DOCSLIB.ORG

R Xl TT\/}I\JI[{ SQTW/ER

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
R Xl TT\/}I\JI[{ SQTW/ER PRINTS BY . r Xl TT\/}I\JI[{ SQTW/ER. APRIL 28,1971-JUNE 20,1971 BLUMENTHAL PATIO BALCONY THE METROPOLITAN MUSEUM OF ART c_o q Martin Schongauer, the son of a goldsmith, trained as a painter, is known to us primarily as an engraver. Active in the latter third of the fifteenth century, he was one of the earliest painters to try out the young art of printing from engraved plates which had developed in goldsmiths' workshops in South Germany in the 1430s. The Metropolitan Museum of Art's collection of sixty of Schongauer's en­ gravings, almost all superb impressions, will be on view from April 28 to June 20. Our collection contains over half of Schongauer's 116 engravings, a total which represents a fairly small body of work when you consider that Diirer and Rembrandt both made over 300 prints. Since all the Schongauer prints we know exist in no less than four impressions and sometimes in as many as seventy impressions, it is safe to assume that these 116 engravings are probably Schongauer's total out­ put. The number of paintings attributed to him is also not very large nor is the information available about his life very extensive. What can one say definitely about Schongauer's life and work? His father, Caspar, was a goldsmith from Augsburg, who came to the Alsatian town of Colmar in 1440. In 1445, Caspar was enrolled as a citizen of Colmar and became a mem­ ber of its town council. Martin Schongauer, one of either four or five sons born to Caspar, is listed in the records of the University of Leipzig for the year 1465- During the 1470s and 1480s, Martin's name appears on the tax rolls in Colmar. His only dated painting, The Madonna and Child in the Rose Arbor, is inscribed 1473- In 1489, Martin became a citizen of Breisach, a town just across the Rhine from Colmar. There he received a commission for a large fresco cycle in the cathe­ dral. He died in Breisach on February 2, 1491, at a time when the town had fallen prey to a plague epidemic. Some scholars believe Martin Schongauer was born in the 1430s; others argue for a date around 1450. Attempting to find the chronological order of his engravings adds another problem. While all of Schongauer's prints are signed with his mono­ gram /^ w. 8 , none is dated; and, as a result, their chronology has been the subject of much discussion, producing differing theories about Schongauer's life. One can generally say that the engravings tend to develop toward a more simplified and monumental type of composition. Trying to arrange the prints chrono­ logically, solely by means of stylistic analysis, has led equally reputable scholars to place the very same print early, late, and midway in Schongauer's career. Oc­ casionally a contemporary dated work copied from a Schongauer engraving helps to narrow down the years in which the engraving was done. The development of a more controlled system of burin strokes distinguishes the later prints from the very earliest ones. Style, technique, and copies all help generally to shape a chrono­ logy, which cannot be definitely ascertained. Schongauer belonged to the generation between the goldsmith engraver, Master E.S. and Albrecht D'urer. His art is the culmination of the Gothic tradition. Courtly figures inhabit a world of delicately wrought details. The nervous flutter of the swirling drapery clothing these elegant Gothic figures emphasizes the sweet seren­ ity of their faces. Schongauer made an important contribution to printmaking by discovering how to make engraved lines differentiate between the textures of various materials. Prints are easily transportable and Schongauer's balanced com­ positions and finished forms were particularly influential in the fifteenth and six­ teenth centuries. That he was highly regarded in his own time is demonstrated by the fact that Diirer, upon completing his apprenticeship, set out to work under Schongauer. Diirer arrived too late, for Schongauer was already dead, but Schon­ gauer's designs were available to be avidly studied and copied by the young Diirer. Judith E. Schub Curatorial Assistant Department of Prints and Photographs THE METROPOLITAN MUSEUM OF ART'S COLLECTION OF SCHONGAUER ENGRAVINGS Excerpted from the Bulletin of the Metropolitan Museum of Art, March, 1937, pp. 69-71. In his sweetness and charm unequaled among the print makers who were his contemporaries, Schongauer may be thought of as the outstanding engraver to come out of the tradition of the Van Eycks and Roger van der Weyden...he came at the end of a great movement of thought and expression and resumed in his work the results of the travail of a most remarkable group of predecessors. Schongauer's engravings are...among the basic prints for every great public collection, and