DOCSLIB.ORG

Realms of Imagination Albrecht Altdorfer And

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

MARCH 17 - REALMS OF IMAGINATION JUNE 14, 2015 ALBRECHT ALTDORFER AND THE EXPRESSIVITY OF ART AROUND 1500 PICTURE GALLERY The exhibition focuses on one of the most remarkable phenomena in Renaissance art north of the Alps: the increasingly strong wave of expressive elements in art produced around 1500. Although this movement culminates in the work of Albrecht Altdorfer (c. 1480 – 1538) and other representatives of the so-called “Danube school”, among them Wolf Huber (c. 1485 – 1553) and the Master IP (c. 1490 – after 1530), we also find similar phenomena outside the Danube region in other parts of Central Europe. Around one hundred and forty artworks, among them masterpieces by Lucas Cranach, Matthias Grünewald and Hans Leinberger, document how landscapes, history paintings and portraits were re-invented with the help of a powerful novel interplay of light, colour and pose, creating an antithesis to Dürer’s art based on the study of nature and a classical canon. Instead, these compositions are dominated by poetry and drama, and in them man and nature become one. MAIN THEMES OF THE EXHIBITION The show’s introductory section focuses on the image of man in the work of the leading protagonists of this expressive style, who were active in the Danube region: we showcase panel paintings by Albrecht Altdorfer and Wolf Huber from different periods of their stylistic development, as well as carved altarpieces and small sculptures by Hans Leinberger and the Master IP. Almost baroque-like in their agitation, the figures of the Apostles from the central shrine of the altarpiece that once decorated the high altar at Zwettl form the focal point of this group of works, which is confronted in the exhibition with Dürer’s canonical engraving of Adam and Eve. Just how dramatic the novel versions of long-established subject matters engendered by these spectacular stylistic innovations could be is the subject of the second section of the exhibition, which features different depictions of the Crucifixion. The first of these is Cranach’s early Crucifixion, painted around 1500 in Vienna. Altdorfer is generally regarded as the first artist to have produced autonomous painted or printed landscapes; his bizarre-romantic creations form the focal point of the third section of the exhibition, which looks at the artists’ new approach to Nature, bringing together both autonomous landscapes and narrative compositions in which nature plays a prominent role. Selected depictions of Saint Christopher by Altdorfer and other artists from southern Germany again document the possibilities of this expressive formal idiom before visitors reach the core section of the exhibition. Here we showcase both different subject matters and the pictorial means of expressivity. Soon after 1500 artists increasingly favoured dynamic distortions, ornamentalization, light reflexes, and gaudy colours to imbue their compositions with a new vitality. In these works the dramatic exaggerations of the shapes of both bodies and draperies also affects settings and surroundings. The final section of the exhibition looks at artists and patrons, among them Emperor Maximilian I but also noblemen like the Prince-Bishops of Passau, members of the urban middle-class and humanists. In Gallery XV of the Picture Gallery we showcase portraits as well as epitaphs and votive paintings, confronting them with compositions by Dürer and other German artists from the holdings of the Kunsthistorisches Museum. HIGHLIGHTS OF THE EXHIBITION Among the highlights of the exhibition are numerous panel paintings by Albrecht Altdorfer, among them two of the first-ever autonomous landscapes, the Prayer Book of Emperor Maximilian I featuring highly imaginative drawings, Wolf Huber’s wings of the Saint Anne-Altarpiece from Feldkirch, and spectacular sculptures like Leinberger’s bronze Madonna from Berlin, the group of Apostles from the central shrine of the altarpiece initially commissioned for the high altar at Zwettl, and the complete huge altarpiece carved by the Master IP for the Church of Our Lady before Tyn in Prague, which measures over six metres in height. In addition, a comprehensive selection of important drawings by Altdorfer and Huber – an extremely fragile medium rarely on public display – are on show in the exhibition. We also present a sensational new discovery, the back of a painting by the Master of Pulkau now in Chicago, which was long believed lost; now in Belgrade, the Presentation of the Virgin Mary has been restored for the exhibition in Vienna and will be presented to the public in its original artistic context for the first time. PRESS PHOTOGRAPHS These images may be used free of charge when writing about the exhibition; to download them go to press.khm.at. Albrecht