This third volume of the new serial publication »Schlüteriana« continues the commemoration of the 300th anniversary of Schlüter’s death and is dedicated solely to the funerary monuments created by the sculptor, his school, and followers in Berlin and the Brandenburg region of north-eastern Germany. The single text presented here is subtitled »Part Two: Germany« and serves as the second installment of a comprehensive, in-depth survey focused on this highly important genre in the sculptor’s oeuvre. It completes the examination initiated by »Part One: Poland« published in Schlüteriana II which dealt with Schlüter’s tomb art created during his earlier sojourn in Polish territories.
The primary aim of this current publishing project is to bring about a more complete, overall understanding of the artist’s production from both his Polish and German years. In these two articles, we have concentrated on his funerary sculpture by providing – in an essay/catalogue format greatly enhanced by an exhaustive photographic documentation of each object discussed – a fundamental description of monuments closely associated with the artist and his circle including comparative analysis based upon key examples from European Baroque art. Certain sepulchral monuments created by the sculptor and his assistants in Berlin may already be somewhat better known to the lay public and art historians, however, those works from his Polish years have thus far still been somewhat neglected and inadequately received into the realm of Schlüter’s total output. This two-part study, which attempts to present all the works together along with supplemental commentary on pertinent historical, social, and iconographic contexts of the times when this art was created, will hopefully begin to enrich our understanding of the inter-relationships they share and contribute to a fuller reconstruction of Andreas Schlüter’s artistic development throughout his entire career.
»Schlüteriana III« is being published in remembrance not only of Schlüter’s death in 1714, but also as a tribute to a Berlin scholar who spent many years of her career deeply involved with research into the master’s greatest work of architecture – the Berlin Stadtschloss. Her kindness and generosity in the free-exchange of information led to many stimulating discussions about the artist which still, after more than two decades, inspire this author’s own studies until today.