German and Flemish in the Härad altarpiece : a provincial Swedish work with far-reaching connections Earl, Carol Fornvännen 2008(103):2, s. [89]-101 : ill. http://kulturarvsdata.se/raa/fornvannen/html/2008_089 Ingår i: samla.raa.se German and Flemish in the Härad Altar piece: a Provincial Swedish Work with Far-reaching Connections By Carol Earl Earl, C., 2008. German and Flemish in the Härad altarpiece: a Provincial Swedish Work with Far-reaching Connections. Fornvännen 103. Stockholm. The provincial altarpiece above the main altar in the parish church of Härad in Södermanland shows diverse influences upon its authors. A close examination of this Late Medieval Passion piece gives us opportunity to compare the impact of German and Flemish works of art in Sweden upon its craftsmen. This transitional altarpiece combines characteristics typical of both German and Flemish retables. Other influences such as the historical development of skilled workers in Sweden, the physical situation of the church in the proximity of Strängnäs Cathedral, its supposed patron saints and the involvement of the commissioner of the work are taken into consideration, as well as the artistic ability of the craftsmen themselves. Finally an analytical approach to provincial works is proposed using the parallel case of the Ljusdal and Oviken altarpieces. Carol Earl, Drève de Linkebeek 8, BE-1640 Rhode-St-Genèse, Belgium [email protected] Härad parish's little Romanesque church, situat - approach to stylistic analysis of local works of ed in a sparsely populated region in the Swedish art such as the above. province of Södermanland, houses an extraordi - The parish of Härad is located on the road nary accumulation of Medieval art. There are between Strängnäs and Eskilstuna, an impor - pieces sculpted in stone and wood, painted on tant route for pilgrims worshiping the Swedish panels or sculptures, and worked in copper and Saint Eskil during the Middle Ages. The rich - cloth. Just how these works of art were accumu - ness of its art could indicate that it functioned as lated will perhaps rest a mystery, but the objects a stage on the pilgrimage. Many Swedish church themselves reveal a wealth of information about archives were seized and destroyed around 1530, the late Gothic period in Sweden. The impor - following the Reformation, including those of tance of the Härad altarpiece – a typical, locally Härad. The foundation date of the church is produced work – is in its manifestation of the wi- therefore difficult to establish. An analysis of dely varying influences upon Swedish arti sans/ architectural style and details indicate a date of craftsmen and their adaptations. In examining origin around 1200 (Redelius 1994, p. 3). these influences and their interpretation in the Some objects of art furnishing the church – Härad altarpiece (fig. 1), I will demonstrate an like the baptismal font, the holy rood and a reli - Fornvännen 103 (2008) 90 Carol Earl quary – date from the 13th century and were imported to the Diocese of Strängnäs as early as probably acquired at the end of its construction. 1251, the year the Hanseatic Union in Lübeck The Passion altarpiece and two shrines (one to was invited to participate in the founding of the Apocalyptic Madonna and the other to Stockholm. However, Lübeck altarpieces influ - Mary Magdalen) come from the 15th century. enced by Flemish art, incorporating narrative Considering the relative isolation of the La ke scenes, were probably not imported to Sweden Mälaren area and its late development in a Eu- until the mid-15th century (Andersson 1980, p. ropean perspective (Stockholm was not founded 69; Tångeberg 1986, p. 305). Aron Andersson until 1251), sources of inspiration for Swedish (1980, p. 67) also noted the paucity of works artisans and artists were limited. These sources imported to the diocese of Strängnäs before the include imported works of art like paintings and first Flemish altarpiece in Sweden, which was altarpieces, books, illuminated manuscripts , stu- ordered by Bishop Rogge during his investiture dio drawings, copperplates, block books etc. Books at Strängnäs Cathedral (1480–1501). and illuminated manuscripts lost today are docu- With this framework in mind we will now mented in wills and archives (Hedlund 1993, pp. examine influences on the Härad altarpiece. 