Werkliste Abbildung Künstler, Titel, Datierung Material, Maße Sammlung Karl Friedrich Schinkel Öl Auf Leinwand Staatliche Museen Zu H

Total Page:16

File Type:pdf, Size:1020Kb

Werkliste Abbildung Künstler, Titel, Datierung Material, Maße Sammlung Karl Friedrich Schinkel Öl Auf Leinwand Staatliche Museen Zu H Spätgotik - Aufbruch in die Neuzeit Werkliste Abbildung Künstler, Titel, Datierung Material, Maße Sammlung Karl Friedrich Schinkel Öl auf Leinwand Staatliche Museen zu H. 80 × B. 106,5 cm Berlin, Nationalgalerie, 1 Gotischer Dom am Wasser, 1813 Inv. Nr. A III 842 Freiburger Bauhütte schwarze Tusche und Staatliche Museen zu farbige Lavierung auf Berlin, 2 Planriss des Freiburger Pergament Kupferstichkabinett, Inv. Münsterturmes, 1507 H. 143 × B. 33 cm Nr. 79 C 36 Frankfurt am Main oder Mainz, Feder in Schwarz auf Staatliche Museen zu um 1420–1440 Papier, aquarelliert, Berlin, 3 Madern Gerthener unregelmäßig Kupferstichkabinett, KdZ oder ausgeschnitten 776 Johannes Weckerlin H. 53,5 × B. 22,4 cm Heiliges Grab und ein Sakramentshaus 1 Reinecke vam Dressche Silber, gegossen, Staatliche Museen zu getrieben, ziseliert, Berlin, 4 Chormantelschließe aus dem graviert und teilweise Kunstgewerbemuseum, Mindener vergoldet Inv. Nr. K 3876 Domschatz, 1487 oder früher H. 15,4 × Dm. 14 × T. 3,5 cm, Gewicht 403 g Fragmente des Palant-Altars Nussbaumholz (?), Staatliche Museen zu Köln, um 1435 Bildfeld je H. 27 × B. Berlin, Gemäldegalerie, 5 17,5 cm Kat. Nr. 1676, 1677 Ehemalige Flügelinnenseiten Fragmente des Palant-Altars Nussbaumholz (?) Aachen, Suermondt- Köln, um 1435 H. 81,6 × B. 45,6 cm Ludwig-Museum, Inv. Nr. 6 GK 0308 Ehemalige Flügelaußenseiten: Die Errettung der Seelen aus dem Fegefeuer 2 Fragmente des Palant-Altars Nussbaumholz KOLUMBA, Köln, um 1435 H. 83 × B. 45,7 × T. Kunstmuseum des 7 10,5 cm Erzbistums Köln, Inv. Nr. Ehemaliger Mittelschrein: 1996/497 Madonna mit Engeln Meister des Dutuit’schen Ölbergs Kupferstich auf Staatliche Museen zu (tätig am Niederrhein um 1440– Pergament Berlin, 8 1470) H. 11,3 × B. 7,9 cm Kupferstichkabinett, Inv. Nr. 446-1 Sitzende Madonna mit Kind, um 1440–1450 Mittelrheinische Werkstatt gebrannter Ton mit Staatliche Museen zu Resten farbiger Berlin, 9 Lorcher Kreuztragung, um 1430 Fassung; B. 142 cm Skulpturensammlung und (gesamte Museum Szene), H. der für Byzantinische Kunst, Einzelfiguren 50,2– Inv. Nr. 8499, 8574 61,8 cm (Maßwerkfries), 8615 (Soldatenfragment) 3 Mittelrhein Alabaster Staatliche Museen zu H. 17 × B. 27 × T. 3 Berlin, 10 Kreuztragung Christi, um 1440 cm Skulpturensammlung und Museum für Byzantinische Kunst, Inv. Nr. 8637 11 Kölner Meister, um 1420 Eichenholz Staatliche Museen zu ca. H. 194 × B. 362 Berlin, Gemäldegalerie, Flügelaltar aus St. Gereon cm (geöffnet) Kat. Nr. 1627 A Kölner Meister, um 1410–1420 Nussbaum, gefasst Staatliche Museen zu H. 98 × B. 29 × T. Berlin, 12 Stehende Maria mit Kind 23,5 cm Skulpturensammlung und Museum für Byzantinische Kunst, Inv. Nr. 7094 Köln, um 1425–1430 Monolithscheibe Staatliche Museen zu (gesprungen) weißes Berlin, 13 Kreuzigung Christi mit Maria Glas, Randleisten Kunstgewerbemuseum, und Johannes gelbes und blaues Inv. Nr. SI 42 Glas, Grisaille- Technik mit Schwarzlot und Silbergelb, Verbleiung H. 42,3 × B. 26,5 cm 4 Stefan Lochner Nussbaumholz Frankfurt am Main, Städel (um 1400 Meersburg – 1451 je H. 120 × B. 