Altdorfer The Resurrection 1518 panel, 70,5 x 37 cm Kunsthistorisches Museum Vienna, Picture Gallery © KHM-Museumsverband Albrecht Altdorfer The Entombment of Christ 1518 panel 70,5 cm x 37,3 cm Kunsthistorisches Museum Vienna, Picture Gallery © KHM-Museumsverband Albrecht Altdorfer The Three Magi c. 1530/35 panel, 108,9 x 77 cm Frankfurt am Main, Städelmuseum © Städelmuseum Frankfurt am Main Albrecht Altdorfer Landscape with Castle c. 1520/30 vellum mounted on beech, 30,5 x 22,5 cm loaned by the Wittelsbacher Ausgleichsfonds to the Bayerische Staatsgemäldesammlungen, Munich – Alte Pinakothek © bpk | Bayerische Staatsgemäldesammlungen Albrecht Altdorfer The Holy Family with Saint Agapitus dated 1515 panel, 22,5 x 20,5 cm Kunsthistorisches Museum Vienna, Picture Gallery © KHM-Museumsverband Wolf Huber Wing of the Saint Anne-Altarpiece: The Three Magi 1521 panel, 74 x 47,7 cm Feldkirch, cathedral and parish church St. Nikolaus (private loan) © Photograph Bundesdenkmalamt, Vienna Wolf Huber Wing of the Saint Anne-Altarpiece: The Presentation in the Temple 1521 panel, 72,1 x 47,6 cm Feldkirch, cathedral and parish church St. Nikolaus (private loan) © Photograph Bundesdenkmalamt, Vienna Wolf Huber Wing of the Saint Anne-Altarpiece: The Birth of the Virgin Mary 1521 panel, 74 x 47,7 cm Feldkirch, cathedral and parish church St. Nikolaus (private loan) © Photograph Bundesdenkmalamt, Vienna Wolf Huber The Raising of the Cross c. 1525 panel cut off in semi-circular shape at the top 115 x 153,5 cm Kunsthistorisches Museum Vienna, Picture Gallery © KHM-Museumsverband Georg Lemberger The Fall of Man and the Salvation 1535 panel, 66,9 x 80,3 cm Nuremberg, Germanisches Nationalmuseum © Germanisches Nationalmuseum, Nuremberg Master of Messkirch The Crucifixion 1st half of the 16th century panel, 98 x 73 cm Schwäbisch Hall, Würth Collection © Würth Collection Niklaus Manuel, called Deutsch The Beheading of John the Baptist c. 1517 fir 32,5 x 26 cm Kunstmuseum Basel © Kunstmuseum Basel, Photograph Martin P. Bühler Meister von Pulkau Presentation of the Virgin c. 1507/10 panel 111,7 x 74,5 cm Belgrad, Staatliche Kunstsammlungen in den königlichen Palastanlagen © Photograph: KHM-Museumsverband Albrecht Altdorfer The Crucifixion 1512 black ink, white highlights, on olive, brown ground paper Brunswick, Anton Ulrich‐Museum © Herzog Anton Ulrich‐Museum Brunswick, Kunstmuseum des Landes Niedersachsen Albrecht Altdorfer Mountain Landscape with Pollard Willows c. 1511 Pen and two shades of black ink drawing on slightly-browned paper 14,1 x 19,6 cm Academy of Fine Arts Vienna, Dept. of Prints © Kupferstichkabinett der Akademie der bildenden Künste, Vienna Wolf Huber Pollard Willows near a Stream 1514 Pen and brown ink, 152 x 207 mm Budapest, Szépmüvészti Múzeum © Museum of Fine Arts, Budapest Andreas Lackner Saint Blaise Enthroned 1518 limewood, remnants of original polychromy, gilt 134 x 65,5 x 23 cm Vienna, Belvedere © Vienna Belvedere Photograph: Bettina Sidonie Neubauer Master of the Zwettl Altarpiece and members of his workshop Central shrine of the retable commissioned for the high altar of the church of the Cistercian abbey at Zwettl 1516‐25 limewood, fir wood back of the central shrine, varnished, partially polychromed, the original retable measured c. 19 metres in height; the central shrine 6,5 x 3 x 0,6 m, Adamsthal near Brno, Saint Barbara © Parish of St. Barbara Hans Lemberger The Virgin Mary and Child c. 1515/20 Bronze, hollow cast, 45,5 x 21 x 17,5 cm Berlin, Staatliche Museen zu Berlin, Collection of Sculpture and Museum of Byzantine Art © Staatliche Museen zu Berlin – Preußischer Kulturbesitz Skulpturensammlung und Museum für Byzantinische Kunst Photograph: Antje Voigt, Berlin Master I. P. The Mocking of Job Passau, c. 1525 h. 49,5 cm, w. 113 cm, diam. max. 10 cm Kunsthistorisches Museum Vienna, Kunstkammer © KHM-Museumsverband Master IP Retable of St John 1520s Wood c. 5.90 m Prague, Kostel Panny Marie před Týnem © Photograph: KHM-Museumsverband Jörg Breu the Elder, Hans Burgkmair the Elder and others Prayer-Book of Emperor Maximilian I (Diurnale seu lieber precum) 1514‐1515 Pen and ink drawings in different colours in the margins of a copy of the Emperor’s prayer book printed in 1513 on vellum by Hans Schönsperger the Elder at Augsburg 28 x 40 cm (measurements of the book when opened) Besançon, Bibliothèque Municipale © Bibliothèque municipale de Besançon CATALOGUE An exhibition catalogue will be published in German. Realms of Imagination Edited by Sabine Haag and Guido Messling paperback, size 24 x 28 cm, 288 pages price: € 35 ISBN: 978-3-99020-081-0 PARTNERS AND CURATORS The exhibition is organized by the Kunsthistorisches Museum Vienna and the Städel Museum und Liebieghaus Skulpturensammlung Frankfurt/Main, in collaboration with the
Recommended publications
  • Unequal Lovers: a Study of Unequal Couples in Northern Art