to a certain extent the number of the quality of those in any col­ lection formed along historical lines may be regarded as an indication or touch­ stone of its age and importance. Of the early masters who were prolific and of whose prints many impressions are in existence, there are few if any whose prints are more difficult to secure in any number in impressions of satisfactory quality; for fine Schongauers are not to be had on demand or without watchful waiting over long periods of time. The Museum's print room, which is just entering its twenty-first year [this was in 1937], has as yet impressions of somewhat less than half of the 115 pieces that constitute Schongauer's engraved work, [the number 115 excludes the dis­ puted print of Saint James the Greater at the Battle of Clavigo, the last entry in this checklist. Since 1937 we have added some Schongauer prints to the collection so that we now have somewhat more than half of his total work]. The smallness of its collection of these precious engravings, however, is offset by the fact that, with the exception of two or three, they fulfill the most exacting standards of quality. Among the masterpieces in the collection there may be mentioned the Virgin Enthroned by God the Son (the first Schongauer that was bought by the Mu­ seum), the Angel and the Virgin of the Annunciation, the Annunciation, the Adora­ tion of the Shepherds, the Adoration of the Kings (in a unique first state), the Flight into Egypt, the Baptism of Our Lord, several of the Passion Series, the great Christ Carrying the Cross, the Christ Crucified, the Crucifixion with Three Angels, Christ and the Magdalene, the Virgin in the Courtyard, the Temptation of Saint Anthony (in the first state), the small Saint George and the Dragon, Saint John the Baptist, Saint Martin, Saint Michael, Saint Veronica, the Infant Saviour, 173378 Christ Blessing, the Peasants Going to Market, the Griffin, the Censer, and several of the round coats of arms. Today it is possible for us to record the acquisition of four more specimens of the master's work - the Nativity, the Virgin with the Parrot, the Virgin with the Apple, and the oblong ornament with the birds. The Nativity is one of the most famous and best beloved of the master's prints, a work of art of the kind which once seen is never forgotten. The Virgin with the Parrot, a delicately and elab­ orately engraved piece done in the master's early period, is shown before the plate underwent any deterioration through wear. The Virgin with the Apple, the largest of Schongauer's single figure subjects is noteworthy as having been struck off before the disappearance of the transverse scratches across the lower part of the Virgin's dress. The ornament with the birds is the first piece of the master's purely ornamental work to enter the collection. With luck and time it is hoped that we may eventually be able to complete the series on the same high level of excellence that has so far marked its growth. William M. Ivins, Jr. (Mr. Ivins was the first curator of the Department of Prints, which began in 1916) The following checklist of prints on exhibition comprises the Metropolitan Museum of Art's collection of engravings by Martin Schongauer. In some cases, we have more than one impression of an engraving. These additional impressions, as well as copies, so necessary for a study collection, are not, however, exhibited or listed here. "Lehrs" refers to volume five of Max Lehrs, Gescbichte und kritischer Katalog des deutscben...Kupferstichs im XV Jahrhundert (Vienna, 1925)- The following list is in the order of Lehrs number. Lehrs is arranged according to subject not according to chronological order. The chronology of Schongauer's engravings, as mentioned before, is open to much discussion. A SELECTED BIBLIOGRAPHY Julius Baum, Martin Schongauer, Vienna, 1948. Max Geisberg, "Martin Schongauer," Print Collector's Quarterly, April, 1914, pp. 103-129. Max Lehrs, Geschichte und kritischer Katalog des deutschen...Kupferstichs im XV ]ahrhundert, Volume V, Vienna, 1925- Charles I. Minott, Martin Schongauer, New York, 1971. Elizabeth Mongan and Carl O. Schiewind, The First Century of Printmaking 1400- 1500...The Art Institute of Chicago... 1941. Alan Shestack, The Complete Engravings of Martin Schongauer, New York, 1969- Fifteenth Century Engravings of Northern Europe from the National Gal­ lery of Art, Washington, D.C., 1968. 1. THE ANNUNCIATION Lehrs 1 Harris Brisbane Dick Fund, 32.64.1 There is a copy of this print by Wenzel von Olmutz, dated 1485, therefore giving the latest possible date for this engraving. 2. THE ANNUNCIATION Lehrs 2 The Angel Gabriel; Lehrs 3 The Virgin Harris Brisbane Dick Fund, 34.94.1 & .2 This diptych treatment of the Annunciation, unusual in engraving, is marked by the simplified, monumental quality of the figures.