80 cm Museum, Inv. 821-832 14 Köln) Zwei Altarflügel mit den Martyrien der Apostel, um 1435 Nach Stefan Lochner Feder, laviert Staatliche Museen zu H. 18,8 × B. 18 cm Berlin, 15 Schindung des hl. Bartholomäus, Kupferstichkabinett, KdZ um 1435 778 Wenzel von Olmütz Kupferstich Staatliche Museen zu (tätig in Mähren um 1480 – um H. 15,8 × B. 11,3 cm Berlin, 16 1510) Kupferstichkabinett, Inv. Nr. 390-1 Die Kreuzigung des Apostels Andreas, um 1480 Stefan Lochner Deckfarben und Gold Staatliche Museen zu (um 1400 Meersburg – 1451 auf Pergament, 256 Berlin, 17 Köln) Blätter Kupferstichkabinett, Sign. H. 9,3 × B. 7 cm 78 B 1a Stundenbuch, 1444 5 Kölner Meister Eichenholz Staatliche Museen zu H. 97,2 × B. 64,3 cm Berlin, Gemäldegalerie, 18 Die Madonna vor der Rasenbank Kat. Nr. 1230 mit einer Stifterfamilie, um 1460 Hans Multscher Leinwand auf Staatliche Museen zu (tätig in Ulm 1427–1467) Tannenholz Berlin, Gemäldegalerie, 19 je H. 150 × B. 140 Kat. Nr. 1621, Flügel des Wurzacher Altars cm 1621A-G Hans Multscher Walnussholz, gefasst Staatliche Museen zu (tätig in Ulm 1427–1467) H. 132 × B. 57 × T. Berlin, 20 37 cm Skulpturensammlung und Die Erhebung der Maria Museum für Byzantinische Magdalena, um 1430 Kunst, Inv. Nr. 5923 6 Konrad Witz Nadelholz Staatliche Museen zu (tätig in Basel um 1434–1445/46) H. 84,5 × B. 80 cm Berlin, Gemäldegalerie, 21 Kat. Nr. 1701 Die Königin von Saba vor König Salomon von der Innenseite des Heilsspiegelaltars um 1435–1440 Konrad Witz ursprünglich Nürnberg, Germanisches (tätig in Basel um 1434–1445/46) Nadelholz, 1970 auf Nationalmuseum, Inv. Nr. 22 Stäbchenplatte Gm 878 Die Verkündigung an Maria, um übertragen 1440 H. 158,1 × B. 120,6 cm Konrad Witz ursprünglich Holz, Staatliche Museen zu (tätig in Basel um 1434–1445/46) auf Leinwand Berlin, Gemäldegalerie, 23 oder Umkreis übertragen Kat. Nr. 1656 H. 34 × B. 26 cm Ein Stifter vor dem Kreuz Christi, um 1440–1450 7 Konrad Witz Feder in Braun und Staatliche Museen zu (tätig in Basel um 1434–1445/46) Grau, laviert, mit Berlin, 24 Werkstatt oder Umkreis etwas roter, weißer Kupferstichkabinett, KdZ und 1971 Muttergottes und Kind in einem gelber Deckfarbe Gemach H. 29,1 × B. 20 cm, um 1440–1450 Konrad Witz (Nachfolge) Nussbaumholz (?), Staatliche Museen zu 1960 auf Berlin, Gemäldegalerie, 25 Der hl. Christophorus, um 1450 Sperrholzplatte Kat. Nr. 1931 übertragen H. 34,2 × B. 40,4 cm Basler Werkstatt Wirkerei, Wolle und Staatliche Museen zu Leinen Berlin, 26 Minnetapisserie mit Liebespaar H. 105 × B. 148 cm Kunstgewerbemuseum, und Greif Inv. Nr. K 6211 um 1430–1450 8 Münchner Meister Deckfarben auf Staatliche Museen zu Pergament Berlin, 27 Zwei Miniaturen aus der Folge H. 38,1 × B. 27,5 cm Kupferstichkabinett, Min. der und H. 29,8 × B. 22 1413 und 24 Alten des Otto von Passau, um cm 11639 1445 Gabriel Angler Nadelholz Staatliche Museen zu (tätig in München um 1430– je H. 187 × B. 123 Berlin, Gemäldegalerie, 28 1445) cm Kat. Nr. 1938 Zwei Tafeln der Tegernseer Tabula magna, vor 1445 Hans von Lafferde (nachweisbar Silber, getrieben, Staatliche Museen zu in gegossen, Berlin, 29 Lüneburg 1436 – um 1444/1446) teilvergoldet, Kristall, Kunstgewerbemuseum, Glassteine, Inv. Nr. 1874,371 Bürgereidkristall Email aus dem Lüneburger Ratssilber, H. 24,5 × B. 28,5 × 1443 T. 16 cm, Gewicht 3423 g 9 Österreich (Wien oder Holzschnitt, koloriert Staatliche Museen