    Unequal Lovers: a Study of Unequal Couples in Northern Art

    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Faculty Publications and Creative Activity, School of Art, Art History and Design Art, Art History and Design, School of 1978 Unequal Lovers: A Study of Unequal Couples in Northern Art Alison G. Stewart University of Nebraska-Lincoln, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/artfacpub Part of the History of Art, Architecture, and Archaeology Commons Stewart, Alison G., "Unequal Lovers: A Study of Unequal Couples in Northern Art" (1978). Faculty Publications and Creative Activity, School of Art, Art History and Design. 19. https://digitalcommons.unl.edu/artfacpub/19 This Article is brought to you for free and open access by the Art, Art History and Design, School of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Faculty Publications and Creative Activity, School of Art, Art History and Design by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Unequal Lovers Unequal Lovers A Study of Unequal Couples in Northern Art A1ison G. Stewart ABARIS BOOKS- NEW YORK Copyright 1977 by Walter L. Strauss International Standard Book Number 0-913870-44-7 Library of Congress Card Number 77-086221 First published 1978 by Abaris Books, Inc. 24 West 40th Street, New York, New York 10018 Printed in the United States of America This book is sold subject to the condition that no portion shall be reproduced in any form or by any means, and that it shall not, by way of trade, be lent, resold, hired out, or otherwise disposed of without the publisher's consent, in any form of binding or cover other than that in which it is published.
  • The Artistic Patronage of Albrecht V and the Creation of Catholic Identity in Sixteenth

    The Artistic Patronage of Albrecht V and the Creation of Catholic Identity in Sixteenth