Load more

Recommended publications
  • Empire of Prints. the Imperial City of Augsburg and the Printed Image In
    OPUS Augsburg 2016 Peter Stoll Empire of Prints The Imperial City of Augsburg and the Printed Image in the 17th and 18th Centuries1 Detail from the frontispiece to David Langenmantel’s Historie des Regiments in des Heil. Röm. Reichs Stadt Augspurg (Augsburg 1734); engraving by Jakob Andreas Friedrich: Augsburg city hall; on top of the cartouche the pine cone from the city’s coat of arms; to the right the eagle signifying the Holy Roman Empire. 1 This text, in a Spanish translation, first served as one of the introductory essays in an exhibition catalogue dealing with Augsburg prints as modellos for baroque paintings in Quito, Ecuador (‘El imperio del grabado: La ciudad imperial de Augsburgo y la imagen impresa en los siglos XVII y XVIII’, in: Almerindo E. Ojeda, Alfonso Ortiz Crespo [ed.]: De Augsburgo a Quito: fuentes grabadas del arte jesuita quiteño del siglo XVIII, Quito 2015, pp. 17-66). For the present purpose, all passages of the text which only made sense in the context of the exhibition have been removed. Nonetheless, the 18th century bias of the text as well as the selection of artists which come under closer scrutiny still reflect the origins of the essay. As it was meant to address not only art historians, but also a general interest readership, it contains much basic information about print- making and the cultural history of Augsburg. OPUS Augsburg 2016 / Stoll, Empire of Prints 2 _______________________________________________________________________________________ A very particular type of factory When in 2001 Johan Roger
    [Show full text]
  • Martin Schongauer 1 Martin Schongauer
    Martin Schongauer 1 Martin Schongauer Martin Schongauer (c. 1448 – 2 February 1491) was a German engraver and painter. He was the most important German printmaker before Albrecht Dürer. His prints were circulated widely and Schongauer was known in Italy by the names Bellendo Martino and Martino d'Anversa. Biography His father was a goldsmith named henry, a native of Augsburg, who had settled at Colmar, where the chief part of Martin's life was spent. He may well have been trained by Master E. S.; A. Hyatt Mayor saw both their styles in different parts of one engraving, and all the works with Schongauer's M†S monogram show a fully developed style. Schongauer established at Colmar a very important school of engraving, out of which grew the "Little Masters" of the succeeding generation, and a large group of Nuremberg artists. As a painter, Schongauer was a follower of the Flemish Rogier van der Weyden, and his rare Ecce Homo, engraving from the Passion series by Martin Schongauer. existing pictures closely resemble, both in splendour of color and exquisite minuteness of execution, the best works of contemporary art in Flanders. Martin Schongauer 2 Among the very few paintings which can with certainty be attributed to him, the chief is a magnificent altar-piece in the church of Saint Martin at Colmar. The Musée d´Unterlinden in Colmar possesses eleven panels by him, and a small panel of David with Goliath's Head in the Munich Gallery is attributed to him. The miniature painting of the Death of the Virgin in the National Gallery, London is probably the work of some pupil.
    [Show full text]
  • 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 ...