zu Steiermark) und weiß gehöht Berlin, 30 um 1410–1420 H. 19,3 × B. 12,4 cm Kupferstichkabinett, Inv. Nr. 557-24 Die Heiligen Barbara und Katharina Süddeutschland kolorierter Staatliche Museen zu Holzschnitt H. 26,9 × Berlin, 31 Gregorsmesse, um 1420–1430 B. 19,7 cm Kupferstichkabinett, Inv. Nr. 200-1 Bayern (oder Augsburg), um kolorierter Staatliche Museen zu 1440 Holzschnitt Berlin, 32 H. 19,4 × B. 13,5 cm Kupferstichkabinett, Inv. Kreuzigung Christi mit Maria (Bl.) Nr. 92-1 und Johannes 10 Süddeutsch, Bodensee (?) Holzschnitt, Staatliche Museen zu grauschwarz, grün, Berlin, 33 Hl. Christophorus, um 1430– rot, braun koloriert Kupferstichkabinett, 1440 H. 28,3 × B. 20,1 cm Inv. Nr. 120-1908 (Bl.) Thüringen oder Hessen, um kolorierter Staatliche Museen zu 1440–1450 Holzschnitt Berlin, 34 H. 20,1 × B. 13,5 cm Kupferstichkabinett, Inv. Die hl. Kakukilla Nr. 32-1899 Bayern, um 1430–1440 kolorierter Staatliche Museen zu Holzschnitt H. 21,2 × Berlin, 35 Hl. Dorothea B. 14,3 cm Kupferstichkabinett, Inv. Nr. 222-1 11 Meister des Todes Mariae Kupferstich Staatliche Museen zu (Meister der Großen Schlacht) H. 18 × B. 12,8 cm Berlin, 36 (tätig am Oberrhein oder in Kupferstichkabinett, Inv. Bayern Nr. 325-1 [Regensburg ?] um 1430 – um 1445) Hl. Hieronymus in der Schreibstube um 1435–1440 Meister der Spielkarten Kupferstich Staatliche Museen zu (tätig am Oberrhein? um 1430– H. 12,6 × B. 8,9 cm Berlin, 37 1450) Kupferstichkabinett, Inv. Nr. 120-1890 Vogel-Drei, um 1435–1440 Meister der Spielkarten Kupferstich Staatliche Museen zu (tätig am Oberrhein? um 1430– H. 13,3 × B. 8,9 cm Berlin, 38 1450) Kupferstichkabinett, Inv. Nr. 561-1 König der Wilden Leute, um 1440–1450 12 Meister E. S. Kupferstich Staatliche Museen zu (tätig am Oberrhein um H. 19,1 × B. 14,5 cm Berlin, 39 1440/1450 – um 1467) (Einfassung) Kupferstichkabinett, Inv. Nr. 329-1 Der Sündenfall und die Strafe Gottes, um 1460 Meister E. S. Kupferstich, rot und Staatliche Museen zu (tätig am Oberrhein um braun koloriert Berlin, 40 1440/1450 – um 1467) H. 15,6 × B. 10,4 cm Kupferstichkabinett, Inv. (Bl.) Nr. 376-1 Maria als Tempeljungfrau, 1467 Meister E. S. Kupferstich Staatliche Museen zu (tätig am Oberrhein um H. 13,7 × B. 10,4 cm Berlin, 41 1440/1450 – um 1467) (Einfassung) Kupferstichkabinett, Inv. Nr. 330-1 Simson und Delila, um 1460 13 Meister E. S. Kupferstich, rot, blau, Staatliche Museen zu (tätig am Oberrhein um braun und gelb Berlin, 42 1440/1450 – um 1467) koloriert Kupferstichkabinett, Inv. H. 20,6 × B. 12,3 cm Nr. 339-1 Die Große Engelweihe zu Einsiedeln („Die Große Madonna von Einsiedeln“), 1466 Meister E. S. Kupferstiche Staatliche Museen zu (tätig am Oberrhein um H. 13,8 × B. 9,8 cm Berlin, 43 1440/1450 – um 1467) (Bl.) Kupferstichkabinett, Inv. H. 13,8 × B. 17,5 cm Nr. 358-1 Die Buchstaben „h“ und „n“ aus (Bl.) und 360-1 dem Figurenalphabet, um 1466/67 Meister mit dem Keulenwappen Metallschnitt, grün Staatliche Museen zu (tätig in Bayern oder am koloriert, Nimbus mit Berlin, 44 Oberrhein Blattgoldauflage Kupferstichkabinett, Inv. um 1430–1460 ?) H. 17,5 × B. 11,5 cm Nr. 218-1 Kalvarienberg, um 1440–1460 14 Meister der Metallschnitt, Staatliche Museen zu Kirchenväterbordüren koloriert Berlin, 45 (tätig in Köln um 1470–1480) H. 27,7 × B. 19,7 cm Kupferstichkabinett, Inv. Nr. 300-1 Messe des hl. Gregor, um 1470 Böhmen (?), erstes Drittel 15.