    The Artistic Patronage of Albrecht V and the Creation of Catholic Identity in Sixteenth- Century Bavaria A dissertation presented to the faculty of the College of Fine Arts of Ohio University In partial fulfillment of the requirements for the degree Doctor of Philosophy Adam R. Gustafson June 2011 © 2011 Adam R. Gustafson All Rights Reserved 2 This dissertation titled The Artistic Patronage of Albrecht V and the Creation of Catholic Identity in Sixteenth- Century Bavaria by ADAM R. GUSTAFSON has been approved for the School of Interdisciplinary Arts and the College of Fine Arts _______________________________________________ Dora Wilson Professor of Music _______________________________________________ Charles A. McWeeny Dean, College of Fine Arts 3 ABSTRACT GUSTAFSON, ADAM R., Ph.D., June 2011, Interdisciplinary Arts The Artistic Patronage of Albrecht V and the Creation of Catholic Identity in Sixteenth- Century Bavaria Director of Dissertation: Dora Wilson Drawing from a number of artistic media, this dissertation is an interdisciplinary approach for understanding how artworks created under the patronage of Albrecht V were used to shape Catholic identity in Bavaria during the establishment of confessional boundaries in late sixteenth-century Europe. This study presents a methodological framework for understanding early modern patronage in which the arts are necessarily viewed as interconnected, and patronage is understood as a complex and often contradictory process that involved all elements of society. First, this study examines the legacy of arts patronage that Albrecht V inherited from his Wittelsbach predecessors and developed during his reign, from 1550-1579. Albrecht V‟s patronage is then divided into three areas: northern princely humanism, traditional religion and sociological propaganda.
  • Catalogue of the Eleventh Annual Exhibition of Engravings, Etchings, Woodcuts of the Xv and Xvi Centuries

    Catalogue of the Eleventh Annual Exhibition of Engravings, Etchings, Woodcuts of the Xv and Xvi Centuries

    CATALOGUE OF THE ELEVENTH ANNUAL EXHIBITION OF ENGRAVINGS, ETCHINGS, WOODCUTS OF THE XV AND XVI CENTURIES MARCH 3RD TO MARCH 2IST, 1936 M. KNOEDLER & COMPANY, INC. 14 EAST FIFTY-SEVENTH STREET NEW YORK ILLUSTRATED BOOKS AND NEWSPAPERS Discourse was deemed Man's noblest attribute, And written words the glory of his hand; Then followed Printing with enlarged command For thought — dominion vast and absolute For spreading truth, and making love expand. Now prose and verse sun\ into disrepute Must lacquey a dumb Art that best can suit The taste of this once-intellectual hand. A backward movement surely have we here, From manhood — bac\ to childhood; for the age — Bac\ towards caverned life's first rude career. U Avaunt this vile abuse of pictured page. Must eyes be all in all, the tongue and ear Nothing? Heaven keep us from a lower stage. WILLIAM WORDSWORTH ARTISTS REPRESENTED IN THIS EXHIBITION GERMANY ANONYMOUS (1425-1450) DOTTED PRINT 5 MASTER E. S 6 MARTIN SCHONGAUER 7 ANONYMOUS NORTH GERMAN (About 1480) 9 MASTER B. G 10 SCHOOL OF MARTIN SCHONGAUER 10 ISRAHEL VAN MECKENEM 10 MASTER M Z 13 AUGUSTIN HIRSCHVOGEL 14 HANS SEBALD LAUTENSACK 14 HANS BURGKMAIR 15 JOHANN ULRICH WECHTLIN (Pilgrim) 15 LUCAS CRANACH r6 NETHERLANDS MASTER F VB (F. van Brugge?) j$ LUCAS VAN LEYDEN Xo DIRICK JACOBSZOON VELLERT 21 ITALY NIELLO PRINT (Attributed to Francesco Francia) ....... 22 ANONYMOUS FLORENTINE: THE SIBYLS 22 CRISTOFANO ROBETTA 2, ANONYMOUS NORTH ITALIAN: "THE TAROCCHI CARDS" 24 DOMENICO BECCAFUMI (Master H-E) 2K ANONYMOUS XVI CENTURY: ROMAN SCHOOL 25 ANDREA MANTEGNA . _- -*5 SCHOOL OF ANDREA MANTEGNA 26 BARTOLOMEO DA BRESCIA 27 NICOLETTO ROSEX DA MODENA 28 JACOPO DE' BARBARI ...
  • Research Report Events & Activities July 2015 — December 2018 Kunsthistorisches Institut in Florenz — Max-Planck-Institut Institut in Florenz Kunsthistorisches

    Research Report Events & Activities July 2015 — December 2018 Kunsthistorisches Institut in Florenz — Max-Planck-Institut Institut in Florenz Kunsthistorisches

