This hitherto unknown glass paten with églomisé painting, dated 1498 and measuring 36 cm in diame... more This hitherto unknown glass paten with églomisé painting, dated 1498 and measuring 36 cm in diameter, depicts the meeting of Abraham and Melchisedek. The painting can be attributed to Hans Wertinger, an artist from Landshut, who is well known for his paintings and stained glass. The recently discovered paten is executed in a refined églomisé technique with painting, scratching-out and with underlayers of gold and silver leaf, making it one of the earliest and finest examples of this technique, not only for Bavarian early Renaissance art but worldwide. The paten thus sheds fresh light on Wertinger as it shows him as an highly trained artist who worked also with bravura in the art of verre églomisé.
This hitherto unknown glass paten with églomisé painting, dated 1498 and measuring 36 cm in diame... more This hitherto unknown glass paten with églomisé painting, dated 1498 and measuring 36 cm in diameter, depicts the meeting of Abraham and Melchisedek. The painting can be attributed to Hans Wertinger, an artist from Landshut, who is well known for his paintings and stained glass. The recently discovered paten is executed in a refined églomisé technique with painting, scratching-out and with underlayers of gold and silver leaf, making it one of the earliest and finest examples of this technique, not only for Bavarian early Renaissance art but worldwide. The paten thus sheds fresh light on Wertinger as it shows him as an highly trained artist who worked also with bravura in the art of verre églomisé.
Die Lehman Collection, seit 1975 Teil der Sammlungen des Metropolitan Museum in New York, verwahr... more Die Lehman Collection, seit 1975 Teil der Sammlungen des Metropolitan Museum in New York, verwahrt neben Gemälden, Skulpturen und bedeutendem Kunsthandwerk auch einen kaum bekannten, kleinen, aber kostbaren Bestand von Zeichnungen. Dieser umfaßt neben vorwiegend italienischen Arbeiten auch etwa ein Dutzend deutscher Zeichnungen des 15. Jahrhunderts, darunter die hier vorgestellte kleine, von der Form eines überlängten Vierpasses umschriebene Darstellung der stehenden Madonna mit Kind. Dieses sitzt auf dem rechten, abgewinkelten Arm der Mutter, umschlingt mit seinen Armen ihren Hals und schmiegt sein Gesicht an ihre Wange. Neben der groß im Bild stehenden Gottesmutter kniet links-der Bedeutung und Wertigkeit mittelalterlichen Denkens entsprechend wesentlich kleiner wiedergegeben-der Stifter. Tonsur und Chorhemd, das Superpelliceum mit weiten, modischen, bis zum Boden reichenden Beutelärmeln kennzeichnen ihn als Geistlichen. Mit zum Gebet gefalteten Händen erfleht er Schutz und Hilfe der Gottesmutter, während sich hinter seinem Rücken, ihn wie eine schützende Hand hinterfangend, ein noch leeres Schriftband nach oben entrollt (Abb. I) 1 .
Hieronymus van Aken (Aachen) named himself “Bosch” after his home-city s’-Hertogenbosch. For his ... more Hieronymus van Aken (Aachen) named himself “Bosch” after his home-city s’-Hertogenbosch. For his depictions of hell with human beings tormented by demons and monstrous beasts he was famous already in his lifetime. Until today the fascination and interpretation of his pictorial world overshadows the elucidation of his artistic idiom and capacity. This probably may cause the many contradictory attributions and opinions concerning authenticity and chronology of his work. The Dresden double-sided drawing of St. John with the Virgin on the recto and St Magdalen on the verso, ranks among the most puzzling works on paper, discussed and attributed to Hieronymus Bosch. On the basis of stylistic analysis and the development of the figurative composition the present paper tries to establish the drawing’s art-historical position: its drawing-style, in pen and ink, corresponds with a series of apostles, copies after Jan van Eyck from the 1440s, and is also reflected in the mid-fifteenth-century ...
