ALFRED RETHEL: ALFRED RETHEL:

GRAD ELTZ, CASTLE ELTZ,

CRTEŽ IZ A DRAWING FROM

MUZEJA MIMARA THE MIMARA MusEUM

] EAN- BAPTISTE OUDRY: ]EAN-BAPT1STE OUDRY:

Lov NA LISICU I THE Fox HUNT AND

Lov NA VUKA, THE WOLF HUNT,

DVA BAKROPISA TWO ETCHINGS FROM

IZ MUZEJA MIMARA THE MIMARA MUSEUM

Slaven Perović

studije,
m.uzeJa
mzmara

42
 studije,
m,uzeJa
mimara

42
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0110 1'011 Fallee .Odahrani članu iz ča -,opi ...a Pantheon
AIIsgelliihlte Artileel !llIs!!sI Monatszettscbrtft Palltheoll
\r'l1tnlcl.Hersmal1l1 Jacques de Baerze i Claus Sluter
Jacques de Baer:e und Claus '>'1U-"l<cc'I_' _
3 Carl Bliimel Antičke umjetnine
Antike Kunstuerlee
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~'i'-,--"'W'"'iT.ltl7ld Topić-Mersmann GoiIZk[1ffi'ačklmg oiT rnorzevc kljo,e
Eill golisches Jagc/horn ((ll~ \t'a~/~'o",ss,..z ••a~h'-"T' ~_",
TURf""i/' Lukšić Peter Paul Rubens, Portret Nicolaaxa Rubensa, umjetnikova sina
Peter Paul RlIfJf!~ 71J!) Portrait o[Sicolaas Rubens, the Art~t:, Son
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10. Helena Zorićic Tondo Domenica lkn:afumija-
Tondo hr Domenico Becca{lIl1li _~
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{rom the Jlim!irE.. lllts~J.Y~ _
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Roman and Earl)' Chris/ill!J.. Tf.~'.!I-COna !.amos [rom the .llimara .Hll:;~l~~'.!.
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il1 the J/imara J/II.\{!IOn
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Lada Rattsortc-Bukrn-can Temeljne lehnike staklarsrva od kraja X\ 1. sl. do kraja XVIII sl.
The Fundantental Tecbniques of Glassmaleing from
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jean-Baptiste Oudry The Drawing Two Pigeon-, or
(wo Birds from the Partridge FamilY /i'OIU the Jfimara Jluseul1l.
Naslonjać i drugi oblici namještaja za sjedenje iz Muzeja Mimara
Armcbairs and Other Forms of Furniture for Sitting
[rom the .Himar~l JJlIS(,Il~'i _
Lada Ratleoric-Bukorčan Oda hrani primjerci i...lam •..kog ...takla u Muzeju .\1imara
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Veli'en Perorić Charles Le Brun: Pastir - crtež rimskog reljefa
IZ Muzej« vtunara - prijedlog za atribuciju
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 ALFRED RETHEL:

GRAD ELTZ)
CRTEŽ IZ MUZEJA MIMARA

JEAN-BAPTISTE OUDRY:
Lov NA LISICU I Lov NA VUKA,
DVA BAKROPISA IZ MUZEJA MIMARA
 Recenzenti / Readers
dr. sc. Marina Bregovac Pisk
prof. dr. sc. Frano Dulibić
ALFRED RETHEL: ALFRED !?ETHEL:

GRAD ELTZ, CASTLE ELTZ,

CRTEŽ IZ A DRAWING FROM

MUZEJA MIMARA THE MIMARA MUSEUM

Slaven Perović

Zagreb, 2014.
4
 5
Izvorni znanstveni rad,
srpanj,2014.
U zbirci crteža Muzeja Mimara čuva se crtež koji nosi
inventarni broj ATM2043 (Sl. 1.) i koji je u zbirku ušao
pod naslovom Veduta dvorca. Vrijemei mjesto nastanka
nigdje nisu navedeni. Crtež je nastao u tehnici crne,
sive i plavo zelene tinte perom te vodenih boja kistom
na papiru. Veličine je 215 x 148 mm. Smatram da bi
točniji naziv crteža bio Grad Eltz], da mu je autor Al-
fred Rethel (1816. - 1859.) te da je nastao u lipnju 1831.
godine, a to ću ovim radom pokušati i pokazati.
U prvome je planu prikazan s leđa vitez na konju,
odjeven u oklop i s kacigom na glavi. Preko desnog
ramena prebacio je crveni plašt. Lijevo od njega, na
zidiću se vidi monogram koji izgleda poput dva slova
R, leđima sljubljenih jedno s drugim iza kojih je točka.
(Sl. 2.) Uz viteza, desno, hoda kopljonoša koji također
ima kacigu, a koplje nosi na desnom ramenu. Desno
od kopljonoše, naslonjen na zidić, stoji čovjek koji se
oslanja o štap, a odjeven je u odjeću s velikom
kapuljačom. Iza njegovih leđa, prema dvorcu, a i s
druge strane puta, prikazana je bujna vegetacija
nekoliko nijansi zelene boje, koju sačinjavaju grmlje i
stabla. S lijeve je strane puta strmi krov zgrade koja je
očito podignuta na padini ispod puta. Put kojim kroče
vitez i kopljonoša dalje vijuga do zida koji je pokriven
crijepom i u kojem je prolaz kroz koji se ulazi u grad,
a koji čuvaju dva stražara s kopljima u rukama. Lijevi
sjedi na zidiću, a desni stoji uspravno, raširenih nogu,
držeći koplje u lijevojruci. Prikaz samog grada zauzima
gotovo čitav crtež. Dojam velebnosti grada pojačan je
malim likovima viteza i kopljonoše iz prvoga plana.
Pročelje mu je razvedeno i očito nije nastalo u jednome
mahu. Prozori koji ga ukrašavaju različiti su: neki su
jednostavni, pravokutni i bez ukrasa, dok su drugi
dvostruki; ima ih koji imaju gotički luk i obzidani su
kamenom, a neki su pak mali poput puškarnice. Na
srednjem je pročelju erker s tri potpornja, gotičkim
prozorom s mrežištern na prednjoj strani, dok se na
Original scientific paper,
July2014
The Drawings Collection of the Mi-
mara Museum keeps a drawing,
inventory number ATM 2043 (Fig. 1)
that came into the collection as View
of a Castle. Its time and place of origin
are stated nowhere. It was dane in
black, grey and blue-green ink with
pen and with watercolours with brusb
on paper. In size it is 215 x 148 mm. I
think it would be more accurate to call
the drawing Castle Eltz", to attribute it
to Alfred Rethel, and that it was drawn
in the June 1831, which in this paper
I shali endeavour to proveo
In the foreground a knight on borse-
back is shown from the back; he is elad
in armour and bas a helmet on bis
head. Over bis rigbt shaulder he bas
east bis red eloak. To the left of bim,
on a little wall, amonogram can be
seen that looks like two letter Rs,
backing anto each other. To the right
of the monogram is a dot. To the rigbt
of the knight is a spearrnan, who also
bas a helmet, carrying the spear on bis
rigbt shoulder. To the rigbt of bim,
leaning against the walls, stands a
man leaning on a staff dressed in
elothing with a large hood. Behind his
bace, luxuriant greenery is shown,
consisting of busbes and trees. On the
left band side of the road is the steep
roof a building clearly erected on the
slop below the patb. The road the
knight and spearman are travelling
along winds off 'furtber to a wall that
is capped with ti/es and in which there
is a passage giving entry into a castle
guarded by two sentries with spears in
tbeir bands. The left is sitting on a wall,
and the other standing uprigbt, legs
apart, holding the spear in bis left
hand. The depiction of the actual
castle occupies almost the whole of the
drawing. Its majesty is emphasised by
the little figures of knight and spear-
man in the foreground. Thefacade is
irregularly intricate and clearly was
not built at a breath. The windows
gracing it are different: some are simple
rectangular apertures with no decor-
 6

