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(4) Bartholomäus Kilian II
(b Augsburg, 1630; d Augsburg, 1696). Brother of (3) Philipp Kilian. He completed an apprenticeship with his father, showing early and remarkable talent. In 1645 he engraved a title vignette of a Kneeling Virgin (Hollstein, no. 721) for the Munich brotherhood of the Virgin, and a drawing (Augsburg, Staats- & Stadtbib.) for a bust portrait of an unknown man, done in 1646, displays his ‘great capacity’ and ‘strength’ (Georg Christoph Kilian). This early capability is further demonstrated by the large signed drawing Cherubim (1646; Munich, Staatl. Graph. Samml.), in charcoal heightened with white. In 1648 his father sent him to Matthäus Merian I in Frankfurt am Main, with whom he remained for two and a half years. To this period belong his first major portraits, such as that of Valentin zu Salm-Reifferscheid (1649; Hollstein, no. 294), and the engraved reproduction St Mary Magdalene (1648; Hollstein, no. 97), after Matthäus Gundelach. He spent the next three years in Paris with the engraver François de Poilly, from whom he learnt the ‘flowing technique of French portrait engraving’ (Hämmerle). At the same time he studied and reproduced the work of the French court painters, executing exploratory engravings such as those of a Crucifix (1654; Hollstein, no. 11) by Henri Testelin and Philippe de Champaigne’s Assumption of the Virgin (1654; Hollstein, no. 23). An important part in his education was played by Flemish and French painting, as disseminated by such engravers as Robert Nanteuil and Claude Mellan.
Part of the Kilian family
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