Recommended publications
  • RELIEF PRINTS April, 2009 INTRODUCTION/ISSUES TO
    RELIEF PRINTS April, 2009 INTRODUCTION/ISSUES TO CONSIDER Note: for images from the LOC (Library of Congress), go to http://www.loc.gov/exhibits/cwaj/ IDO Masao: Nanzenji in Snow, 2003, woodblock (LOC) KITAOKA Fumio: Black Sunflower (A), 2004, woodcut with oil-based ink (LOC) MIURA Hiromi: A Flower, 2005, etching (LOC) HIRAKAWA Sachie: Nobuhiko’s Hand, 2004, lithograph (LOC) TAKESHITA Seiran, Rainbow, 2005, silkscreen (LOC) NODA Tetsuya: Diary; Sept 24th ’02 in New York, 2004, woodblock/silkscreen (LOC) WATANABE Yoichi: White Flower -3, 2003, woodcut (LOC) John James AUDUBON: American Flamingo, engraved by Robert Havell, Jr., c. 1832 WEB RESOURCES • Conn College - http://camel2.conncoll.edu/visual/index.html • Web Gallery of Art - http://www.wga.hu • Art Stor - http://www.artstor.org HISTORY: (all in ArtStor) Diamond Sutra, c 868 CE, British Library, London Hans Schlaffer of Ulm: Christ on the Vernicle, hand-colored woodcut, 1475-90 Marriage at Cana - Altar cloth (47 x 33”), c. 1400, NGA Washington Bois Protat, c. 1380, modern impression, original block in private collection Rest on the Flight into Egypt, c. 1410, hand-colored woodcut, Albertina, Vienna St. Christopher, 1423, woodcut, John Rylands Library, Manchester Madonna of the Fire (Madonna del Fuoco), before 1428, Cathedral, Forli Biblia Pauperum, Netherlandish 1465 or earlier, Metropolitan Ars Moriendi (Art of Dying), Netherlandish c. 1466, Staatliche, Berlin Speculum Homanae Salvationis (Mirror of Man’s Salvation), German, 1473, Met Erhard Reuwich: Exotic Animals & View of Venice
    [Show full text]
  • Sensory Reality As Perceived Through the Religious Iconography of the Renaissance
    Sensory reality as perceived through the religious iconography of the Renaissance Maria Athanasekou, Athens In Della pittura, Leon Battista Alberti wrote: “No one would deny that the painter has nothing to do with things that are not visible. The painter is concerned solely with representing what can be seen.”1 What Alberti does not mention is that during the Trecento, as well as in his own time, painted surfaces were populated with things that are not visible, with saints and angels, seraphims and cherubims, even the Madonna, Jesus and the Almighty God. The reality of all religious paintings of the Renaissance is virtually inhabited by heavenly and otherworldly creatures, taking the viewer onto a metaphysical level of experience and mystical union with the celestial cosmos. Physical space is intertwined with the supernatural environment that holy fig- ures occupy, and religious paintings systematically form another ac- tuality, a virtual reality for the viewer to experience and sense. In most cases this dynamic new world is the result of the com- bined efforts of the artist and the client (or patron), as specific details regarding the execution, content, materials, cost and time of delivery were stipulated in contracts. Hence, the scenographic virtuality of sa- cred images was produced by real people who wished to construct an alternative sensory reality in which they are portrayed alongside holy men and women. During the period ranging from the later Middle Ages to the end of the seventeenth century, Europeans believed that their heads contained three ventricles. In these, they were told, their faculties were processed, circulated and stored the sensory 1 Alberti 1967, 43.