1. Alfred Rethel: Grad Eltz,

Muzeja Mimara, Zagreb
1 Alfred Rethel: Castle Eltz,
Mimara Museum, Zagreb
 7
bočnoj vidi uzak prozor šiljatoga vrha. Iznad erkera je
šiljati krović, sljubljen s pročeljem na kojem se vide
grede koje nose zid, dok je prostor između njih ispunjen
ciglama. a uglovima dvorca su tornjići, u donjem dijelu
okrugloga t1ocrta, dok su im najviši katovi i strmi krovići
višekutni. Osim tornjića, na strmim krovovima, koji
završavaju metalnim šiljatim ukrasima sa zastavicama,
vide se i dimnjaci. Iznad krovova su oblaci, a ostatak
neba prikazan je urednim povlačenjem usporednih,
blago neravnih crta. Lijevo od dvorca, u daljini,
prikazane su ptice u letu.
Alfred Rethel rodio se u Diepenbendu pokraj Aachena
15. svibnja 1816. godine. Umro je Dusseldorfu 1.
prosinca 1859. godine. Bio je brat slikara povijesnih i
prizora iz svakodnevnog života, Otta Rethela (1822. -
1892.). U Aachenu je učio kod jean-Baptistea Josepha
Bastinea (1783. - 1844.) koji je bio pod Davidovim
utjecajem, a zatim na Akademiji u Dusseldorfu kod
Friedricha Wilhelma von Schadowa (1789. -1862.) od
1829. do 1836. godine. Na Staatliche Kunstakademie
predavali su mu profesori Christoph Kolbe (1771. -
1836.) i Theodor Hildebrandt (1804. - 1874.) koji su
brzo kod Rethela uočili posebnu nadarenost za
povijesno slikarstvo. Usavršavao se kod Philippa Veita
(1793. - 1877.) iM. Tatiga u Frankfurtu na Majni od
1836. do 1847. godine, i kasnije u Aachenu, Dusseldorfu
i Dresdenu. Putovao je Italijom 1844.145. godinu.
Oženio je Marie Grahl, kćerku sitnoslikara Augusta
Grahla 1851. godine. Simptomi mentalne bolesti pojavili
su mu se za drugoga puta u Italiju 1852. na 1853.
godinu. Na Rethela su u početku, zahvaljujući von
Schadowu i Veitu, jak utjecaj imali nazarenci, ali se
2. Alfred Rethel: GradEltz(detalj),
Muzeja Mimara, Zagreb
2 Alfred Rethel: Castle Eltz
(detail), Mimara Museum,
Zagreb
ations, while others are doubled, there
are same that baue a Gothic arcb and
are lined with stone, while others are
small, no better tban loopholes. In the
centre of the facade is a bay on three
corbels, a Gothic unndoui with tracery
on thefront, white on the side a narroiu
unndoui with apointed top can be seen.
Over the bay is a pointed rooJ, abutting
anto the facade, on which the beams
that bear the wall can be seen, while
the space between is.filled in with bricks.
7bere are turrets at the corner of the
castle, in the lower part of the circular
ground plan, while the top .fioors and
steep roofs are polygonal. Apart from
the torrents, on the steep roofs that end
with pointed metal ornamentations
with flags, chimneys are to be seen.
Over the roofs are clouds, and the rest
of the sky is shown with neatly draum
parallel but slightly uneven lines. To the
left of the castle, flying birds are
pictured in the distance.
Alfred Rethel was born in Diepen-
benden by Aacben on May 15, 1816
and died in Dusseldorf on December
1, 1859. He was the brother of a
painter of bistorical and eueryday
scenes, Otto Rethel 0822-1892). In
Aachen he studied with jean-Baptiste
joseph Bastine O 783-1844},who was
mucb injluenced by David, and then
at the Dusseldorf Academy, where he
was taugbt by Friedrich Wilhelm von
Schadow O 789-1862}from 1829 to
1836. At the Staatlicbe Kunstaeademie
he was taugbt by Christoph Kolbe