This hitherto unknown glass paten with églomisé painting, dated 1498 and measuring 36 cm in diame... more This hitherto unknown glass paten with églomisé painting, dated 1498 and measuring 36 cm in diameter, depicts the meeting of Abraham and Melchisedek. The painting can be attributed to Hans Wertinger, an artist from Landshut, who is well known for his paintings and stained glass. The recently discovered paten is executed in a refined églomisé technique with painting, scratching-out and with underlayers of gold and silver leaf, making it one of the earliest and finest examples of this technique, not only for Bavarian early Renaissance art but worldwide. The paten thus sheds fresh light on Wertinger as it shows him as an highly trained artist who worked also with bravura in the art of verre églomisé.
This hitherto unknown glass paten with églomisé painting, dated 1498 and measuring 36 cm in diame... more This hitherto unknown glass paten with églomisé painting, dated 1498 and measuring 36 cm in diameter, depicts the meeting of Abraham and Melchisedek. The painting can be attributed to Hans Wertinger, an artist from Landshut, who is well known for his paintings and stained glass. The recently discovered paten is executed in a refined églomisé technique with painting, scratching-out and with underlayers of gold and silver leaf, making it one of the earliest and finest examples of this technique, not only for Bavarian early Renaissance art but worldwide. The paten thus sheds fresh light on Wertinger as it shows him as an highly trained artist who worked also with bravura in the art of verre églomisé.
Die Lehman Collection, seit 1975 Teil der Sammlungen des Metropolitan Museum in New York, verwahr... more Die Lehman Collection, seit 1975 Teil der Sammlungen des Metropolitan Museum in New York, verwahrt neben Gemälden, Skulpturen und bedeutendem Kunsthandwerk auch einen kaum bekannten, kleinen, aber kostbaren Bestand von Zeichnungen. Dieser umfaßt neben vorwiegend italienischen Arbeiten auch etwa ein Dutzend deutscher Zeichnungen des 15. Jahrhunderts, darunter die hier vorgestellte kleine, von der Form eines überlängten Vierpasses umschriebene Darstellung der stehenden Madonna mit Kind. Dieses sitzt auf dem rechten, abgewinkelten Arm der Mutter, umschlingt mit seinen Armen ihren Hals und schmiegt sein Gesicht an ihre Wange. Neben der groß im Bild stehenden Gottesmutter kniet links-der Bedeutung und Wertigkeit mittelalterlichen Denkens entsprechend wesentlich kleiner wiedergegeben-der Stifter. Tonsur und Chorhemd, das Superpelliceum mit weiten, modischen, bis zum Boden reichenden Beutelärmeln kennzeichnen ihn als Geistlichen. Mit zum Gebet gefalteten Händen erfleht er Schutz und Hilfe der Gottesmutter, während sich hinter seinem Rücken, ihn wie eine schützende Hand hinterfangend, ein noch leeres Schriftband nach oben entrollt (Abb. I) 1 .
Hieronymus van Aken (Aachen) named himself “Bosch” after his home-city s’-Hertogenbosch. For his ... more Hieronymus van Aken (Aachen) named himself “Bosch” after his home-city s’-Hertogenbosch. For his depictions of hell with human beings tormented by demons and monstrous beasts he was famous already in his lifetime. Until today the fascination and interpretation of his pictorial world overshadows the elucidation of his artistic idiom and capacity. This probably may cause the many contradictory attributions and opinions concerning authenticity and chronology of his work. The Dresden double-sided drawing of St. John with the Virgin on the recto and St Magdalen on the verso, ranks among the most puzzling works on paper, discussed and attributed to Hieronymus Bosch. On the basis of stylistic analysis and the development of the figurative composition the present paper tries to establish the drawing’s art-historical position: its drawing-style, in pen and ink, corresponds with a series of apostles, copies after Jan van Eyck from the 1440s, and is also reflected in the mid-fifteenth-century ...
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