Detail of a Virgin and Child by a Follower of the…
Mayang and her son I Gusti Agung Mayun Jaya Santos…
Apse: Mary, Child, Archangels and Apostles
surreal
Ivory Virgin and Child in the Metropolitan Museum…
Ivory Virgin and Child in the Metropolitan Museum…
Madonna and Child by Duccio in the Metropolitan Mu…
Detail of the Madonna and Child by Duccio in the M…
Candid.
Tug-of-War
della Robbia
Virgin and Child from Limoges in the Metropolitan…
Virgin and Child from Limoges in the Metropolitan…
Detail of the Virgin and Child from Limoges in the…
Domonic Enjoying Dads Birthday
The Adoration of the Magi by Quentin Metsys in the…
The Adoration of the Magi by Quentin Metsys in the…
The Adoration of the Magi by Quentin Metsys in the…
The Adoration of the Magi by Quentin Metsys in the…
Detail of The Adoration of the Magi by Quentin Met…
Detail of The Adoration of the Magi by Quentin Met…
Detail of The Adoration of the Magi by Quentin Met…
Detail of The Adoration of the Magi by Quentin Met…
Detail of The Adoration of the Magi by Quentin Met…
Detail of The Adoration of the Magi by Quentin Met…
Detail of The Adoration of the Magi by Quentin Met…
Mayun praying at Kuningan
Young girl Legong dancing
Smiling proud father - Huancayo
A little unsure smile of a Huancayo father.
Miricles can happen
Ethiopian Triptych Icon in the Virginia Museum of…
Ethiopian Triptych Icon in the Virginia Museum of…
Virgin and Child by a Follower of the Master of th…
Virgin and Child by a Follower of the Master of th…
Holy Family in the Metropolitan Museum of Art, Jan…
Detail of an Enthroned Virgin with Nursing Child i…
Enthroned Virgin with Nursing Child in the Metropo…
I Gusti Agung Mayun Jaya Santosa
Little worshipper girl Hoa
Gemma, a young Catholic worshipper
chingford old church, london
Bali Aga girl Lintang
Bali Aga girl Sujatmi in Trunyan
Boy greets in Singaraja
Dressed for the holy ceremony
Girl taught by her father learns to swim
brompton cemetery ,london,adolphe ganz, +1869, hof…
Madonna and Child by Paolo di Giovanni Fei in the…
born 09.06.2015
paddington cemetery, brondesbury, london
Earthenware Virgin and Child in the Philadelphia M…
Detail of the Marble Virgin and Child in the Clois…
Marble Virgin and Child in the Cloisters, October…
Detail of The Adoration of the Magi by Bosch in th…
Detail of The Adoration of the Magi by Bosch in th…
Detail of The Adoration of the Magi by Bosch in th…
Detail of The Adoration of the Magi by Bosch in th…
Detail of The Adoration of the Magi by Bosch in th…
The Adoration of the Magi by Bosch in the Metropol…
Madonna and Child by Bellini in the Metropolitan M…
Shrine to the Virgin and Child in Piazza Navona, J…
Detail of an Enthroned Virgin and Child in the Met…
Enthroned Virgin and Child in the Metropolitan Mus…
Detail of the Virgin and Child with Angel and Sain…
See also...
Keywords
Authorizations, license
-
Visible by: Everyone -
All rights reserved
-
194 visits
Detail of a Virgin and Child by a Follower of the Master of the Dangolsheimer Madonna in the Princeton University Art Museum, April 2017
Follower of the Master of the Dangolsheimer Madonna, South German
Virgin and Child, late 15th–early 16th century
Wood with polychromy and gilding
86.5 x 55.4 x 31.7 cm (34 1/16 x 21 13/16 x 12 1/2 in.)
