Willem van den Blocke. Netherlandish sculptor in the Baltic Region

Abstract

The present dissertation analyzes the phenomenon of immigration of sculptors, stonecutters and stonemasons from the Low Countries, one of the most intriguing, yet often underestimated episodes in the history of sixteenth century Northern European art. Research into their activities is crucial for understanding of mechanisms of transfer between various European artistic centres. In particular, it is devoted to Willem van den Blocke, a Netherlandish sculptor active in the Baltic region in late sixteenth and early seventeenth century. It explores such questions as formal characteristics of the artist’s works, his design strategy and relation with the pictorial tradition. Van den Blocke was a skillful and versatile sculptor, capable of designing and executing figural and ornamental sculpture as well as microarchitecture. His architectural and decorative language was based on the ‘antique’ formal vocabulary, codified in Transalpine Europe during the sixteenth century. The artist used motives derived from various artists and pattern-books, transforming them and using to create new designs, within a framework of this artistic tradition. In particular, he was inspired by the Antwerp master Cornelis Floris, his most probable teacher. The dissertation also discusses patronage, providing an insight into the patterns of such activity and their importance for an artist’s professional life. For the most part, commissions were not won on free market, but resulted from works carried out and from recommendations issued by satisfied patrons. Perhaps the most significant factor facilitating the development of a sculptor’s career was, therefore, the existence of a complex network of relations between his patrons. Much attention has been given to workshop practice. In particular, this study, largely based on the documents of the masons’, stonecutters’ and sculptors’ guild in Gdańsk, analyzes the studio managed by van den Blocke in this city between 1585 and c. 1600. In addition to that, the dissertation explores iconography and meaning of the artist’s works. In particular, it seeks answer to questions about commissioners’ social and religious standing as well as their motives. It also aims to define the relation between artistic form and iconography of the objects. Willem van den Blocke’s artistic activities are discussed in the wider context of dissemination of Netherlandish sculpture in Central and North-Eastern Europe.Carrying out prestigious commissions destined for various places across this part of the continent, van den Blocke became a chief factor in spreading of Netherlandish sculpture forms. In particular, his artistic activity was essential in establishing the reputation of art from the Low Countries in Poland-Lithuania. Thereafter, Netherlanders started effectively competing with Italians, and the Netherlandish formal language, transmitted above all through Gdańsk and modified there, became highly popular in the country. In this way, in Poland-Lithuania van den Blocke held the same position as Alexander Colin, Willem Boy or Philip Brandin did in other parts of Central and North-Eastern Europe