0771-1836) and Tbeodor Hilde-
brandt (J 804-1874), who quickly no-
ticed that Rethel had a particular tal-
ent for history painting. He did [ur-
ther studies with Philipp Veit (J 793-
1877)andM. Tatig, in Frankfurt-am-
Main from 1836 to 1847 and later in
Aacben, Diisseldorf and Dresden. He
travelled around Italy during 1844/
1845; he married Marie Grahl, daug-
hter of the miniaturist August Grabl
in 1851. Symptoms ofmental illness
appeared during his second journey
to Italy in 1852 and 1853. At the
beginning, thanks to von Schadow
and Veit, the Nazarenes had a great
impact on Rethel, but be broke from
them around 1840, when he started
to produced work in which the dra-
wing was powerfully featured, ende-
avouring to be a pa inter who was as
expressive aspossible. While he was still
a student of the Academy in Dussel-
dorf, he was already noticed, and he
deueloped his personal manner to the
ful! in the Frankfurt period. He painted
on canuas, cut woodcuts, often for
illustrations, he drew and made
watercolours. In 1840hewasgiven the
task of decorating the Imperial Hall in
the City Council Chamber in Aachen,
in which in 1847 to 1848 he painted
four frescos for which he drew the
cartoons'. The expressive contours on
bis drawings were the influence of
Peter von Cornelius (1783-1867). The
sources of the arabesque rbytbms on
many of the drawings are the direct
influence of Eugen Napoleon Neu-
reutber (1806-1882). On the drawings
for the Aachen frescos, between 1840
and 1845, and in the watercolours in
the series Hannibal Crossing the Alps,
created between 1842 and 1844, we
can see that Rethel had entirely
abandoned the ways of Late Roman-
ticism. Studying the history of the
Germans and Liuy', enahled him to
create a simple and monumental
visual expression. And altbougb Rethel
can be counted among the realistic
painters of history, he preserved a
romantic imagination showing real
euents in the light of the artist's inner
oision. Tbus the series ojDance of Death
woodcuts was created in response to the
turnultuous year of revolutions, 1848
and 1849. Same of the draunngs, like
Scene of the Battle at the Barricades"
teil of Rethel as a realistic chronicler of
a draugbtsman. Still, the preparatory
drawings for the Dance of Death
woodblocks showa romantic artist who
never made a clean break with the
Nazarene inberitance? He died men-
tally deranged in Dusseldorf on
December 1, 1859.
Rethel was an extremely talented and
skilled draugbtsman, which was
8
njihova utjecaja oslobađa oko 1840. godine, kada je
počeo stvarati snažnim, crtačkim načinom, težeći većoj
slikarskoj izražajnosti. Većje za studiranja na Akademiji
u Dusseldorfu bio zapažen, a osobni je način u
potpunosti razvio u frankfurtskom razdoblju. Slikao je
na platnu, izrađivao drvoreze i to često za ilustracije,
crtao i izrađivao akvarele. Godine 1840. bio je zadužen
za uređenje Carske dvorane u Gradskoj vijećnici u
Aachenu u kojoj je 1847./48. naslikao četiri freske za
koje je nacrtao pripremne crteže." Izražajne konture
na Rethelovim crtežima ukazuju na utjecaj Petera von
Corneliusa (1783. - 1867.). Izvori arabesknog ritma na
mnogim crtežima izravan su utjecaj Eugena Napoleona
Neureuthera (1806. - 1882.). Na skicama za freske u
Aachenu (nastalima između 1840. i 1845,) kao i na
akvarelima iz niza Hanibal prelazi Alpe (nastalima
između1842. i 1844.) vidljivo je da je Rethel u
potpunosti napustio načine kasnoga romantizma.
Proučavanje germanske povijesti, kao i Tita Livija"
omogućilo mu je stvaranje jednostavnog i monu-
mentalnog likovnog izraza. Iako se Rethel može
ubrojiti u realistične slikare povijesnih tema, on je
sačuvao romantičarsku maštu prikazujući stvarne
događaje u svjetlu umjetnikove unutrašnje vizije. Tako
je niz drvoreza Ples smrti nastao kao odgovor na
revolucionarne događaje u Njemačkoj s prijelaza s
1848. na 1849. godinu. Pojedini crteži, poput Prizora
borbe na barileadama' svjedoče o Rethelu kao o
realističnom crtaču kroničaru. Ipak, pripremni crteži
za niz drvoreza Ples smrti ukazuju na autora
romantičara koji nikada nije posve raskinuo s
nasljeđem Nazarenaca.' Umro je duševno bolestan u
Dusseldorfu 1. prosinca 1859. godine.
Rethel je bio vrlo nadaren i vješt crtač što je bilo vidljivo
već u njegovom djetinjstvu. Prenosio je na papir, na
način previše zreo za svoju dob, dojmove o svijetu
oko sebe, svoje maštarije, priče i legende koje je slušao.
Jedan od ranih crteža, Sapfo, nacrta o je strogim
linearnim potezima, poput onih na grčkim vazama.
Kada je jednom u Burtscheidu, kao trinaestogodišnjak,
išao u školu, ugledao je bika kojega su vodili u
klaonicu. Bik se oteo i napravio velik nered. Rethel se
odmah zaustavio i zabilježio dojmove na papiru.? Crtež
svjedoči o neobičnoj nadarenosti za prikazivanje
pokreta, drame i za organiziranje prostora. U ranoj
mladosti nastali su sigurni crteži prirode, ruševina
gradova i šume oko Aachena. Već je s trinaest godina,
zahvaljujući nesvakidašnjoj crtačkoj nadarenosti,
primljen na Akademiju u Dusseldorfu. Na toj se
akademiji njegovalo monumentalno slikarstvo. Osim
 9
slikanja na platnu, učilo se i slikanje fresaka. Crtalo se
prema živim modelima, ali puno više po gipsanim
odljevima antičkih kipova. Akademija je posjedovala
velik broj crteža i grafika talijanskih starih majstora
koje su studenti precrtavali vježbajući tako vještinu
crtanja. Iste godine kada i Rethel u Dusseldorf je stigao
i Ernst Deger (1809. - 1885,) koji je pripadao
nazarencima, a koji su na mladog Rethela jako utjecali.
Zanemare li se crtanke s likovima iz dječjih knjiga, iz
godina umjetničkog oblikovanja na Akademiji u
Dusseldorfu preživjelo je šest crtanki. U prvoj su
sačuvani povijesni prikazi, crteži krajolika i arhitekture.
Druga je crtanka, iz 1831. godine (osim crteža Nudenje
krune Heinrichu der Vogleru) prava bilježnica za
vježbanje u koju je prenosio stvarnot koja ga je
okruživala. Ovaj je likovni putopisni dnevnik nastao
kada je Rethel imao petnaest godina i važan je za Mimarin
crtež Grad Eltz o čemu će kasnije još biti riječi. Ova se
crtanka, koja je 1940. godine pripadala obitelji Sohn-
Rethel, kako me je obavijestila kustosica Dagmar
Preising, danas nalazi u Suermondt-Ludwig-Museumu
u Aachenu. Preostale su crtanke uglavnom bile dnevnici
s putovanja. a jedno je krenuo 1833. godine preko
Rajne u Koblenz, Bacharach, Ingelheim i Frankfurt na
Majni. Crtanka nastala 1834. godine ispunjena je
prikazima krajolika, između ostalog i porječja Ahra. U
njoj je i povijesni prikaz Rudolf von Habsburg u pratnji
biskupa. Dvije su crtanke nastale 1835. godine, a u njma
je prikazan nastavak putovanja preko urnberga u
Munchen i u Bavarske Alpe, ali svjedoče i o tome da je
posjetio Alte Pinakothek, gdje je kopirao krila Durerova
oltara naslikanog za obitelj Paumgartner. Roditelji su
mu napustili Aachen i preselili u Wetter an der Ruhr u
blizini Hagena. Tada je nastala crtanaka s prikazima
doline Ruhra i Westerwalda, Dusseldorfa, Donje Rajne.
Zabilježio je šetnje uz obale Rajne i Mosselea.
Wolfgang Muller iz Koningswintera, Rethelov prijatelj
iz djetinjstva, koji je studirao medicinu i kojega je Rethel
upoznao u Dusseldorfu, napisao je u svojim sjećanjima
kako je u društvu s umjetnikom lutao oko Dusseldorfa
i Wetter an der Ruhra, s crtankom i gitarom, pjevajući
i prepričavajući fantastične priče. a prvome listu u
Crtanki iz 1831., gore lijevo od prikaza ruševine grada
Wettera, Rethel je nacrtao dva lika koja hodaju
prirodom. Vrlo je lako moguće da je tu umjetnik nacrtao
sebe u društvu Wolfganga Mullera. Na sljedećem je
listu prikaz Wettera s ruševinom kule okrugloga tlorisa,
na trećem je prikaz sela, gudura, romaničke bifore i u
prvome planu dolje, velikoga miša koji nam ukazuje
na to kako je Rethel već s petnaest godina bio izvrstan
uisible in bis childhood. He put on
paper impressions oj the world about
bim, bis Jancies, stories and legends
he had heard in away tbat was too
mature Jar bis age. One oj tbe early
drawings, Sappho, was dane in strict
linear strokes, like those on Greek
uases. Once in Burtscbeid, a tbirteen-
year-old on his way to school, he saw
a bull being tahen to the slaugbter
house. The bull broke loose and
created great disorder. Rethel halted
at once and put bis impressions down
on paper." The drawing shows bis
uncommon ability to show mooement,
drama and to organise space. In his
early youtb he produced confident
draunngs oj nature, ruined castles and
the Jorests around Aachen. AI the age
oj thirteen, tbanhs to his great skill in
drawing, he was accepted at the
Dusseldorf Academy. At this academy,
tbey cultiuated a monumental style oj
pairuing . As well as painii ng On
canuas, he learned how to pairu
frescoes. He did do life studies, but
mucb more tban that, he copied plaster
casts oj ancient sculptures . The
Academy had a large number oj
draunngs and prints by tbe Italian old
masters, which tbe students copied,
exercising tbeir bands. In tbe same
year as Retbel, Erns Deger (1809-
1885) also arriued in Dusseldorf he
was a Nazarene, a member oj tbe
group tbat had such an influence on
tbe young Rethel.
!f one ignores the drawings from a
sketchbook with figures from
children's books, Jrom the years at
which he wasjormed as an artist in
DiisseldorJ, six sketchbooks baue
sunnued. In tbe jl1'Sttbere are historical
depictions, drawings oj landscapes
and arcbitecture. The second sketcb-
book, [rom 1831, except the drawing
The Crown Offered to Heinrich der
Vogler, is a real exercise book, into
which he rendered tbe reality that
surrounded bim. This visual travel
diary was created when Rethel was
Jifteen, and il is important Jar the
Mimara Castle Eltz, more about which
below. This sketchbook, which in 1940
belonged to tbe Sobri-Retbel farnily, as
curator Dagmar Preising inJormed
me, is today in the Suermondt-Ludung-
Museum in Aacben. The other sketcb-
books were on the whole diaries from
his traoels. He undertook one such in
1833, aeross the Rhine to Koblenz,
Bacbaracb, Ingelbeim and Prankfurt-
am-Main. Another was created
in 1834 and is filled with depictions oj
landscapes, including the valley oj the
Abr. It contains the historica! depiction
oj Rudolf von Habsburg in the
Company of Bishops. Twosketchbooks
were created in 1835, and show the
continuation oj the journey, via

