Finally let us look at the courts in Central Germany for other Dutch manifestations. In Erfurt we meet Jacob Samuel Beck (1715-1778),104 whose still-lifes connect to Floris van Schooten, Jan Davidsz de Heem and Frans Snijders [i][i][i][i]. His portraits and genre paintings are half Flemish, half in the manner of Balthasar Denner [i].105

Jacob Samuel Beck  
Still life with dead birds 1760s
oil paint / canvas, 55 x 83 cm
museum  Angermuseum, Erfurt, no. III 979

Jacob Samuel Beck  
Still life with dead singing birds 1760s
oil paint / canvas, 55 x 83 cm
museum  Angermuseum, Erfurt, no. III 980

Jacob Samuel Beck  
Portrait of a bolding old man (1730 - 1778)
oil paint / canvas, 43 x 33,5 cm
Schlossmuseum Schloss Friedenstein Gotha, Gotha (Germany), no. SG 86

Jacob Samuel Beck  
Still life with grapes and a bottle of whine (1736 - 1778)
oil paint / canvas, 80 x 63 cm
left :  Beck fec
Paris (Tajan), 2016-04-06, no. 68

Jacob Samuel Beck  
Still life of grapes, peaches and nuts on a stone table (1730 - 1778)
oil paint / canvas, 79,5 x 62,5 cm
lower right :  J S Beck
Paris (Tajan), 2015-10-15, no. 68

Jacob Samuel Beck  
Landscape with two roosters fighting; two cats and a hen look on (1730 - 1778)
oil paint / canvas, 136,6 x 126,1 cm
lower center :  JS Beck Pi(n)x ..11..
New York City (Sotheby's), 2011-01-28, no. 104

Minor masters like the genre and vedute-painter Georg Melchior Kraus (1737-1806) in Weimar also show little influence of Dutch art [i].106 Kraus’s pupil Ferdinand Jagemann (1780-1820) took the first steps in painting under the direction of Johann Heinrich Tischbein I in Kassel. He brought from there a chalk drawing after Rembrandt’s Descent from the Cross, ‘which showed so much natural talent, that our art loving Prince (Karl August) decided to send him to Vienna to study with Heinrich Friedrich Füger’ (Goethe, 1821).107 With Füger though, he studied everything but the art of the old masters.

Georg Melchior Kraus   manner of/after David  Teniers (II)  
Smiking peasant in a tavern (1752 - 1806)
oil paint / panel, 23 x 20 cm
lower right :  G M Kraus
Musée du Louvre, Paris, no. MNR584

Somewhat younger than Kraus is the court painter and landscapist Friedrich Rauscher I (1754-1808) from Coburg, whose works clearly show that he studied the works of the Dutch landscapists in Düsseldorf with attention and talent [i][i][i].108

Friedrich  Rauscher (I)  
Rocky mountain landscape with river and three shepherds with goats (1769 - 1808)
oil paint / cardboard, 17,5 x 23,5 cm
Kunstsammlungen der Veste Coburg, Schloss Ehrenburg (Coburg), no. M.348

Friedrich  Rauscher (I)   after Nicolaes Berchem  
Rocky landscape with ancient ruins dated 1788
charcoal / paper, 493 x 640 mm
lower left :  Rauscher f:/apr. Berchem a Dusseldorf f./1788
London (England) ( Manson & Woods Christie), 1989-12-05, no. 101

Nicolaes Berchem  
Rocky landscape with ancient ruins (1637 - 1683)
oil paint / canvas, 83 x 104 cm
Alte Pinakothek, Munich, no. 380

With the ‘civic’ portraitist Johann Christoph Rincklake (1764-1813), who was mainly active in Münster, we already enter the era of Classicism, so that Dutch reminiscences only could have had a say in his youth. In Dresden, where he came under the influence of Anton Graff, he caught a whiff of the Dutch spirit in the works of Christian Wilhelm Ernst Dietrich, whose Presentation in the Temple he copied.109


104 [Van Leeuwen 2018] On Beck: Taschitzki et al. 2015-2016.

105 [Van Leeuwen 2018] Several works by Beck with connections to Dutch and Flemish painters observed by the staff of the RKD are found in RKDimages, e.g. RKDimages 290098, that connects to RKDimages 194788, now attributed to Abraham Begeyn.

106 [Van Leeuwen 2018] But sometimes influence of Flemish art can be noticed: this example is in the manner of, or after David Teniers. On Kraus: Kröll 1983-1984.

107 [Gerson 1942/1983] Münz 1934, p. 104.

108 [Van Leeuwen 2018] The illustrated drawing by Rauscher after the painting by Berchem, which was in the Düsseldorfer Galerie at the time, literally proves that he did so. The drawing is signed and dated ‘Rauscher f:/apr. Berchem a Dusseldorf f./1788’.

109 [Gerson 1942/1983] Meier 1913, p. 822 [Van Leeuwen 2018] In Rincklake’s estate some of his copies are mentioned, e.g. a copy after Gerard de Lairesse and two after ‘Rembrandt and his daughter’ (Westhoff-Krummacher 1984, p. 526, no. 1 and 15-16). He also owned paintings (in the manner) of Jan Weenix, Abraham Bloemaert, Anthony van Dyck, Palamedes Palamedesz. I, Thomas Wyck, Nicolaus Knüpfer and Jacob Jordaens.