    Research Report Events & Activities July 2015 — December 2018 Kunsthistorisches Institut in Florenz — Max-Planck-Institut Institut in Florenz Kunsthistorisches Research Report Kunsthistorisches Institut in Florenz Max-Planck-Institut Events & Activities July 2015 — December 2018 Kunsthistorisches Institut in Florenz Max-Planck-Institut Via Giuseppe Giusti 44 50121 Florence, Italy Phone +39 055 249 11-1 Fax + 39 055 249 11-55 www.khi.fi.it © 2019 Editors: Alessandro Nova and Gerhard Wolf Copy editing and proof-reading: Hannah Baader, Carolin Behrmann, Helene Bongers, Robert Brennan, Jason Di Resta, Dario Donetti, Hana Gründler, Stephanie Hanke, Annette Hoffmann, Lucy Jarman, Fabian Jonietz, Albert Kirchengast, Marco Musillo, Oliver O’Donnell, Jessica N. Richardson, Brigitte Sölch, Eva-Maria Troelenberg, Tim Urban, and Samuel Vitali Design and typesetting: Micaela Mau Print and binding: Stabilimento Grafico Rindi Cover image: Antonio Di Cecco, Monte Vettore, June 2018 Contents 7 Scientific Advisory Board 9 Events & Activities of the Institute 11 Conferences 31 Evening Lectures 34 Seminars & Workshops 38 Matinées & Soirées 39 Study Trips 41 Awards, Roundtables & Presentations 42 Labor 45 Ortstermin 46 Study Groups 47 Studienkurse 50 Online Exhibitions 51 Exhibition Collaborations 53 Academic Activities of the Researchers 54 Teaching 57 Talks 81 External Conference Organization 84 Curated Exhibitions 86 Varia 93 Publications 94 Publications of the Institute 97 Publications of the Researchers 117 Staff Directories Scientific Advisory Board Prof. Dr. Maria Luisa Catoni IMT School for Advanced Studies Lucca Prof. Dr. Elizabeth Edwards De Montfort University Prof. Dr. Jaś Elsner Corpus Christi College Prof. Dr. Charlotte Klonk Humboldt-Universität zu Berlin Institut für Kunst- und Bildgeschichte Prof. Dr.
  • The Evolution of Landscape in Venetian Painting, 1475-1525

    The Evolution of Landscape in Venetian Painting, 1475-1525

    THE EVOLUTION OF LANDSCAPE IN VENETIAN PAINTING, 1475-1525 by James Reynolds Jewitt BA in Art History, Hartwick College, 2006 BA in English, Hartwick College, 2006 MA, University of Pittsburgh, 2009 Submitted to the Graduate Faculty of The Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2014 UNIVERSITY OF PITTSBURGH KENNETH P. DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by James Reynolds Jewitt It was defended on April 7, 2014 and approved by C. Drew Armstrong, Associate Professor, History of Art and Architecture Kirk Savage, Professor, History of Art and Architecture Jennifer Waldron, Associate Professor, Department of English Dissertation Advisor: Ann Sutherland Harris, Professor Emerita, History of Art and Architecture ii Copyright © by James Reynolds Jewitt 2014 iii THE EVOLUTION OF LANDSCAPE IN VENETIAN PAINTING, 1475-1525 James R. Jewitt, PhD University of Pittsburgh, 2014 Landscape painting assumed a new prominence in Venetian painting between the late fifteenth to early sixteenth century: this study aims to understand why and how this happened. It begins by redefining the conception of landscape in Renaissance Italy and then examines several ambitious easel paintings produced by major Venetian painters, beginning with Giovanni Bellini’s (c.1431- 36-1516) St. Francis in the Desert (c.1475), that give landscape a far more significant role than previously seen in comparable commissions by their peers, or even in their own work. After an introductory chapter reconsidering all previous hypotheses regarding Venetian painters’ reputations as accomplished landscape painters, it is divided into four chronologically arranged case study chapters.
  • Rembrandt's 1654 Life of Christ Prints