Nuremberg to Munich, and to the
Bauarian Alps, shouiing also that he
had visited the Alte Pinakothek, where
he copied the wings of the Durer altar
painted for the Paumgartner family.
Rethel's family left Aachen and moved
to Wetter an der Rubr; close to Hagen.
Tben came the sketchbook untb depi-
ctions of the valley of the Ruhr,
Westerwald, Dusseldorf, the Lower
Rh ine. He recorded strolls along the
Rhine and the Mose!.
Wolfgang Muller of K6nigswinter, a
friend of Rethel's from his childhood,
who studied medicine and whom he
met in Dusseldorf, wrote in bis
memoirs that he had wandered
around Diisseldorf and Wetter an der
Rubr with the artist, guitar and
drawing book in band, singing and
retailing fantastic tales. On the first
sheet of the 1831 Sketchbook, top, left
of the depiction of the ruins of Burg
Wetter, Rethel drew two figures uial-
king in a natural setting. It ispossible
that here the artist was drawing
bimself in company with Muller. In the
next is a picture of Wetter with a
ruined round tower, and in the third,
a village, a gorge, Romanesque
mullioned windows, and in the
foreground bottom a large mouse,
which tells us that when he was only
fi.fteen he was outstanding in drawing
animals. The fourth drawing is
watercoloured and shows the factory
of the industrialist Friedrich Harkort,
the same that is seen in the first
drawing. It is coloured in yellow,
reddish, brown, grey ochre, green and
light blue. Tbe industriai architecture
incorporated into the medieval fort is
presented extremely impressively. 7 Stil!
wandering further around, Rethel
recorded in pencil the interesting
features of the Ruins of Volmarstein
Tower", with alittle figure at the foot
of the building to gioe a sense of its
majestic scale; the legendary
Hohensyburg, in three draunngs, in
the first of which he showed a
Romanesque church, and on the
others the ruins of the castle",
landscapes with forts on which he
recorded the names - Sieburg,
Keiserberg and Siegerland on one or
Freisburg on another 0; in Koblenz
was the old Castle of the Elector and
Bay on the Old Kaufhauses", in
Bacbaracb there is an outstandingly
mature depiction in which he drew the
architectural sbapes of the Cburcb of
St Peter, calling the drawing Church
in Bacharach 12; Eifel Landscape with
Horses in the Foreground'", Knightly
Castle on the Rhine!'. A view of
Traben'", a depiction of the huge rock
Wellstein by Trarbach, is a dramatic
landscape that Rethel rendered with
10
crtač životinja. Četvrti je crtež akvareliran, a prikazuje
tvornicu industrijalca Friedricha Harkorta, istu onu koja
se vidi na prvome crtežu. Crtež je obojen žutom,
crvenkastom, smeđom, sivkastim okerom, zelenom i
blijedoplavom. Vrloje dojmljivo prikazana industrijska
arhitektura uklopljena u srednjovjekovni grad." Dalje
lutajući okolicom, Rethel je olovkom bilježio
zanimljivosti: Ruševine tornja Volmarsteitr s malim
likom u podnožju kojim je ukazao na velebnost tornja;
legendarni Hohensyburg na tri crteža, od kojih je na
prvome prikazao romaničku crkvu, a na preostalima
ruševine grada", krajolike s utvrdama na kojima je
bilježio njihova imena - Sieburg, Keiserberg i Siegerland
na jednom ili Freisburg na drugom'"; u Koblenzu stari
Grad kneza izbornika i Erker na Kaufbauses", u
Bacharachu je izuzetno zrelim prikazom arhitektonskih
oblika nacrtao crkvu sv. Petra, a crtež je nazvao Crkva
u Bacbaracbu'", Eifelski krajolik S konjima u prvome
planu'>; Viteški grad na Rajni". Pogled na Traben";
prikaz velike stijene Wellstein kod Trarbacha
dramatičan je krajolik kojim Rethel izražava svu svoju
snagu i nepogrješivu preciznost; na crtežima su jako
promišljeni odnosi arhitekture i krajolika, biljaka i
zgrada, malih ljudskih likova nacrtanih uz stabla kako
bi svojom sićušnošću ukazali na njihovu velebnost."
Na jednome je crtežu prikazao stari hrast preciznošću
portretista 17; studirao je odnose debla i kvrgavog
korijenja"; na poleđini crteža konja nacrta o je biljku
konjsko kopito", S posebnom je pažnjom crtao seosku
arhitekturu", ali i već spomenute prikaze crkava i
gradova, gotičke rebraste svodove", romaničke prozore
ili podrumski prozor koji je prikazao precizno, do
zadnjega kamenčića koji ga uokviruje". U ovoj je
crtanki nacrta o i dva crteža koji prikazuju aktove
mladića koji sjede: jednoga je prikazao sučelice,
uzdignute lijeve ruke, kao da drži koplje ili štap, lica
sumarno prikazanog, a drugoga, oštroga profila i
polu duge kose, torza lagano zanesenog ulijevo i nogu
savijenih u koljenima, koje su sasvim okrenute ulijevo."
Studije draperija na dva su lista, a detaljan prikaz desne
ruke u oklopu na jednome." I crteži životinja pozorno
su nacrtani: već spomenuti miš, magarci, konji, mačke,
krave, divlja svinja, lavice i lavovi - list s osam studija
na kojemu je Rethel izričito napisao da je životinje
crtao uživo, a mogao ih je vidjeti u cirkusu ili
zvjerinjaku; lavovi, tigrovi i sjeverni medvjedi na listu
na kojem je deset studija životinja i nadnevak napisan
Rethelovom rukom: 11. lipnja 1831.25, a nacrtao je i
sklupčanog psa." Na listu 22, iznad crteža konja, gore
desno, također je nadnevak: 19. lipnja 1831. Ne smijem
zaboraviti ptice koje možemo vidjeti skoro na svakom
 11
