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2 Tabularium Historiae

2 Moisan-Jablonski C.

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Odkrycie nieznanej kolekcji paryskich rycin Jeremiasza Falcka oraz ich kopii przechowywanych w Statens Museum for Kunst w Kopenhadze w kontekście stanu wiedzy i perspektyw badawczych

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Moisan-Jablonski C.

tom 8

11-45

Jeremias Falck’s engraving activities which are connected with his several-year stay in Paris (in the late 1630s–1644) has not kindled much interest among scholars since the publication of Julius Caesar Block’s monogram in 1890. My long-standing interest in allegorical subjects, and the many aspects of the phenomenon of the diffusion of Western European printmaking into other fields of art and culture, led me to pursue a study of this unjustly forgotten period of his work. In the course of my preliminary research I found copies of his oeuvre – copperplate engravings, which have not been previously described and which, in the majority of cases, have never been recorded in the literature on the subject. The results of my many years of research is the discovery and the inventorying of 35 series of engravings, that fall under a broad and varied category of copies of Falck’s works from his Parisian period. It was not always possible to find complete series. However, if the likely number of plates that originally constituted these series are added up we obtain the high number of 157 new, unknown copies. A major discovery, which makes it possible to largely fill in the blanks in the state of knowledge about Falck’s Parisian period and its influence on Dutch and German graphic art was the ground-breaking research carried out in the cabinet of prints and drawings of the Statens Museum for Kunst in Copenhagen. It transpired that the Danish collection contains many copies of Falck engravings that are housed in other European collections, e.g. in the Bibliothèque nationale de France in Paris (hereafter the BnF). These are mostly allegorical series which the engraver from Gdańsk made for the Parisian publisher Jean I Leblond: The Four Seasons, The Five Senses, The Four Ages of Man, The Four Parts of the Day. The Danish collection also includes works which the authors of Inventaire du fonds français – a multi-volume catalogue of French engravings held at the BnF in Paris – described as “dans la manière de Falck”. They consist of works belonging to separate series: The Virtues, The Seven Liberal Arts and the series, Prayer, Fasting and Almsgiving which consists of three plates. In addition, in Copenhagen there are unsigned series of The Four Elements and The Four Continents which Block attributed to Falck. The Statens Museum for Kunst houses a rich collection of German and Dutch copies of Jeremias Falck’s engravings. The most extensive series of engravings, depicting allegorical themes modelled on Falck’s plates, were published in Amsterdam by Salomon Savery (The Five Senses, The Four Periods of the Day), Francoys van Beusekom (The Elements modelled on The Periods of the Day and The Five Senses series) and Rombout van den Hoeye (The Five Senses, The Twelve Months). The Danish collection also includes a series of The Seasons published by Hugo Allard. Another anonymous series of The Seasons – with less skilfully made plates – seems to point to their production in Germanic countries. The Cologne publisher, Gerhard Altzenbach, probably produced not only copies of The Twelve Months, The Five Senses and The Seasons but probably also The Four Elements and The Four Ages of Man series. The Nuremberg publisher, Paulus Fürst, published copies of The Virtues series. Johann Hoffmann, another publisher from Nuremberg used the Falck series for The Elements cycle. Copies of the plates of selected engravings from The Virtues and Prayer and Almsgiving cycles which came from several separate series, should also be associated German printmaking. The series discovered in Copenhagen are presented against the background of other copies of Falck’s cycles, including Italian ones, found in other European museums. The study of this seemingly short, although extremely fruitful, period of Falck’s stay in Paris has proved to be very important in broadening our knowledge of his work. At the same time, new, hitherto completely unknown relationships existing between his works and the prints of other parts of Europe were discovered. These new findings made it possible to establish a different perspective on the study of his oeuvre, going beyond the somewhat schematic – by definition – findings in traditional catalogues of prints. The prints made in Paris not only reached other printmaking centres but also influenced the creation of new works. Studies on the early period of Falck’s oeuvre makes us fully aware of just what a melting pot 17th-century European printmaking was – one in which, despite the specificity of the different centres, various models and concepts of printmaking were combined. The scale of the repetition of the engravings and the extent to which plates engraved by Falck were used to create new compositions seem quite exceptional. Publishers from Amsterdam, Cologne, Nuremberg, Frankfurt-am-Main, Rome and Venice all alluded to Falck’s oeuvre. The key to the success of his work probably lies in the attractiveness of the painted and drawn originals on which the engravings are based – in this instance, the wreath of fame should be awarded to artists such as Charles le Brun, who created the monochrome models for one series of The Seasons, and Justus van Egmont, the alleged author of the originals for The Elements and The Five Senses series. The works carried out on the Parisian period of Jeremias Falck’s activity will, in the future, enable the writer of these words to compile not only a catalogue of his works and copies of them, but above all to show – in the context of the diffusion of the French Le Grand Siècle – the mechanisms underlying the metamorphoses of the originals, depending on the cultural specificity, preferences and needs of other European centres of printmaking.