    [Show full text]
  • Century Germany Miranda K. Metcalf MA
    1 When the Lion Lies Down with the Lapdog: Artists, Saints, Dogs and Men in Sixteenth- Century Germany Miranda K. Metcalf MA student, Art History, University of Arizona Canines have been companions to humans for somewhere between 15,000 and 20,000 years and are the earliest domesticated species.1 Despite dogs’ prominent presence during the development of human civilization, they have received little attention from historians. As Dorothee Brantz points out, “This omission may, however, reveal more about history as an academic discipline than it does about the past itself. After all, how could human societies have survived without the food, materials, labor and entertainment that animals supplied?”2 While there are those who question the importance of studying the presence of animals in the art and literature of the past, it is likely that this recent interest in the lives of animals is part of a steady broadening of the historical lens. This broadening expands beyond the once exclusionary focus on white, landowning men to include women, racial minorities, the impoverished, non- westerners, religious minorities, and eventually non-human animals.3 In recent years, several scholars have contributed significant research on the historical roles and the lives of animals. Erica Fudge is perhaps the most prolific contributor to this field.4 For over a decade she has published work and edited collections dedicated to the lives of animals and the way in which humans have perceived them in the early modern period. Fudge states in her publications that a history written by humans is primarily a history of humans and therefore 1 Evan Ratliff, “Mix, Match, Morph: How to Build a Dog,” National Geographic (February 2012), 39-48.
    [Show full text]
  • THE LAST JUDGMENT in CHRISTIAN ICONOGRAPHY Alison Morgan Public Lecture Given in the University of Cambridge, 1987
    THE LAST JUDGMENT IN CHRISTIAN ICONOGRAPHY Alison Morgan Public lecture given in the University of Cambridge, 1987 I gave this lecture many years ago as part of my doctoral research into the iconography of Dante’s Divine Comedy, using slides to illustrate the subject matter. Thanks to digital technology it is now possible to create an illustrated version. The text remains in the original lecture form – in other words full references are not given. Illustrations are in the public domain, and acknowledged where appropriate; some are my own photographs. If I were giving this lecture today I would want to include material from eastern Europe which was not readily accessible at the time. But I hope this may serve by way of an introduction to the subject. Alison Morgan, September 2019 www.alisonmorgan.co.uk A. INTRODUCTION 1. Christian belief concerning the Last Judgment The subject of this lecture is the representation of the Last Judgment in Christian iconography. I would like therefore to begin by reminding you what it is that Christians believe about the Last Judgment. Throughout the centuries people have turned to the Gospel of Matthew as their main authority concerning the end of time. In chapter 25 Matthew records these words spoken by Jesus on the Mount of Olives: ‘When the Son of Man comes in his glory, and all the angels with him, then he will sit on the throne of his glory. All the nations will be gathered before him, and he will separate people one from another as a shepherd separates the sheep from the goats, and he will put the sheep at his right hand and the goats at the left.
    [Show full text]
  • {DOWNLOAD} the Complete Woodcuts of Albrecht Durer
    THE COMPLETE WOODCUTS OF ALBRECHT DURER PDF, EPUB, EBOOK Albrecht Durer,Willi Kurth | 285 pages | 10 Jan 1998 | Dover Publications Inc. | 9780486210971 | English | New York, United States Albrecht Dürer - Wikipedia His watercolours mark him as one of the first European landscape artists, while his woodcuts revolutionized the potential of that medium. This is reinforced by his theoretical treatises, which involve principles of mathematics, perspective , and ideal proportions. A door is featured in the coat- of-arms the family acquired. He became the most successful publisher in Germany, eventually owning twenty-four printing-presses and a number of offices in Germany and abroad. Koberger's most famous publication was the Nuremberg Chronicle , published in in German and Latin editions. It contained an unprecedented 1, woodcut illustrations albeit with many repeated uses of the same block by the Wolgemut workshop. Though his father wanted him to continue his training as a goldsmith, he showed such a precocious talent in drawing that he started as an apprentice to Michael Wolgemut at the age of fifteen in Wolgemut was the leading artist in Nuremberg at the time, with a large workshop producing a variety of works of art, in particular woodcuts for books. Nuremberg was then an important and prosperous city, a centre for publishing and many luxury trades. It had strong links with Italy , especially Venice , a relatively short distance across the Alps. Agnes was the daughter of a prominent brass worker and amateur harpist in the city. He called her an "old crow" and made other vulgar remarks. He made watercolour sketches as he traveled over the Alps.
