), Auditus (Hearing), Odoratus (Smell), Gustus (Taste), Tactus (Touch). Oil on canvas, 63/64 x 51/52 cm. Anhaltische Gemäldegalerie Dessau, inv. nos. 1429–1433. The Anhaltische Gemäldegalerie in Dessau holds a main strangely flat. The colours are bright, and liveliness is genera- series of paintings of the Five Senses (Figs. 2 A–D and 3), consis- ted by shimmering highlights and a slight sfumato. Showing some ting of female half-length figures with oval heads and relative- similarity to works by the Prague court artist Hans von Aachen ly wide necks, generously displaying their charms.1 The loosely (1552–1615), the pictures have been attributed to an anonymous coiffed hair is interwoven with ribbons and strings of pearls. The follower until now. Auditus (Hearing) is holding her lute in app- young women have elegant, long fingers, but their gestures re- roximately the same position as the lute player in Von Aachen’s Art Bulletin of Nationalmuseum Volume 21, 2014 138 history and theory of art/an allegory of sight attributed to hans christoph schürer Fig. 3 Hans Christoph Schürer (c. 1590–1620), Allegory of Sight (Visus). Oil on canvas, 64 x 52 cm. Anhaltische Gemäldegalerie Dessau, inv. no. 1430. Donna venusta, an early painting from around 1585 whose sub- Another version of the Dessau Allegory of Sight (Fig. 3) is in the ject the artist varied until the end of his life.2 Tactus (Touch) Nationalmuseum in Stockholm (Fig. 1).4 The picture obviously with a dagger is reminiscent of a Lucretia by Von Aachen, known belongs to a further version of the series, this time on panel (the from an engraving by Aegidius Sadeler. However, compositional- Dessau paintings are on canvas), with approximately the same ly more compatible is the woman in Von Aachen’s drawing of an dimensions. The four remaining Senses in this series are in the Unequal Couple in Cologne.3 collection of the municipal museums at Bamberg (Figs. 4 A–D).5 139 Art Bulletin of Nationalmuseum Volume 21, 2014 history and theory of art/an allegory of sight attributed to hans christoph schürer Figs. 4 A–D Hans Christoph Schürer (c. 1590–1620), Auditus (Hearing), Odoratus (Smell), Gustus (Taste). Tactus (Touch). Oil on panel, 66 x 56 cm (cradled). Museen der Stadt Bamberg, inv. nos. 381D–384D. Comparing the two series, one cannot help but notice that the (though it should be pointed out that the Dessau canvases are figures in Dessau appear to be forced into their confined space probably in slightly worse condition). While the Senses are expli- and that they were executed rather hurriedly. This becomes ap- citly labelled in Dessau, the inscriptions on the Bamberg panels parent when considering the folds of the light fabrics and the can be deciphered only with difficulty, probably because at some strands of hair which are rendered delicately and clearly in the point the backgrounds were covered with dark paint.6 This is Bamberg/Stockholm pictures unlike the paintings in Dessau not the case with the panel in Stockholm, where the Latin in- Art Bulletin of Nationalmuseum Volume 21, 2014 140 history and theory of art/an allegory of sight attributed to hans christoph schürer Fig. 5 Hans Christoph Schürer (c. 1590–1620), Unequal Couple. Oil on canvas, 80 x 65 cm. Private collection. scription “VISVS” is clearly visible on a blue background (Fig. The allegorical representation of the Five Senses is quite con- 1). Looking into a convex mirror held in her right hand, the ventional. An engraved series by Cornelis Cort after designs by young woman touches her breast with her left hand.7 Being the Frans Floris, dated 1561, includes the same attributes:8 Visus is most erotic in the series might explain why this picture was sold also shown with a mirror, Auditus with a lute, Odoratus with a vase as a single image. of flowers and Gustus eating a fruit from a fruit basket. In the pa- intings, however, the animals conventionally associated with the 141 Art Bulletin of Nationalmuseum Volume 21, 2014 history and theory of art/an allegory of sight attributed to hans christoph schürer Fig. 7 Hans Christoph Schürer (c. 1590–1620), Venus. Fig. 6 Hans Christoph Schürer (c. 1590–1620), Juno. Oil on panel, Oil on panel, 65.5 x 54 cm. Private collection. 66 x 56 cm (cradled). Museen der Stadt Bamberg, inv. no. 380D. senses (eagle, deer, dog, etc.) are lacking, reflecting a trend at in Brno.13 The inscription on the drawing reads: “This I made in the beginning of the 17th century to turn allegories of the Sen- friend-ship for the honourable and artful Niclas Sierxleben in ses into more genre-like representations. The emerging prefe- good memory, at Prague September 28, 1612. Hans Christoph rence for female half-length figures corresponds to a widespread Schürer f.” The addressee of the sheet was probably a musician erotic connotation associated with the subject matter.9 While named Nicholas Siersleben, who was at the court in Berlin in four of the personifications carry conventional attributes, the 1618.14 In subject and style, the drawing is similar to late works suicide scene of Tactus is unusual. Lubomír KoneČný mentions a by Hans von Aachen.15 Moreover, a list of outstanding payments comparable drawing by Hendrick Goltzius and a composition by sent by Von Aachen’s widow to the Saxon court in September Geldorp Gortzius, who worked in Cologne around 1600.10 1615, mentioning a debt of “300 fl. fee for Hans Christoff Schie- In his recent survey of the pupils and followers of Hans von rer”, confirms that Schürer actually completed a kind of appren- Aachen, Jürgen Zimmer also refers to the Saxon painter Hans ticeship in Prague.16 Christoph Schürer (c. 1590–1620),11 whose father, the pain- Eliška Fucíková convincingly connected the drawing in Brno ter Paul Schürer, born in Dresden, was active in Prague until to a painting of the same composition once in the Saxon royal around 1603. Hans Christoph Schürer left only a few traces in collection, sold at auction in London in 1999 (Fig. 5).17 The archival documents of the years 1609 and 1616.12 In 1609, his painting differs only in details from the drawing. The manner of mother petitioned the Electress Hedwig to intervene on her be- painting and the colouring are comparable to the late works of half with her husband Johann Friedrich, Elector of Saxony, in Hans von Aachen (if the photo is reliable), for example Courte- her request for a grant to send her son to Prague to study with san with her Procuress, dated 1613, in the Gallery of the Residenz Hans von Aachen.
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