    Rembrandt's 1654 Life of Christ Prints

    REMBRANDT’S 1654 LIFE OF CHRIST PRINTS: GRAPHIC CHIAROSCURO, THE NORTHERN PRINT TRADITION, AND THE QUESTION OF SERIES by CATHERINE BAILEY WATKINS Submitted in partial fulfillment of the requirements For the degree of Doctor of Philosophy Dissertation Adviser: Dr. Catherine B. Scallen Department of Art History CASE WESTERN RESERVE UNIVERSITY May, 2011 ii This dissertation is dedicated with love to my children, Peter and Beatrice. iii Table of Contents List of Images v Acknowledgements xii Abstract xv Introduction 1 Chapter 1: Historiography 13 Chapter 2: Rembrandt’s Graphic Chiaroscuro and the Northern Print Tradition 65 Chapter 3: Rembrandt’s Graphic Chiaroscuro and Seventeenth-Century Dutch Interest in Tone 92 Chapter 4: The Presentation in the Temple, Descent from the Cross by Torchlight, Entombment, and Christ at Emmaus and Rembrandt’s Techniques for Producing Chiaroscuro 115 Chapter 5: Technique and Meaning in the Presentation in the Temple, Descent from the Cross by Torchlight, Entombment, and Christ at Emmaus 140 Chapter 6: The Question of Series 155 Conclusion 170 Appendix: Images 177 Bibliography 288 iv List of Images Figure 1 Rembrandt, The Presentation in the Temple, c. 1654 178 Chicago, The Art Institute of Chicago, 1950.1508 Figure 2 Rembrandt, Descent from the Cross by Torchlight, 1654 179 Boston, Museum of Fine Arts, P474 Figure 3 Rembrandt, Entombment, c. 1654 180 The Cleveland Museum of Art, 1992.5 Figure 4 Rembrandt, Christ at Emmaus, 1654 181 The Cleveland Museum of Art, 1922.280 Figure 5 Rembrandt, Entombment, c. 1654 182 The Cleveland Museum of Art, 1992.4 Figure 6 Rembrandt, Christ at Emmaus, 1654 183 London, The British Museum, 1973,U.1088 Figure 7 Albrecht Dürer, St.
  • Eva-Michel.Pdf

    Eva-Michel.Pdf

    Continuous Page: Scrolls and Scrolling from Papyrus to Hypertext Edited by Jack Hartnell With contributions by: Luca Bochicchio Stacy Boldrick Rachel E. Boyd Pika Ghosh Jack Hartnell Katherine Storm Hindley Michael Hrebeniak Kristopher W. Kersey Eva Michel Judith Olszowy-Schlanger Claire Smith Rachel Warriner Michael J. Waters Series Editor: Alixe Bovey Managing Editor: Maria Mileeva Courtauld Books Online is published by the Research Forum of The Courtauld Institute of Art Vernon Square, Penton Rise, King’s Cross, London, WC1X 9EW © 2019, The Courtauld Institute of Art, London. ISBN: 978-1-907485-10-7. Courtauld Books Online is a series of scholarly books published by The Courtauld Institute of Art. The series includes research publications that emerge from Courtauld Research Forum events and Courtauld projects involving an array of outstanding scholars from art history and conservation across the world. It is an open-access series, freely available to readers to read online and to download without charge. The series has been developed in the context of research priorities of The Courtauld Institute of Art which emphasise the extension of knowledge in the fields of art history and conservation, and the development of new patterns of explanation. For more information contact [email protected] All chapters of this book are available for download courtauld.ac.uk/research/courtauld-books-online Every effort has been made to contact the copyright holders of images reproduced in this publication. This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License. All rights reserved. CONTENTS INTRODUCTION 0. The Continuous Page Jack Hartnell (University of East Anglia) HISTORY 1.
  • Figures for the Soul