Museum purchase, gift of Carl Otto von Kienbusch, Class of 1906, for the Carl Otto von Kienbusch Jr., Memorial Collection
y1954-73
Handbook Entry
In the late fifteenth century, the prosperous south German trading centers on the Rhine and Danube were the locations of an artistic flowering in which a self-consciously "German" style spread rapidly through the area. The diffusion was aided by the invention of printmaking. One of the most active sectors of art production was carved polychrome wood sculpture, some of which was related to commissions of the type of looming altarpiece called Schnitzaltare, that combined painted shutters with a sculpted interior. Other commissions were for isolated groups.
Carved in soft limewood (lindenwood), this Virgin and Child group illustrates the dynamic spatial relationships between figures that sculptors were able to achieve. The anonymous master, from the upper Rhine area, worked in a style close to that of two major artists: the Master of the Dangolsheim Madonna, named for his masterpiece (Bode Museum, Berlin), and Nicholas Gerhart von Leyden, a highly influential figure with documented works in Strasbourg and Vienna. (Some scholars believe the Dangolsheim Master was the youthful Nicholas.) This group was probably placed high, given the downward gazes of the figures. Since the back is hollowed out, as is usual in such sculpture, it may have been on an altar or in a niche. The polychromy is partially restored, the crown a replacement of uncertain date. The group exemplifies the late Gothic love of exuberant curves and rich draperies.
Gallery Label
This work is representative of the development of a new, specifically German, taste in art in the late-fifteenth and early-sixteenth centuries. One of the most active sectors of production was carved painted wooden sculptures. This work also illustrates the importance of the invention and spread of printmaking in disseminating the style in the regions of the Rhine and Danube rivers. For example, comparisons for the Virgin's highly ornamental curls of hair and the animated folds of the drapery can be found in prints.
Text from: artmuseum.princeton.edu/collections/objects/24961
Virgin and Child, late 15th–early 16th century
Wood with polychromy and gilding
86.5 x 55.4 x 31.7 cm (34 1/16 x 21 13/16 x 12 1/2 in.)
Museum purchase, gift of Carl Otto von Kienbusch, Class of 1906, for the Carl Otto von Kienbusch Jr., Memorial Collection
y1954-73
Handbook Entry
In the late fifteenth century, the prosperous south German trading centers on the Rhine and Danube were the locations of an artistic flowering in which a self-consciously "German" style spread rapidly through the area. The diffusion was aided by the invention of printmaking. One of the most active sectors of art production was carved polychrome wood sculpture, some of which was related to commissions of the type of looming altarpiece called Schnitzaltare, that combined painted shutters with a sculpted interior. Other commissions were for isolated groups.
Carved in soft limewood (lindenwood), this Virgin and Child group illustrates the dynamic spatial relationships between figures that sculptors were able to achieve. The anonymous master, from the upper Rhine area, worked in a style close to that of two major artists: the Master of the Dangolsheim Madonna, named for his masterpiece (Bode Museum, Berlin), and Nicholas Gerhart von Leyden, a highly influential figure with documented works in Strasbourg and Vienna. (Some scholars believe the Dangolsheim Master was the youthful Nicholas.) This group was probably placed high, given the downward gazes of the figures. Since the back is hollowed out, as is usual in such sculpture, it may have been on an altar or in a niche. The polychromy is partially restored, the crown a replacement of uncertain date. The group exemplifies the late Gothic love of exuberant curves and rich draperies.
Gallery Label
This work is representative of the development of a new, specifically German, taste in art in the late-fifteenth and early-sixteenth centuries. One of the most active sectors of production was carved painted wooden sculptures. This work also illustrates the importance of the invention and spread of printmaking in disseminating the style in the regions of the Rhine and Danube rivers. For example, comparisons for the Virgin's highly ornamental curls of hair and the animated folds of the drapery can be found in prints.
Text from: artmuseum.princeton.edu/collections/objects/24961
- Keyboard shortcuts:
Jump to top
RSS feed- Latest comments - Subscribe to the comment feeds of this photo
- ipernity © 2007-2024
- Help & Contact
|
Club news
|
About ipernity
|
History |
ipernity Club & Prices |
Guide of good conduct
Donate | Group guidelines | Privacy policy | Terms of use | Statutes | In memoria -
Facebook
Twitter
Sign-in to write a comment.