    [Show full text]
  • Berlin, 18 August 2021 PRESS RELEASE Kulturforum
    Berlin, 18 August 2021 GENERALDIREKTION PRESSE – KOMMUNIKATION – SPONSORING PRESS RELEASE Stauffenbergstraße 41 Kulturforum, Gemäldegalerie 10785 Berlin Matthäikirchplatz, 10785 Berlin Tue, Wed + Fri 10am – 6pm, Sat + Sun 11am – 6pm, Thur 10am – 8pm MECHTILD KRONENBERG (from 2 September 2021) HEAD OF PRESS, COMMUNICATION, SPONSORSHIP Late Gothic. The Birth of Modernity MARKUS FARR 21 May – 3 October 2021 PRESS OFFICER A special exhibition by the Staatliche Museen zu Berlin Tel.: +49 30 266 42 3402 Berlin’s Gemäldegalerie is holding the first ever comprehensive ex- Mobile: +49 151 527 53 886 hibition on late Gothic art in the German-speaking world. Inspired by [email protected] developments in the Netherlands, from the 1430s onwards, artistic www.smb.museum/presse means of expression began to change: light and shadow, body and space came to be depicted with increasing realism. With the inven- tion of the printing press, these innovations achieved mass circula- tion. Despite their religious function, images increasingly came to be seen as art, with their creators gaining wide-reaching fame. Featur- ing some 130 objects – including impressive loans and key works from the collections of the Staatliche Museen zu Berlin – the show will juxtapose various artistic genres and media, revealing the full breadth of the media innovations of the 15th century and the art of the late Gothic era. “The artistic developments of the 15th century continue to shape our un- derstanding of images – making the art of the late Gothic era --as a phe- nomenon that traversed genres and media-- a fascinating and highly rele- vant exhibition theme,” says Michael Eissenhauer, Director-General of the Staatliche Museen zu Berlin.
    [Show full text]
  • Viewer—Qualities That Both Appealed to an International Market, Particularly Spain, and Correlated with Contemporary Devotional Practices
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2011 Fashioning Schongauer: The Appropriation of Martin Schongauer's Engravings in Aragón Carolina Alarcon Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF VISUAL ARTS, THEATRE AND DANCE FASHIONING SCHONGAUER: THE APPROPRIATION OF MARTIN SCHONGAUER’S ENGRAVINGS IN ARAGÓN By CAROLINA ALARCON A Thesis submitted to the Department of Art History in partial fulfillment of the requirements for the degree of Master of Arts Degree Awarded: Spring Semester, 2011 The members of the committee approve the thesis of Carolina Alarcon defended on April 4, 2011. ____________________________ Stephanie Leitch (Professor Directing Thesis) ____________________________ Paula Gerson (Committee Member) ____________________________ Jack Freiberg (Committee Member) Approved: ____________________________ Adam Jolles, Chair, Department of Art History ____________________________ Sally McRorie, Dean, College of Visual Arts, Theatre and Dance The Graduate School has verified and approved the above-named committee members. ii ACKNOWLEDGEMENTS First and foremost, I would like to thank Dr. Stephanie Leitch for introducing me to the world of prints. Her continued support, sage advice and enthusiastic encouragement made this project possible and enjoyable. The other two members of my committee, Dr. Paula Gerson and Dr. Jack Freiberg, provided valuable advice at the beginning of this study and again during the defense. Their participation is much appreciated. I would also like to thank two scholars working in Spain, Dr.a Maria del Carmen Lacarra Ducay and Alberto Aceldegui Apesteguia, both of whom were extremely generous with their time and advice for this project.
    [Show full text]
  • The Functional Print Within the Print Market of the Late Fifteenth and Early Sixteenth Century in Northern Europe and Italy
    THE FUNCTIONAL PRINT WITHIN THE PRINT MARKET OF THE LATE FIFTEENTH AND EARLY SIXTEENTH CENTURY IN NORTHERN EUROPE AND ITALY Lyndsay Bennion A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS December 2006 Committee: Dr. Allison Terry, Advisor Dr. Andrew Hershberger © 2006 Lyndsay Bennion All Rights Reserved iii ABSTRACT Dr. Allison Terry, Advisor The focus of my thesis is the print market of the late fifteenth and early sixteenth century. This market was a byproduct of the trade-based economy of Venice and cities in Northern Europe. The multiplicity of prints allowed for their widespread circulation among these cities. Religious prints were the first type of print to be disseminated via the various trade routes. Such prints experienced an immense popularity due to the devotional climate of early Renaissance society. Most often, they were utilized by consumers as devotional tools. Yet as the print market grew, so too did the tastes of consumers. A new type emerged who viewed the print as an art object and used it accordingly; collecting it and storing it away within their private print cabinets. It is these two different functions of the print that I am most interested in exploring. My intent is to view the print as a functional object whose use changed depending on the type of consumer who purchased it. The differing functions of the print resulted in a segmentation of the market into a larger devotional market and a much smaller fine print market.
