Das Verhältnis zwischen künstlerischem Prototyp und individuellem Ausdruck im Werk eines Barockbildhauers am Beispiel der Kreuzigungsgruppe

The present contribution is dedicated to one of the popular Baroque depictions of the Crucifixion, for which it can be assumed that we know its original typological pattern. This is a gilded relief attributed to Guglielmo della Porta (1500/1510–1577), from the property of King Philip II of Spain, located in the Escorial. The work soon became wellknown in central Europe as well, and in depictions of the Crucifixion its figures of the Virgin Mary and St John the Evangelist were then imitated for a long time and often. They also became a model for the young Anthonis van Dyck (1599–1641) in his early altarpiece on this subject. Van Dyck's "more modern" take on the original late-Renaissance model was then significant for the further development of this prototype. The work is then devoted to transformations in the understanding of both figures over the course of almost two centuries, during which, while their basic concept – especially their characteristic gestures – remained the same, the personality of the executing artist as well as the milieu and time in which the works were created manifested themselves. The ending of the Baroque also meant the end of the use of this typological pattern.