crtežu krajolika, gradina ili ruševina, prikazane kako
lete visoko u daljini, čime se naglašava dojam
prostranosti i visine neba. Na poleđini posljednjega
lista, na kojemu je nacrtao nekoliko stabalaca", nalazi
se i crtež Nudenje krune Heinrichu der vogleru?" Iznad
crteža deset je redaka teksta u kojima spominje crkvene
reformatorejeronima Praškogš'.jana Husa30, Huldrycha
Zwinglija" i Martina Luthera". U posljednjem odjeljku
od tri reda spominje brošuru, ako takva postoji, u kojoj
bi našao podatke o načinu rezanja graverskim
dlijetom, a ne o baeropisu - iz čega se može zaključiti
da je želio proučiti određenu grafičku tehniku."
Crtež Grad Eltz iz Mimarine zbirke ušao je u zbirku
pod nazivom Veduta dvorca. Nije mu bio naveden
autor, tehnika kojom je nacrtan ni vrijeme nastanka.
Prelistavajući Aachener Kunstblatter iz 2002. godine,
naišao sam na osvrt na katalog izložbe Alfred Rethel
(1816 - 1859), Zeichnungen und Olstudien, autorice
Dagmar Preising.34 Jedan među reproduciranim
crtežima asocirao me na crtež iz Muzeja Mimara. U
Bćnćzitu " sam potražio Rethelov potpis i našao
nekoliko načina na koje se potpisivao, ali i desetak
načina na koje je pisao svoj monogram. Shvatio sam
kako sam na dobrome putu. Rethelovo crtačko djelo
dobro je obrađeno u literaturi i ubrzo više nisam imao
sumnji oko autorstva. Najveću mi je poteškoću stvaralo
smještanje crteža u uži vremenski okvir. Kada sam
nabavio knjigu J. Heinricha Schmidta Ein Skizzenbuch
des jungen Alfred Retbei", shvatio sam da je ono što
me najviše zbunjivalo u datiranju zapravo bila Rethelova
mladost i potpuna prožetost duhom romantizma. Do
tada, naime, nisam vidio crteže iz najranijeg doba
Rethelova stvaralaštva. Kada sam crtež Grad Eltz iz
Mimarine zbirke usporedio s crtežima iz Crtanke iz
1831. godine, bilo mi je jasno da s velikom sigurnošću
vrijeme nastanka crteža mogu staviti upravo u tu
godinu, točnije, u lipanj 1831. godine. Bilo je lako uočiti
nedvojbene sličnosti s pojedinim crtežima - u
kompoziciji, načinu prikazivanja prirode, krajolika,
ljudskih likova i arhitekture, a i za akvareliranje skoro
cijeloga lista našao sam primjer. Crtež iz Crtanke koji
najbolje možemo usporediti s Mimarinim je Viteškigrad
na Rajni". Sva je prilika kako je Mimarin crtež nastao
u isto vrijeme, možda upravo na isti dan, kada i crtež
ovoga grada. Naime, radi se o istome gradu. Na ovome
je crtežu prikazana južna strana grada Eltza." U pismu
od 17. kolovoza 2003. godine pokojni gospodin Jakov
grof Eltz Vukovarski potvrdio mi je kako crtež prikazuje
južnu stranu dvorca Eltza. Stoga bi bilo točnije da se
četrdeseti crtež iz Crtanke iz 1831. nazove Grad Eltz,
all bis strengtb and his unerring pre-
cision, the relations of arcbitecture
and landscape, plants and buildings,
the little buman figures draum along
the trees to gioe an impression of the
majesty of it all are all bigbly
considered." In one of the draunngs
he depicted an ancient oak, with the
precision of the portrait artist'", he
studied Ihe relations betuieen tbe trune
and the enouy roots'", on the bach of
the drawing of a borse he drew the
plant wild gingel; which looks like a
horse S boof'". He drew rural buildings
with particular care", as well as the
already ment ioned depict ions of
castles and cburcbes, Gotbic ribbed
oaulting", Romanesque windows and
a cellar unndoui that he showed in
precise detail down to the last of the
pebbles framing it12.In this drawing
he also drew tuio n udes, sbounng
young men sitting; one is sboum
frontally, with bis left arm raised, as
ij he were holding a spear ar staff, bis
face sboum only sumrnarily, and
another with a sbarp profile, shoulder
lengtb ha ir, tarsa lightly leaning
leftuiards and bent legs entirely in
motion to the left23 There are studies
of drapery on Iwo sheets, and a
detailed depiction of a rigbt band in
mail on another". The draunngs of
animals are also carefully executed;
tbere is tbe mouse already mentioned,
asses, horses, cats, crows, wild boar;
lions - a sheet with eigbt studies, on
which Rethel expressly stated tbat he
had draum from the lije, which he
migb! baue been able to see in same
circus ar menagerie; lions, tigers and
polar bears on a sheet with ten studies,
dated with Retbel's hand: June 11
1831", and he also drewa dog that
was curled uro Above tbe drawing of
the horse, on the picture 22, upper
rigbt, tbere is also Retbel's date: June
19 1831. I sbould not forget Ihe birds
that we can see on almost every
drawing of landscape, castle ar ruins,
sboum f1ying in tbe distance and in
the beigbts, emphasising the sense of
the space and beigbt of the sky. On tbe
back of the last sbeet, on which he had
draum several trees", he drew The
Crown Offereel to Heinrich eler
Vogler". Aboue the drawing are ten
lines of ioriting in which he mentions
the Reformers Jerome of Prag ue", Jan
Htls30, Ulrich Zwingli31 and Martin
Luther". In the last section, tbree lines
long, he mentions same brochure, if
there is such, in which I coulel finel
information about how to cut with the
burin, not about etching - clearly
uianting lo study a clearly defined
printmaeing tecbniquev,
The drawing Castle Eltz came into the
collectionnamedView of a Castle. The
 12