Jedzenie jako symbol czterech żywiołów, czyli reminiscencje starożytnej teorii związku makro- i mikrokosmosu – na wybranych przykładach grafiki i malarstwa końca XVI i XVII wieku

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Moisan-Jablonski C.

tom 5

57-78

In early-modern times, the structure of the world – which dates back to the roots of ancient philosophy – was basically defined using three concepts: matter, time and space. The world was made up of four elements: water, earth, fire and air. In his treatise entitled Iconology (or a collection of emblematical figures), first published in Rome in 1593, Cesare Ripa created an artistic canon of early-modern allegories. Even before Ripa’s publication, there was a tendency in the Netherlands to combine symbols of all the elements with the concept of food. In a series of four paintings by Joachim Beuckelaer, stalls with merchants have deliberately been placed in the foreground, and scenes from the gospels – depicting spiritual values – only appear in the background. The symbolism of In addition to the individual personifications of the elements, often identified with figures of ancient deities, the topic of the elements, in the art of the late 16th and 17th centuries, appears in the guise of a genre scene, a landscape with staffage, or a still life. Most frequently, food products, or activities related to obtaining food or preparing dishes, become symbols of the elements. However, the first impression that the high-flown theme of the four elements, which – as was still believed in the early days of the early-modern era – resided in the sublunar sphere, was reduced to trivial images of food, turns out to be deceptive. It should be remembered that, in accordance with the principle in force since ancient times, which emphasizes the inherent relationship of the macrocosm and microcosm, man is also made of the same elements as the matter from which the world is built. This is the principle that lay at the heart of Aristotle’s four-element theory (Latin qualitates), as well as the medical theories of Hippocrates, and later those of Galen, based on the relationship between the elements and the temperaments and their impact on the treatment process, in which the right choice of food played an important role. Ancient medical theories remained in force well into the 16th and 17th centuries. As can be seen, in the same period, depictions showing the elements in the form of food products, on which man feeds, were also popular. In reality, the above-mentioned paintings and prints also visualized, in a disguised manner, the idea of the ancient relationship between the macrocosm and the microcosm. the elements, combined with food, also appears in two paintings by Sebastian Stosskopff, and in a series of engravings by Jacques de Gheyn II. On individual plates (depicting air, earth, water), we see representatives of the three ages of man showing animals that have been hunted or caught. The woman, personifying fire, was portrayed as a cook holding a spit skewered with a bird and a hare, while a fish lies on the table next to her. In the case of the last plate, its meaning is more complex, and it is not devoid of erotic content since it refers to the metaphor of fire as a symbol of physical desire. Also of interest is a series of copperplate engravings depicting the Four Elements by Jeremias Falck made for the Parisian publisher Jean I Leblond. As we can see, the comments added to the series of engravings depicting the elements were often subordinated to the overriding idea – that of food. Falck’s Parisian series was used as a model by Johann Hoffmann. In the background of each plate, made for the publisher in Nuremberg, are scenes illustrating the acquisition of food. Whereas the series of landscapes engraved by Jan van de Velde II in 1622 shows a different way of presenting the elements with the use of various products.