    Figures for the Soul

    FIGURES FOR THE SOUL ELIZABETH DWYER BARRINGER-LINDNER FELLOW FIGURES FOR THE SOUL ELIZABETH DWYER BARRINGER-LINDNER FELLOW Front Cover (left to right): Albrecht Dürer German, 1471-1528 The Scourging of Christ (The Flagellation of Christ) from the Engraved Passion series (1507-1512), 1512 Engraving, 4 9/16 x 3 in. (11.59 x 7.62 cm) Museum Purchase with Curriculum Support Funds, 1982.5 Hendrick Goltzius, Dutch, 1558 – 1617 Pietà, 1596 Engraving, 7 1/2 x 5 1/8 in. (19.05 x 13.02 cm) (sheet) Museum Purchase with Curriculum Support Funds, 1988.28 The Fralin Museum of Art’s programming is made possible by the generous support of The Joseph and Robert Cornell Memorial Foundation. The exhibition is also made possible through generous support of the Arts$, the Suzanne Foley Endowment Fund, WTJU 91.1 FM albemarle Magazine, and Ivy Publications LLC’s Charlottesville Welcome Book. CATALOGUE ROTATION I Figures for the Soul “Among all the paintings here, PRINTS BY those by Dürer interest me the most…[his] are figures which ALBRECHT DÜRER remain in the soul.” Of the many who have praised Albrecht Dürer Arranged chronologically, the following — Johann Gottfried von Herder, 1788 (1471–1528), none so eloquently capture the works chart his evolving technique from the aesthetic of his work as von Herder. Today rudimentary design of early woodcuts to esteemed as the premier artist of the Northern the refined modulation of late engravings. Renaissance and the father of German Art, Among the Museum’s stunning examples Dürer mastered painting, drawing, watercolor, are twinned prints from two of his most cel- art theory, and mathematics.
  • Full Schedule for This Class Is Given at WEC

    Full Schedule for This Class Is Given at WEC

    W The Arts W25YE W The Arts The Arts W * In the broadest sense, including music and literature. Common subdivisions W2 Classes W2/WC take only works considering the arts in Persons in the arts W24 A this very broad sense, although all its concepts may be used under a particular artform when applicable. Concepts which are special to the visual arts (WD/WO), which constitute much the largest of the particular . By role forms, are enumerated in detail in those classes. The use W24 H . Artists of the term art in the singular usually implies the visual * Professional artists are usually assumed. arts and is therefore avoided in W2/WB. HA . Health of artists * See also Culture KBV I . Mental health of artists W2 . Common subdivisions IT . Drugtaking by artists * Add to W2 numbers 2/9 in Auxiliary Schedule 1, with J . Support personnel, artists' assistants, apprentices modifications as in AY2 and U2 (Sciences, * When these participate in the artistic production Technology); eg itself (eg, students assisting a painter). W22 H . Pictorial matter, illustrations, reproductions K . Journeymen (illustrations) * Skilled workers having served apprenticeship. * As a form of presentation of literature on the arts. L . Auxiliaries in the arts * See note at WC2 2H * For example, carpenter, electricians, etc in R . Audiovisual materials performing arts; models (human) in pictorial arts. W23 G . Periodicals N . Audience, spectators GC . By language * See also W2F Art patrons; W3G P Appreciation of * Add to W23 GC letters C/X from Auxiliary art; schedule 3; eg W23 GCV French periodicals on NEQ . Child audiences art.
  • The Tournament and Its Role in the Court Culture of Emperor Maximilian I

    The Tournament and Its Role in the Court Culture of Emperor Maximilian I

    i The Tournament and its Role in the Court Culture of Emperor Maximilian I (1459-1519) Natalie Margaret Anderson Submitted in accordance with the requirements for the degree of Doctor of Philosophy The University of Leeds, Institute for Medieval Studies March 2017 ii The candidate confirms that the work submitted is her own and that appropriate credit has been given where reference has been made to the work of others. This copy has been supplied on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. © 2017 The University of Leeds and Natalie Margaret Anderson The right of Natalie Margaret Anderson to be identified as Author of this work has been asserted by Natalie Margaret Anderson in accordance with the Copyright, Designs and Patents Act 1988. iii Acknowledgements I must first acknowledge the help and support of my supervisors, Dr Alan V. Murray and Dr Karen Watts. They have been there since the beginning when I took part in their ‘Tournaments’ module during my MA studies, which first introduced me to the fantastical world of Maximilian’s tournaments. They also helped me to craft the idea for this research project while I was still exploring the exciting but daunting prospect of undertaking a PhD. Their words of advice, patience, and sometimes much-needed prodding over the past four years helped to bring about this thesis. Thank you as well to my examiners, Professor Stephen Alford and Professor Maria Hayward, whose insights helped to greatly improve this thesis. Thank you to the University of Leeds, whose funding in the form of a Leeds International Research Scholarship made this research possible.
  • Landscapes Play Such a Dominate Part in Painting T