26–36). Many artists came from other parts of Eu- The altarpiece from Härad rope to decorate Swedish churches and castles, The Härad altarpiece (fig. 1) is a triptych previ - perhaps encouraging specialization among Swe- ously dated between 1450 and 1500. The subject dish craftsmen. The lack of Swedish craftsmen is of the piece is the Passion of Christ, one of the documented in Lindberg’s (1989, pp. 152–153) most popular motifs during the Middle Ages. study of Medieval guilds. According to a contro- The caisse measures 149x149 cm and the wing versial legend, painters among the local monks dimensions are 74.9 by 148.9 cm. The general also contributed to the decoration of churches condition of the piece is very good: only one and monasteries (Bonsdorff 1990, p. 259–287). arm and some decorative tracery are missing. In fact, few monks are recorded as pictor (painter The piece has been restored several times, and or sculptor): one in Vadstena monastery’s regis - the gilding and polychromy have obviously been ter and one assigned to Strängnäs Domini can retouched. The extant predella is not original. monastery from Dortmund in 1502 (Reichert The sculpted Crucifixion in the center com - 1901, p. 77). Little indicates that Swedish artists partment of the caisse is surrounded by smaller traveled in Europe to learn their profession, niches containing statues of the Virgin with child, since as late as 1546, king Gustav I complained Mary Magdalen, Thomas Beckett and Saint Mar - about his subjects’ reluctance to learn special - tin. An architectural décor frames the compart - ized crafts (Lindberg 1989, p. 152). ments. The paintings on the wings depict scenes In this paper, I will examine two main strands from the Passion. On the left wing, we find the of European artistic influence on the altarpiece Flagellation and the Crowning of Thorns. The from Härad, Flemish and German. right wing has the Descent from the Cross and Flemish innovations in technique and com - the Pietà. Closed, the wings display an Annunci - position were adopted widely in European art in ation with the angel Gabriel to the left of the general from c. 1390. These reflected an interest Virgin. in the realistic depiction of material and of our The difference in quality between the Cruci - surroundings, in the expression of human pa thos fixion scene and the individual statues sur round- and in relating narratives anchored in everyday ing it is striking and disturbs the unity of the life. Their “illusion of reality” is a subject treated piece. The figures of the Crucifixion are crudely by Didier Martens (1998, pp. 255–277) and their sculpted, the faces poorly defined in cont rast concept of pictoral space by Roland Recht (2007, with the sculpted figures in the surround ing com - pp. 177–185) and Henri Pauwels (1998, pp. 243– partments. A comparison of the two Mary Mag - 253). dalen figures presented confirms that two (or German art and altarpieces could have been more) sculptors have worked on the altarpiece. Fornvännen 103 (2008) German and Flemish in the Härad Altarpiece 91 Fig. 1. Härad altarpiece. Photograph Lennart Karlsson. The Magdalen in the compartment has a round, The caisse turned-up nose; her clothing is sophisticated A central Crucifixion scene surrounded by indi - with complicated draped folds, her turban and vidual carved figures in separate compartments veil immaculate. The Swooning group Mag - is typical of German altarpieces. It resembles that dalen’s nose is big and straight, her dress folds of an altarpiece originally in the Great Church of are straight and her turban simple. Stockholm, a Lübeck work, dated 1468 with The individual statues are too small for the paintings attributed to Herman Rode (fig. 2; side compartments – an indication that they Andersson 1980, pp. 109–110). This altarpiece were “prefabricated” and not designed specifi - later came to Österåker church and is now in the cally for this caisse. Museum of National Antiquities (SHM 3753). The position of Mary Magdalen in the left The number of side compartments in its caisse is lower compartment of the caisse (instead of the two times those of Härad, but the organization Virgin) must be pointed out as atypical for the is the same. Its interior wings are sculpted with iconography of this time. Usually changes in ico- the compartments containing more statues of nographic representation of this type indicate a individual saints, but the paintings on their particular interest in this saint on the part of the exterior represent similar themes and colors as benefactor commissioning the work or the church those found on the interior wings of Härad. in which it would repose, and their subsequent At first glance, the altarpiece from Österåker influence upon the artist’s representation. The seems to be the prototype for the Härad altar - additional presence of a separate altar to Mary piece. It would certainly have been seen as an Magdalen in Härad church demonstrates a spe - important work of art in Sweden at that time, cific interest in this saint. originally hanging in the same cathedral that Fornvännen 103 (2008) 92 Carol Earl Fig. 2. Österåker altarpiece. Photograph Lennart Karlsson. contained Notke’s St. George sculpture. We can same mold, sweet, round and smiling. This safely assume that the author of the Härad piece “iconic” presentation is an important similarity or the person commissioning it had seen it. between the two pieces. This organization of the caisse is rarely However, upon looking closer, we find sig ni- found in Flemish altarpieces, where the com- ficant differences.