3. Alfred Rethel: Grad Eltz,

pogled na južnu stranu,
Crtanka iz 1831., Suermondt-
Ludwig-Museum, Aachen
3 Alfred Rethel: Castle Eltz,
a View from the South, 1831
Sketchbook, Suermondt-
Ludung-Museum, Aachen

name of the artist, the technique and

the date were not giuen, Looking
tbrougb the Aachener Kunstblatter of
2002, I came across a reference to the
catalogue of the exhibition Alfred
Rethel (1816 - 1859), Zeichnungen und
Olstudien, written by Dagmar Prei-
sing". One of the draunngs reminded
me of the drawing in the Mimara
Museum. In Benezu'! I looked for
Retbel's signature and found that he
signed his name in several ways, and
rendered bis monogram in a dozen
ways.I realisedI was on the rigbt road.
Retbel's drawing work bas been well
couered in the literature and I very
soon had no more doubt about who
had done the work. The greatest
problem was in placing the drawing
more precisely on the timescale. Wben
I obtained the book of j. Heinrich
Schmidt, Ein Sk:izzenbuch des jungen
Alfred Rethel-", I realised that what
had most led me astray was Rethel's
youth and his being completely im-
bued with the spirit of Romanticism.
Previously I had not seen drawings pogled na južnu stranu (51.3,), Rethel je pak grad Eltz
from the earliest period of his work. s Mimarina crteža crtao s mjesta koje je bilo na razini
Wben I compared the Castle Eltzfrom
the Mimara Collection with the dra- čuvara kod ulaza u grad. Dok je crtao Grad Eltz, pogled
wings from The 1831 Sketchbook, it na južnu stranu, bio je smješten niže, u podnožju
was dear that I could assign the time samoga brijega. a oba je crteža posvetio punu
with a great degree of certainty to that
year, or more precisely, inJune1831. pozornost detaljima: načinu nizanja kamenja na
It was easy to see the great simi/arities ogradama, prikazivanju pojedinih crjepova na
in the indiuidual draunngs, in the krovovima, pojedinih prozora, bilja oko dvorca i sl.
composition, the way in which nature
is depicted, the landscapes, the human Mali likovi - vitez, kopljonoša, čuvari - odgovaraju
figures and the arcbitecture, and I also malim likovima koji naglašavaju velebnost arhitekture
found an example of a whole sheet
being watercoloured. The drawing
ili prirode na isti način kao na crtežima 7, 11 ili 27 u
from the Sketchbook that can be best Crtanki iz 1831. godine. Konj s leđa s naznakom jahača
compared with the Mimara drawing s crteža 8 iz Crtanke(SI. 4.), iako prikazan puno većim,
is the Knightly Castle on the Rhine".
It is very likely that the Mimara draw- mogao je biti vježbom za crtež viteza na konju s
ing was created at the same time, Mimarina crteža. a istome je crtežu u donjem lijevom
maybe on the very same day, as the kutu prikaz iste tvornice Harkort na utvrdi Wetter an
drawing of this castle. For it is the same
castle. In this drawing, the southern der Ruhr koju vidimo na prvome crtežu u Crtanki.
side of Castle Eltz is sboum'". In a let- Rethelovo ulje na platnu na kojem je ta tvornica u
ter of August 17, 2003, the late Count
Jakov Eltz of Vukovar confirmed to me
potpunosti prikazana nastalo je 1834. godine." Na listu
that the drawing does depict the 25 još je jedan prikaz iste tvornice, u potpunosti
southern side of Castle Eltz. Accor- akvareliran kao i Mimarin crtež (Sl. 5.). Crtež Grad
dingly, I would propose that the 40·
draunngfrom the 1831 Sketchbook he Eltz, danas u Zbirci Mimara, nastao je u tehnici crne,
called Castle Eltz, a View from the sive i plavozelene tinte perom te vodenih boja kistom
13

4. Alfred Rethel: Konj s leda s

naznakom jahača (detalj crteža
8 iz Crtanke iz 1831.),
IJ'
Suermondt -Ludwig-Museum,
Aachen
4 Alfred Rethel: The horse from
behind with an indication of a
rider, 1831 Sketchbook,
Suermondt-Ludung-Museum,
Aachen

South (Fig. 3). Rethel drew Castle Eltz

in the Mimara version from a place
that was at the same level as the guards
at the entrance. Houeter; while he was
drawing Castle Eltz, a View from the
South, he was located lower, at thefoot
of the hill. He paid a lot of attention to
the details in both pictures. the way in
which the stones on the walls are
sequenced, the depiction of single tiles
on the roofs, indiuidual windows,
plants around the castle and so on.
The little-figures, the enigbt, spearman,
guards, are similar to the littlefigures
I
that bring out of the majesty of the
building or nature in the same way
as in draunngs 7, 11 or27inthe1831
sketchbook. The borse from bebind
with an indication of a rider in
drawing 8 from the sketchbook (Fig.
4), altbougb shown mucb larger, could
baue been an exercise for the drawing
of the enigbt on borsebach in the
Mimara drawing. On the same draw-
ing, in the lower left band corner, there
is a depiction of the same factory of
Harkort on the fort of Wetter an der
Rubr; which we see in the first draw-
ing in the sketchbook. Retbel's oil on
caru/as in which tbis factory is sboum
in full was done in 183439. On sheet
25 tbere is another picture of the same
castle, fully uiatercoloured, like the
Mimara drawing (Fig. 5). Castle Eltz
was done in black, grey and blue-
green ink with uiatercolours on ioory
coloured paper. And blue-green ink
appears in some of the windows on the
facade of the castle. This is best seen
on the mon ogram, where it can be