    Landscapes Play Such a Dominate Part in Painting T

    SESSION 19 Landscapes 1400 - 2000 (Monday 6th April & Tuesday 3rd March) 1. Joachim Patinir 2.1 Landscape with the Flight into Egypt 1516 oil on panel, (17 × 21cm) Museum of Fine Arts Belgium 2. Albrecht Aldorfer 2.1. Landscape with a Footbridge 1518-20 Oil on vellum (41X35cm) National Gallery 2.2. Landscape of Danube near Regensburg, c 1528 (30.5 X 8.7cm) Alte PinaKotheK Munich 3. El Greco 3.1. View of Toledo 1598 Oil on canvas MMA, New YorK(121 X 108cm) 4. Pieter Breugel the Elder 4.1. The Harvesters 1565 Oil on wood(119 X 162 cm) MMA, New YorK 5. Aelbert Cuyp 5.1. Herdsmen with Cows 1645 Oil on canvas (39 X 57 cm) Dulwich Art Gallery 6. Jacob van Ruisdael 6.1. Wheat Fields c1670 Oil on canvas (100 X 130cm) Metropolitan Museum of Art 7. Claude Lorrain 7.1. Ascanius Shooting the Stag of Sylvia 1682 Oil on canvas Ashmolean Museum 8. Richard Wilson 8.1. Llyn-y-Cau, Cader Idrris 1774 Oil on canvas (511cm X73 cm) Tate Britain 9. Constable 9.1. View of the Stour near Dedham 1822 Oil on canvas (51 X 74in) Huntingdon Library CA 9.2. Wivenhoe Park, Essex, 1816, oil on canvas, (56 X101cm) NGA Washington 10. Turner 10.1. Valley of Aosta: Snowstorm, Avalanche and Thunderstorm 1836(92 X 123 cm) Chicago 11. Théodore Rousseau 11.1. The Descent of Cows from the High Plateaus of the Jura 11.2. Wooded Landscape with a Faggot Gatherer. Private collection 12. John Linnell 12.1.
  • Prints and Books

    Prints and Books

    Aus dem Kunstantiquariat: prints and books c.g. boerner in collaboration with harris schrank fine prints Martin Schongauer ca. 1450 Colmar – Breisach 1491 1. Querfüllung auf hellem Grund – Horizontal Ornament mid-1470s engraving; 57 x 73 mm (2 ¼ x 2 ⅞ inches) Bartsch 116; Lehrs and Hollstein 107 provenance Jean Masson, Amiens and Paris (not stamped, cf. Lugt 1494a); his sale Gilhofer & Ranschburg, Lucerne (in collaboration with L. Godefroy and L. Huteau, Paris), November 16–17, 1926 Carl and Rose Hirschler, née Dreyfus, Haarlem (Lugt 633a), acquired from Gilhofer & Ranschburg in May 1928; thence by descent exhibition B.L.D. Ihle and J.C. Ebbinge Wubben, Prentkunst van Martin Schongauer, Albrecht Dürer, Israhel van Meckenem. Uit eene particuliere verzameling, exhibition catalogue, Museum Boijmans, Rotterdam, 1955, p. 10, no. 8 literature Harmut Krohm and Jan Nicolaisen, Martin Schongauer. Druckgraphik im Berliner Kupferstichkabi- nett, exhibition catalogue, Berlin 1991, no. 32 Tilman Falk and Thomas Hirthe, Martin Schongauer. Das Kupferstichwerk, exhibition catalogue, Staatliche Graphische Sammlung München, 1991, no. 107 Lehrs lists six impressions and Hollstein no more than eight, to which this one has to be added. Richard Field’s Census for the American collections lists only one impression in the Cooper- Hewitt Museum in New York. This is the smallest of Schongauer’s ornament prints. While the background remains white, the sophisticated shading makes the leaf appear to move back and forth within a shallow relief. Schongauer’s ornament prints can be divided into Blattornamente (leaf ornaments that show a large single leaf against a plain background, Lehrs 111–114) and Querfüllungen (oblong panel ornaments, Lehrs 107–110).