    [Show full text]
  • CENTER 16 Record of Activities and Research Reports June I995-May X996
    CENTER 1 6 ~~~i•i,:~-¸ ¸¸I!~ J n~ o ! National Gallery of Art CENTER FOR ADVANCED STUDY IN THE VISUAL ARTS CENTER 16 Record of Activities and Research Reports June i995-May x996 Washington x996 National Gallery of Art CENTER FOR ADVANCED STUDY IN THE VISUAL ARTS Washington, D.C. zo565 Telephone: (zoz) 84z-648o Facsimile: (zoz) 84z-6733 E-maih center @nga.gov World Wide Web: http://www.capcon.net/casva All rights reserved. No part of this book may be reproduced without the written permission of the National Gallery of Art, Washington, D.C. zo565 Copyright © i996 Trustees of the National Gallery of Art, Washington This publication was produced by the Editors Office, National Gallery of Art, Washington Designed by Susan Lehmann Printed by Schneidereith & Sons, Baltimore, Maryland Photographic credits Cover, pages I, 6, i6i: James Pipkin Pages I3, I5O , ISZ , I55 , I57, I59: Dennis Brack/Black Star Frontispiece: John Sloan, The Picture Buyer, I9X i. Delaware Art Museum, Wilmington Contents 7 Preface 9 Report on the Academic Year, June i995-May 1996 io Board of Advisors io Staff ii Report of the Dean I4 Members 18 Meetings 2.8 Lecture Abstracts 33 Incontro Abstracts 4 o Research Projects 4I Publications 43 ResearchReports of Members i49 Description of Programs 151 Fields of Inquiry 15 ~ Fellowship Program 58 Facilities i58 Board of Advisors and Selection Committee i58 Program of Meetings, Research, and Publication i6z Index of Members' Research Reports T Preface The Center for Advanced Study in the Visual Arts, a research in- stitute which fosters study of the production, use, and cultural meaning of art, artifacts, architecture, and urbanism, from prehis- toric times to the present, was founded in x979 as part of the National Gallery of Art.
    [Show full text]
  • Note: All Images Can Be Found in Artstor in the Image Groups in the MAG Varieties of Printmaking Folder Unless Otherwise Noted
    VARIETIES OF PRINTMAKING - WEEK 2 INTAGLIO PRINTS (PART 2) AND RELIEF PRINTS Note: all images can be found in ArtStor in the image groups in the MAG Varieties of Printmaking folder unless otherwise noted. For images from the LOC (Library of Congress), go to http://www.loc.gov/exhibits/cwaj/ WOODCUT: WATANABE Yoichi: White Flower -3, 2003, woodblock (LOC) Diamond Sutra, c 868 CE, British Library, London Marriage at Cana - Altar cloth (47 x 33”), c. 1400, NGA Washington Bois Protat, c. 1380, modern impression, original block in private collection Rest on the Flight into Egypt, c. 1410, hand-colored woodcut, Albertina, Vienna Playing Cards (Valet of Spades (Hogier); Valet of Clubs (Lancelot), French, c. 1540, hand-colored woodcut, Cincinnati Art Museum Biblia Pauperum, Netherlandish 1465 or earlier, Metropolitan Speculum Homanae Salvationis (Mirror of Man’s Salvation), German, 1473, Met Johannes GUTENBERG (publisher): Bible, c. 1453 illustrations from Nuremberg Chronicle by Hartmann Schedel, 1493, Metropolitan, NY Albrecht Dürer(1471-1528) Self-Portrait, 1498, Prado, Madrid Self-Portrait, Age 13, silverpoint drawing, Albertina, Vienna View of the Arco Valley in the Tyrol, 1495, Louvre, Paris Samson and the Lion, 1497-98, MFA Boston Apocalypse, 1498 Vision of the Seven Candlesticks Four Horsemen of the Apocalypse Large Passion, begun 1497-98, completed 1510-11 Last Supper, c. 1510 see also: PIERO della Francesca: Montefeltro Altarpiece, 1472, San Bernardino, Urbino Domenico GHIRLANDAIO: Last Supper, c. 1480, Ognissanti, Florence Giovanni BELLINI: Frari Altarpiece, 1488, Venice Resurrection, c. 1510 St. Jerome in His Study, 1514, engraving Adoration of the Holy Trinity, 1511, Kunsthistoriches, Vienna 2 Little Passion, 1511 Entry of Christ into Jerusalem see also: woodcut copy after Dürer by Virgil Soli, mid 16th c.