5. Alfred Rethel: Tvornica

Harkort na utvrdi Wetter an der
Ruhr, Crtanka iz 1831.,
Suermondt-Ludwig-Museum,
Aachen
5 Alfred Retbel. Factory of
Harkort on the fort of Wener an
der Ruhr, 1831 Sketchbook,
Suermondt-Ludung-Museum,
Aachen

seen that the original monogram was
ioritten in grey ink. IVhether someone
e/se at alater time, and not the artist,
thickened it is impossible to say.
Perbaps because oj the subsequent
application of blue-green ink, tbefirst
letter in the monogram, A, started to
look more like a mirror image R.
Putting ioatercolour on over a draw-
ing is a tecbnique Alfred Rethel used
three times in the sketchbook; in draw-
ing 4, in the left band corner is a land-
scape in which he uiasbed over the
pencil. Tbere is uiasb 011pari oj draw-
ing 25, in which there is alle oj the
depictions of tbe Harhortfactory. And
pari oj drawing 42 was dane in uiasb,
on top oj pencil. Taking all this into
account, r think J can with great eon-
Jidence state that the author oj the
drawing Castle Eltz [rom the Mimara
Museum is Alfred Retbel, and that it
was draum in tbejune 1831, the year
oj the 1831 Sketchbook, ar not long
tbereafter. Perbaps it was meant to be
a presentJor someone. Perbapsfor bis
trauelling companio n, Wolfgang
Muller from Konigsunnter, orperbaps
it was gioen to S0111eone011his return
from his jou rney.
14
na papiru boje bjelokosti. Plavozelena tinta pojavljuje
se na pojedinim prozorima na pročelju dvorca. ajbolje
se vidi na monogramu gdje je razvidno kako je prvotni
monogram bio napisan sivom tintom. Je li naknadno
netko drugi, a ne sam autor, podebljavao monogram,
nemoguće je reći. Možda je upravo zbog naknadnog
nanošenja plavo zelenom tintom prvo slovo u
monogramu (A) počelo više sličiti zrcalno prikazanom
slovu R. anošenje vodene boje preko crteža tehnika
je kojom se Alfred Rethel tri puta poslužio u Crtanki:
na crtežu 4, u gornjem je lijevom kutu prikazan krajolik
na kojem je lavirao olovku. Laviran je i dio crteža 25
na kojem je jedan od prikaza tvornice Harkort. I dio
crteža 42 nastao je u tehnici laviranja, i to preko olovke.
Uzevši u obzir sve navedeno, s velikom sigurnošću
tvrdim da je autor crtežu Grad Eltz iz zbirke Muzeja
Mimara Alfred Rethel i da je crtež nastao u lipnju 1831.
godine, kad i Crtanka iz 1831. godine ili nedugo nakon
njena nastanka. Možda je nastao kao dar nekome.
Možda suputniku, prijatelju Wolfgangu Mulleru iz
Koningswintera ili je darovan nekome drugome po
povratku s puta,
 15

Bilješke: Notes:

I Radi se o gradu Eltzu (njemački: Burg Eltz) u jemačkoj koji je I The building in this case is CastleEltz,
sagrađen iznad rijeke Moselle, između Koblenza i Triera. Od XII. ar Burg Eltz, built abooe the Moselle,
stoljeća njime vlada obitelj Eltz. U Hrvatskoj, u Vukovaru, nalazi se between Koblenz and Trier. Since the
12' century, il bas been beld by the
dvorac Eltz (njemački: Schloss Eltz), sagrađen u XVIII. stoljeću, u
Eltz Family. In Croatia, in Vukovar,
kojemu je danas Gradski muzej Vukovar. there is the Eltz Palace, ar Schloss Eltz,
built in the 18" century, today bousing
Ulrich Thieme und Felix Becker, 1934., str. 187. Vukovar Munictpal Museum.

3 Rimski povjesničar (59. prije Krista - 17.). 2 Ulrich Tbieme and Felix Beceer, 1934,
p.187.
4 Aachen, Stadtisches Suermondt-Museurn, olovka, 200 x 142 mm.
3 Roman bistorian, 59 BC - AD 17
s Youri Kouznetsov u La Peinture allemande cl l'epoque du 4 Aacben, Stiidtisches Suermondt-Mu-
romantisme, 1976., str. XLI. seum, pencil, 200 x 142 mm.

6 Crtež se čuva u Frankfurtu u Stadel Museumu. 5 Youri Kouznetsou in La Peinture alle-

mande a l'epoque du romantisme,
7 U crtanki slike 1, 2, 3 i 25. 1976, p. XLI.

6 Now in Frankfurt in the StadelMuseum.

8 U crtanki slika 7.
7 In tbeseetcbbooepiaures i, 2, 3 and25.
9 U crtanki slike 9, 10 i 30.
8 In the seetcbbooe picture 7.
10 U crtanki slike 29 i 31.
9 In thesketchbookpictures9, 10 and30.
1\ U crtanki slike 34 i 35.
10 In the seetcbbook pictures 29 and 31.
12 U crtanki slika 36. - Ovaj je precizan crtež bio vrlo koristan pri
II In the seetcbbook pictures 34 and 35.
obnovi crkve koja je izgorjela 1872. godine.
12 In the seetcbbook picture 36. This pre-
13 U crtanki slika 32. - Eifel je brdski lanac koji se nalazi u zapadnoj cise drawing was later oj great use in
jemačkoj i istočnoj Belgiji. Prostire se na području jugozapadnog the reconstruclion oj the church,
dijela Sjeverne Rajne-Vestfalije. which burned down in 1872.

14 U crtanki slika 40. - ]. Heinricha Schmidta crtež podsjeća na Grad 13 In the seetcbbook picture 32.
Bi.irresheim u Eifelu iako navodi kako se prikaz razlikuje od
14 In the sketcbbooe picture 40. The dra-
postojećeg stanja. wing reminds ]. Heinrich Schmidt oj
Castle Burresbeim in Eifel, altbougb
IS U crtanki slika 37. does say that the picture is difJerent
from the current condition.
16 U crtanki slike 5, 10 i 11.
15 In the seetcbbook picture 37.
17 U crtanki slika 27.
16 In tbesketcbbooeptctures'i, 10 andll.
18 U crtanki slike 8. i 16 17 In the seetcbbooe picture 27 .

19 (Asarum europaeum), u crtanki slika 22. 18 In thesketchbookpictures8 and16.