    [Show full text]
  • Spotlights Albrecht Dürer and the Renaissance North of the Alps
    Spotlight: The New Apelles Albrecht Dürer and the Renaissance North of the Alps DR. JÖRN GÜNTHER · RARE BOOKS AG Manuskripte unD seltene Bücher [email protected] www.guenther-rarebooks.com How is it possible that the son of an ordinary – successful, but not outstanding – goldsmith became not only Germany’s most celebrated ar:st but also an interna:onal leading figure in Europe’s cultural life? Centuries of reflec:on, studies, and research on the topic of Albrecht Dürer have brought to light new insights and discoveries about the ar:st and his works. Moreover, Dürer – and his father before him – have passed down a family chronicle that tells us about the personal history of the ar:st and his next of kin. But s:ll, many ques:ons about the great ar:st remain open and Albrecht Dürer, Self-portrait at 13 years, unanswered. silverpoint, Vienna, Graphische Sammlung, Alber:na His father, as we can deduce from his own self portrait, was a very talented draughtsman, who apparently learned the best part of his craft during his years of travel in the Netherlands, where he became familiar with the celebrated works of the “great masters” (Jan van Eyck, Rogier van der Weyden, and others), as his son would later call them in his chronicle. The young Albrecht Dürer learned his outstanding mastery in silverpoint pen and burin during his apprenticeship in his father’s workshop. Albrecht the Elder must have been very proud of his son and eager to hand the family business over to him one day.
    [Show full text]
  • Renaissance Prints: Engravings and Woodcuts
    Renaissance Prints: engravings and woodcuts Structuring Principles Discuss origin of each technology Discuss Renaissance (late, early modern?) image makers both as medieval craftsmen and simultaneously early Modern Artists Discuss the relationship of Durer’s artistic work and religious convictions in the context of the Reformation Historical works as Visual Research for printmaking assignments and independent work Show students engravings and woodcuts as visual sources informing studio work (and studio work will inform your understanding of artistic works) Demonstrate, discuss the uses of historical visual research in their independent work *** Origins of Printmaking in Europe illuminated manuscript print we’ve discussed the advantages of producing several copies of printed images over the earlier book-based technology of illuminated manuscripts: • printed texts and images are more affordable to produce and acquire • more widely disseminated • were used as souveniers from pilgrimage sites The earliest forms of prints were woodcuts and copper engravings Woodcuts derived from textile printing and….. Engraved helmet, 16th c, Italy Engraved sword, 17th c, England Silver and gold chalices ….Armorers and goldsmiths (engraving) who had used engraving techniques on fine metal work. While early print technologies existed, printing as we know it today required the inexpensive availability of paper. Paper-making as we know it today developed as early as the 1st ce, moved to the Middle East with paper- makers captured by Muslims, and moved to western Europe in the 12th century, with returning Crusaders. Master ES The first known printmaker to sign his work with a monogram. • Goldsmith working in the Rhineland • Made works appealing to a middle class audience – both religious and secular imagery • Developed cross-hatching techniques and other methods of mark-making with a burin • Stippling, flicking, short or long hyphen-styled groupings of mark-making to model forms and develop tonality.
    [Show full text]
  • The Crucifixion Tempera on Wood 105 X 75.8 Cm (41¼ X 29⅞ In)
    Follower of Martin Schongauer (Breisach 1430 - Colmar 1491) The Crucifixion tempera on wood 105 x 75.8 cm (41¼ x 29⅞ in) The Crucifixion is painted after an engraving by Martin Schongauer, c.1475, one of his largest and most detailed depictions of the subject by one of his followers, and is thought to have been executed c.1500. The painted version, although slightly different from the engraving, reflects the balance and harmony of Schongauer’s composition. In the painting, there is most noticeably the addition of the figure of a donor, and parts of the landscape have been simplified. Christ’s crown of thorns has been replaced by a halo. Although The Crucifixion by necessity loses some of the complexity of the original etching, the addition of colour and painterly technique heightens the dramatic power of the image. In both works, at the centre of the composition is Christ on the cross. At his head is the inscription I.N.R.I., from the Latin Isvs Nazarenvs Rex Ivdœorvm, meaning ‘Jesus the Nazorean, King of the Jews’ (John 19:19). Flanking him is the Virgin Mary on the left and St. John the Evangelist on the right. In The Crucifixion, the donor kneels in a supplicant pose next to the Virgin, with words rising above him on a scroll 125 Kensington Church Street, London W8 7LP United Kingdom www.sphinxfineart.com Telephone +44(0)20 7313 8040 Fax: +44 (0)20 7229 3259 VAT registration no 926342623 Registered in England no 06308827 and a crest with three mallets at his feet.