    [Show full text]
  • MASTERPIECES from the Städel Museum
    MASTERPIECES from the Städel Museum MASTERPIECES from the Städel Museum Edited by Max Hollein With a text by Franziska Leuthäußer PRESTEL Munich · London · New York CONTENTS FOREWORD G THE HISTORY OF THE COLLECTION @? THE MIDDLE AGES Paintings for Faith @C Italy @F | Germany AD THE RENAISSANCE The Focus Shifts to Humankind BE Italy BH | The Netherlands DD | Germany EF BAROQUEL ROCOCO AND THE ENLIGHTENMENT Between Pathos and Order GA Italy GD | France HB | Holland @?@ Flanders @@D | Germany @A@ THE NINETEENTH CENTURY New Paths for Art and Artists @BA France @BD | Germany @D@ MODERNISM The Avant-Gardist Age @FG France @G@ | Germany @H@ ART AFTER @HCD Internationalization AAA Art Informel and Abstraction AAD | Development in the United States AD@ Figurative Positions AEF | Contemporary Art to the Present AGH GLOSSARY BAA LIST OF WORKS BAE COLOPHON BBC FOREWORD The Städel Museum is one of the oldest and most prominent art museums in Germany. Outstand - ing masterpieces from the early fourteenth century to contemporary art are among its holdings, including paintings of international renown such as the Lucca Madonna by Jan van Eyck, the myste - rious Idealized Portrait of a Lady by Sandro Botticelli, The Geographer by Johannes Vermeer, the world-famous portrait of Goethe by Johann Heinrich Wilhelm Tischbein, the popular Dog Lying in the Snow by Franz Marc and the fascinating Large Curtain by Gerhard Richter. The collection com - prises a total of approximately 3,000 paintings, 600 sculptures, 4,000 photographs, and many more than 100,000 drawings and works on paper. The museum is recognised throughout the world for its high quality and its exceptional scholarly research.
    [Show full text]
  • Dr. Molly Ann Faries Curriculum Vitae Professor Emerita VI. 2015
    Dr. Molly Ann Faries Curriculum Vitae Professor Emerita VI. 2015 EDUCATION 1962 AB College of Wooster, Wooster, Ohio 1963 AM University of Michigan, Ann Arbor, Michigan 1972 PhD Bryn Mawr College (thesis on Jan van Scorel; advisor: Prof. James Snyder) RESEARCH TRAINING 1966-68 Amsterdam, Art History Institute of the State University of Amsterdam (studied with J. Bruyn, J.Q. van Regteren Altena, H. Jaffé) 1973-74 Amsterdam, Central Research Laboratory for Works of Art and Science (with support of National Endowment for the Humanities Post-doc Younger Humanist Grant) EMPLOYMENT 1969-71 Instructor, Swarthmore College, Swarthmore, Pa. 1972-73 Lecturer, Goucher College, Towson, Md. 1975, spring Guest curator, Centraal Museum, Utrecht, The Netherlands 1975-78 Assistant Professor,Indiana University 1978-85 Associate Professor, Indiana University 1985-2004 Professor, Indiana University 1998-2005 Professor and Chair, Technical Studies in Art History, University of Groningen, The Netherlands 2006- Professor Emerita, Indiana University and University of Groningen GRANTS, FELLOWSHIPS, AND AWARDS 1995 College Art Association/National Institute for Conservation Joint Award for Distinction in Scholarship and Conservation 2001 American Institute for Conservation Caroline and Sheldon Keck Award for Excellence in Education 2010 Wayne G. Basler Chair of Excellence for the Integration of the Arts, Rhetoric, and Science 1966-67 Fulbright-Hays Grant 1967-68 Fels Foundation Dissertation Grant 1 1973-74 NEH Fellowship (ACLS declined) 1975- Indiana University Grants-in-Aid (1975, 1976, 1977, 1982, 1983, 1987, 1988); Indiana University Summer Faculty Fellowships (1976, 1978, 1987, 1997, 1979-80 ACLS Fellowship (Chester A. Dale Fellowship declined) 1981-82 Senior Fellow, Center for Advanced Study in the Visual Arts, Washington, D.C.