20 U crtanki slike 3, 12,26, 31, 37i 42. 19 (Asarum europa eu mJ, In the seetcb-
book picture 22.
21 U crtanki slike 33 i 39.
20 In the sketcbbooe pictures 3, 12, 26,
31,37 and42.
22 U crtanki slika 8.
21 In the seetcbbooe pictures 33 and 39.
23 U crtanki slike 21 i 24.
22 In the seetcbbooe picture 8.
24 U crtanki slike 13, 14 i 16
23 In the sketcbbooe pictures 21 and24.
25]. Heinrich Schmidt tu spominje i vuka, kojega ja na tom crtežu ne
24 Inthesketchbookpictures1314 and16.
vidim.
 16

25 j. Heinrich Schmidt mentions a wolf 26 U crtanki slike 3,2,4,8,22, 14 i 16, 15, 19i 42verso, 20, 17i 23.
here, which I cannot see.
27 U crtanki slika 43.
26 In the sketchbook pictures 3, 2, 4, 8,
22, 14 and 16, 15, 19 and 42 verso,
20, 17 and 23.
28 Henrik I. (876. - 936.), saski knez od 912. godine i kralj Njemačke
od 919. godine do smrti.
27 In the sketchbook picture 43.
29 (1379. - 1416.), češki reformator, najvažniji sljedbenik Jana Husa.
28 Henry I (876-936), Duke of Saxony
from 912 and King of Germany from 30 (1369. - 1415.), češki svećenik i filozof, reformator crkve.
919 until his death.

29 (13 79 - 1416), Czech reformer, most

31 (1484. - 153l.), vođa švicarske reformacije.
important of the followers of Jan Hus.
32 (1483. -1546.), katolički svećenik i profesor teologije, rodonačelnik
30 (1369 - 1415), Czech minister and protestantske reformacije.
philosopher, reformer
33 Crtanka je veličine kvarta, 22,5 x 27 cm. Korice su joj smeđe-
.H (1484 -1531), leaderoftbe Reforma- -ljubičaste boje, sadrži 43 lista svijetIoga crvenkasto-žutoga papira.
tion in Switzerland.
Svi su crteži, osim nekoliko akvareliranih nacrtani olovkom. Sve
32 (J 483 - 1546), Catholic priest and pro-
podatke o ovoj crtanki crpio sam iz: J. Heinrich Schmidt: Ein
fessor of theology who started the Sleizzenbucb desjungen Alfred Rethel, L.Schwann, Di.isseldorf,1940.
Protestant Reformation.
34 Zur Stiftung der Werke von Alfred Rethel, Aachener Kunstblatter
33 Tbe sketchbook is quarto stze, 22.5 x 1998. - 2002., broj 62., str. 33l. - 332.
27 cm, with broumisb-purple covers,
with 43 sheets on light reddisb or 35 Emmanuel Benezit, 1999., str. 603.
yellow paper. All of the draunngs,
except a few in uiatercolours, are
draum in pencil. All the information
36 J. Heinrich Schmidt: Ein Skizzenbuch des jungen Alfred Rethel, L.
about this has been gatheredfrom j. Schwann, Di.isseldorf, 1940.
Heinrich Schmidt: Ein Skizzenbuch
des jungen Alfred Rethel, L. Scbioann, 37 U crtanki slika 40. - J. Heinrich Schmidt, 1940.
Dusseldorf, 1940
38 Isto, str. 19. i 20.
34 Work with burin. - Zur Stiftung der
Werke von Alfred Rethel, Aacbener 39 La Peinture allemande il l'epoque du romantisme, 1976., str. 159. i 160.
Kunstbldtter 1998. -2002, no. 62,pp.
331-332

35 Emmanuel Benezit, 1999, p. 603.

36 j. Heinrich Schmidt: Ein Skizzenbuch

des jungen Alfred Rethel, L. Scbuiann,
Dusseldorf, 1940.

s: In the sketchbook picture40. -j. Hein-

rich Schmidt, 1940.

J8 Ibid, pp. 19 and 20.

39La Peinture allemande iI l'epoque du

romantisme, 1976, pp. 159 and 160.
 17

Literatura / Literature:

EMMANUEL
BENEZJT: Dictionnaire critique et documentaire des peintres, sculpteurs,
dessinateurs et graueurs, Tome XI, Librairie Grund, Paris, 1999

c.G. BOERi\CR: Nacbgeiassene Zeicbnungen von Alfred Retbei (1816 - 1859),

Diisseldorf, 1968

HANS FELDBCSCH: Alfred Retbel, eine Ausstellung im Kronungssaal des Aacbener

Ratbauses zur Erinnerung an sein Todesjabr 1859, Suermondt-
-Museum, Aachen, 1959

WlLUBALDFRA1\KE: Alfred Rethels Zeicbnungen, Benjamin Sarz Verlag, Berlin, Wien, 1921

KURTGERSTENBERG: Alfred Retbel, Der Kunstler und Menscb, Delphin Verlag,

Miinchen, 1920

JAHNJOHANNES: W6rterbuch der Kunst, Alfred Kroner Verlag, Stuttgart, 1975

Kindlers Malerei Lexicon, Band X, Deutscher Tachenbuch Verlag,

Ziirich, 1976

KARLKOETSCHAU: Alfred Retbels Kunst vor dem Hintergrund der Historienmalerei

einer Zeit, Verlag des Kunstvereins fur die Rheinlande und
Westfalen, Diisseldorf, 1929

YOURIKOUZNETSOV, La Peinture allemande il l'epoque du romantisme, 1976, Orangerie

WERNERHOFMANN, des Tuileries, 25. 10. 1976 - 28. 2. 1977, EM , Paris, 1976
HANSJOACHIMNEIDHARDT:

ADAMC. OELLERS: Die Karlsfresken im Aacbener Rathaus und die Olstudien im

Museum Burg Frankenberg, Museum Burg Frankenberg, 1987

JOSEF POi\TE:\: Alfred Retbel, Des Meisters Werke in 300 Abbildungen, Deutsche
Verlags-Anstalt, Stuttgart & Leipzig, 1911

DAGMARPREJSJNG: Alfred Retbel (1816 - 1859), Zeicbnungen und Olstudien,

Suermondt-Ludwig-Museum, 2. 8. - 15. 9. 1991, Aachen 1991

KARLSCHEFFLER: Die europaiscbe Kunst im neurizehruen fabrhundert, Band I,

Bruno Cassirer Verlag, Berlin, 1926

JAKOBHEINRICHSCHMIDT: Eiri Skizzenbuch des jungen Alfred Rethel, L. Schwann,

Diisseldorf, 1940

HANSWOLFGANGSINGER: Allgemeines Kunstler-Lexieon, Band V, Riitten & Loening,

Franfurkt a/M, 1901

Ulrich Thieme und Felix Becker, Allgemeines Lexikon der

Bildenden Kunstler von der Antike bis zur Gegenwart, Band
XXVIII, Leipzig, 1934

WOLDEMARVONSEIDUTZ: Handzeicbnungen Alfred Rethels aus dem eoniglicben

Kupfersticbkabinett zu Dresden, Verlag von Julius, Berlin, 1918