Povolání učedníka Natanaela

Unlike his substantial body of paintings, the drawn oeuvre of Jan Kryštof Handke (1694–1774) has long been regarded as modest. Recent research, however, has demonstrated that the known works represent but a fragment of a far more diverse corpus. The breadth and variety of these drawings not only enriches our understanding of the Olomouc painter’s distinctive style, but also sheds light on his workshop practices in the production of altarpieces, hanging paintings and murals. A case in point is the rediscovered drawing The Calling of the Disciple Nathanael (1744), which — given the length of Handke’s career — reveals a certain routine approach, allowing aspect of the design to be compared with other drawings attributed to the artist. The work served as one of the conceptual designs cited in the commission for the ceiling painting in the provost’s hall located in the southern wing of the Augustinian monastic complex in Šternberk. The commission came from Handke’s long-time friend and patron, Provost Jan Josef Gläzl (1689–1757). Their close friendship is reflected in the monastery annals compiled during this period by Gläzl himself. These detailed records allow for the reconstruction of key stages in the commissioning process: from the initial agreement to final payment. Through an analysis of the entries and the fact that the rediscovered design was ultimately not used, it is possible to trace the process of compositional adjustment and gain insight into the drawing practices of one of the most prominent artists of the Baroque period in Olomouc.