    [Show full text]
  • An Iconographical Analysis of the Madonna and Child with Saints in the Enclosed Garden Paige L
    Student Publications Student Scholarship Fall 2018 An Iconographical Analysis of the Madonna and Child with Saints in the Enclosed Garden Paige L. Deschapelles Gettysburg College Follow this and additional works at: https://cupola.gettysburg.edu/student_scholarship Part of the Ancient, Medieval, Renaissance and Baroque Art and Architecture Commons, and the Art and Design Commons Share feedback about the accessibility of this item. Deschapelles, Paige L., "An Iconographical Analysis of the Madonna and Child with Saints in the Enclosed Garden" (2018). Student Publications. 657. https://cupola.gettysburg.edu/student_scholarship/657 This open access student research paper is brought to you by The uC pola: Scholarship at Gettysburg College. It has been accepted for inclusion by an authorized administrator of The uC pola. For more information, please contact [email protected]. An Iconographical Analysis of the Madonna and Child with Saints in the Enclosed Garden Abstract The aM donna and Child with Saints in the Enclosed Garden, created approximately between the 1440s and 1460s, is a perfect representation of the highly iconographical images produced during the Renaissance. Although it continues to remain unknown as to who the specific ra tist responsible for this painting is, it has been attributed to either Robert Campin or one of his many followers. Nevertheless, the depiction of the Virgin Mary holding baby Christ on her lap is heightened as the scene takes place within an enclosed garden, otherwise known as hortus conclusus. Throughout the image itself, one is able to understand how the Madonna and the enclosed garden promote one another in the artist’s goal of creating a holy and otherworldly space.
    [Show full text]
  • Sicut Lilium Inter Spinas. Floral Metaphors in Late Medieval Marian Iconography from Patristic and Theological Sources
    José María SALVADOR GONZÁLEZ, Sicut lilium inter spinas. Floral metaphors in late medieval Marian iconography from patristic and theological sources Sicut lilium inter spinas. Floral metaphors in late medieval Marian iconography from patristic and theological sources Sicut lilium inter spinas. Metáforas florales en la iconografía mariana bajomedieval a la luz de fuentes patrísticas y teológicas José María SALVADOR GONZÁLEZ Universidad Complutense de Madrid Departamento de Historia del Arte I (Medieval) [email protected] Recibido: 16/08/2014 Aceptado: 03/09/2014 Abstract: This paper1 proposes an interpretation of the flowers and other plant motifs present in some late medieval images of four Marian themes: the Virgin Enthroned with Child, the Virgin of Humility, the Sacra Conversazione and the Coronation of the Virgin. By supplementing certain unjustified conventions that, without any argument, see these flowers as natural symbols of Mary’s love or virginity, our iconographic proposal is based on multiple evidence by prestigious Church Fathers and medieval theologians. By commenting some significant passages of the Old Testament, all of them praise the Mother of the Savior in terms of flowers and plants as metaphors for her holiness and virtue. Thus, on the basis of a solid patristic and theological tradition, this paper attempts to interpret these botanic elements as symbolic figures of purity, humility, charity, sublimity of virtue and absolute holiness of Mary and, as the essential core, her perpetual virginity and virginal divine motherhood. Key Words: Medieval art, iconography, Mariology, Patrology, late medieval painting. Resumen: El presente artículo propone interpretar las flores y otros motivos vegetales presentes en algunas imágenes bajomedievales de cuatro temas marianos: la Virgen entronizada con Niño, la Virgen de la Humildad, la Sacra Conversazione y la Coronación de la Virgen.
    [Show full text]
  • Historical Overview of Panel-Making Techniques in Central Italy
    PART TWO History of Panel-Making Techniques 110 Historical Overview of Panel-Making Techniques in Central Italy Luca Uzielli surveys the techniques used in the making of the wooden supports of panel paintings in central Italy between the thirteenth and sixteenth centuries, a period during which pan- T 1 els played a particularly significant role in Italian painting. An “evolution” in manufacturing techniques, however, does not imply that later panels were technologically more advanced than earlier ones. On the contrary, these changes may be regarded as an “involution,” which eventually led to an abandonment of wood in favor of canvas as a support material. During the historical period discussed in this article, supports for wooden panels were subjected to a wide range of influences: changing formal require- ments of panel size and shape, including changes in artistic techniques and traditions, the challenges posed by economic constraints, and the need to develop woodworking techniques that would permit panels to respond to fluctuations in environmental conditions. Perhaps the first detailed information concerning early wooden supports Early References to in Italy can be found in De Coloribus et Artibus Romanorum b y Eraclius Wooden Supports (ca. tenth century C.E.). In the eleventh or twelfth century, Theophilus reported further information on the same subject in his Di versarum Artium Schedula, the most thorough medieval text dealing with the secrets and techniques of the fine arts. It describes how boards are glued together to form a whole panel for painting and how they may be coated with leather, to which the ground can be applied.
    [Show full text]