    [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]
  • Man of Sorrows, Attributed to an Unknown
    Painting Pairs: Art Historical and Technical Study 2018/19 Anonymous Artist, The Man of Sorrows with Virgin and St John the Evangelist after Martin Schongauer, 16th century, The Pheobus Foundation, Antwerp Alexandra Chipkin - PGDip in the Conservation of Easel Paintings Susannah Kingwill – PhD Candidate in Art History Table of contents Introduction 1 Provenance and state of research 1 Description of Composition 1 Imagery 2 Appearance of the Painting upon arrival 3 Condition of Paint and Original Colour Palette 3 Paint Layers 4 Underdrawing 5 Underdrawing and Paint Layer: Compared 5 The Engraving by Martin Schongauer 5 Painters Using Prints 6 Transfer Technique 7 Underdrawing and Engraving: Compared 7 Transfer from Print to Paint 8 Quotations of 15th century visual vocabulary 8 Original form 10 Construction of the panel 10 Previous Aesthetic and Structural Interventions 11 Conclusions and thoughts on further research 12 Bibliography 13 Figure list 16 Figures 19 Introduction Painting Pairs aims to shed light on a given piece of art through the combination art historical and technical research. The painting that will be discussed in the following paper is The Man of Sorrows with Virgin and St John the Evangelist (fig 1), which came to the Department of Conservation and Technology at The Courtauld Institute of Art, London, from the Phoebus Foundation in the Netherlands, in October 2018.1 Based compositionally on an engraving by Martin Schongauer (c.1450-1491) produced in the 15th century the painter of this work is unknown, as are the precise date and location of its production. This paper explores the making of this painting as well as its relationship to the source of its composition, whilst endeavoring to place the work within its historical context.
    [Show full text]
  • Albrecht Dürer's “Oblong Passion”
    ALBRECHT DÜRER’S “OBLONG PASSION”: THE IMPACT OF THE REFORMATION AND NETHERLANDISH ART ON THE ARTIST’S LATE DRAWINGS by DANA E. COWEN Submitted in partial fulfillment of the requirements For the degree of Doctor of Philosophy Dissertation Adviser: Dr. Catherine B. Scallen Department of Art History and Art CASE WESTERN RESERVE UNIVERSITY January, 2014 CASE WESTERN RESERVE UNIVERSITY SCHOOL OF GRADUATE STUDIES We hereby approve the thesis/dissertation of Dana E. Cowen ______________________________________________________ Doctor of Philosophy candidate for the ________________________________degree *. Catherine B. Scallen (signed)_______________________________________________ (chair of the committee) Jon L. Seydl ________________________________________________ Holly Witchey ________________________________________________ Erin Benay ________________________________________________ 4 November 2013 (date) _______________________ *We also certify that written approval has been obtained for any proprietary material contained therein. This dissertation is dedicated to my parents, Nancy and John, and to my brother Mark Table of Contents Table of Contents i List of Figures ii Acknowledgements xi Introduction 1 Chapter One 23 Albrecht Dürer in the Netherlands, 1520 to 1521: The Diary and Works of Art Chapter 2 58 Dürer and the Passion: The “Oblong Passion” and its Predecessors Chapter 3 111 Dürer, Luther, and the Reformation: The Meaning of the “Oblong Passion” Chapter 4 160 The “Oblong Passion” Drawings and their Relationship to Netherlandish Art Conclusion 198 Appendix 1: 204 Martin Luther. “Ein Sermon von der Betrachtung des heiligen Leidens Christi” (A Sermon on Meditating on the Holy Passion of Christ), 1519 Appendix 2: 209 The Adoration of the Magi Appendix 3: 219 The Progression of Scholarship on Fifteenth- and Sixteenth-Century Netherlandish and German Drawings from the Late Nineteenth-Century to the Present Figures 233 Bibliography 372 i List of Figures Fig.
    [Show full text]