Begegnungen Mit Alten Meistern

This title was first published in 2002: Jörg Breu belonged to the generation of German Renaissance artists that included Dürer, Cranach, Grünewald, Altdorfer, and, in his own city of Augsburg, Hans Burgkmair the Elder. His art registered the early reception of Italian art in Germany and spanned the dramatic years of the Reformation in Augsburg, when the city was riven with social and religious tensions. Uniquely, for a German artist, Breu left a diary chronicling his reaction to the massive social and cultural forces that engulfed him, including his own conversion to the Protestant cause. His story is representative of the condition of many artists during the Reformation years living through this watershed between two cultural eras, which witnessed the transfer of creative energies from religious painting to secular and applied forms of art. In this wide ranging and original study, Andrew Morrall examines the effect of these events on the nature and practice of Jörg Breu's art and its reception, not just in his own period, but right up to the present day.

Paintings by Renaissance masters Lucas Cranach the Elder, Albrecht Durer, and Hans Holbein the Younger are among the works featured in this lavish volume, the first to comprehensively study the largest collection of early German paintings in America. These works, created in the 14th through 16th centuries in the region that comprises present-day Germany, Austria, and Switzerland, include religious images - such as "Virgin and Child with Saint Anne" by Durer and the double-sided altarpiece "The Dormition of the Virgin" by Hans Schaufelein - as well as remarkable portraits by Holbein and the iconic "Judgment of Paris" by Cranach. In all, more than 70 works are thoroughly discussed and analyzed, making this volume an incomparable resource for the study of this rich artistic period.

Ein Wegweiser kommt nirgends hin. Er steht immer an seinem Platz. Jedoch - er zeigt den Weg.

This volume celebrates the storied career of Stephen N. Fliegel, the former Robert Bergman Curator of Medieval Art at the Cleveland Museum of Art (CMA). Authors of these essays, all leading curators in their fields, offer insights into curatorial practices by highlighting key objects in some of the most important medieval collections in North America and Europe: Metropolitan Museum of Art, The Louvre, the British Museum, Victoria & Albert Museum, the Getty, the Groeningemuseum, The Morgan Library, Vienna’s Kunsthistorisches Museum, and, of course, the CMA, offering perspectives on the histories of collecting and display, artistic identity, and patronage, with special foci on Burgundian art, acquisition histories, and objects in the CMA.

Albrecht DU+00FCrer was a prolific painter, draughtsman, printmaker, and writer. Now considered by many scholars the greatest of all German artists, he not only executed paintings and drawings of the highest quality but also made a major contribution to the development of printmaking, especially engraving, and to the study of anthropometry. This fully illustrated Grove Art Essentials title explores DU+00FCrer's life and work, delving into his working methods, character, personality, and theoretical writings, with an exploration of the critical reception and posthumous reputation that have made him an enduring fixture of the art historical cannon.

About the disciple known as Doubting Thomas, everyone knows at least this much: he stuck his finger into the risen Jesus’ wounds. Or did he? A fresh look at the Gospel of John reveals how little we may really understand about this most perplexing of biblical figures, and how much we might learn from the strange twists and turns Thomas’s story has taken over time. From the New Testament, Glenn W. Most traces Thomas’s permutations through the centuries: as Gnostic saint, missionary to India, paragon of Christian orthodoxy, hero of skepticism, and negative example of doubt, blasphemy, stupidity, and violence. Rife with paradoxes and tensions, these creative transformations at the hands of storytellers, theologians, and artists tell us a great deal about the complex relations between texts and their interpretations—and about faith, love, personal identity, the body, and twins, among other matters. Doubting Thomas begins with a close reading of chapter 20 of the Gospel of John, set against the conclusions of the other Gospels, and ends with a detailed analysis of the painting of this subject by Caravaggio, setting it within the pictorial traditions of late antiquity, the Middle Ages, and the Renaissance. Along the way, Most considers narrative reactions to John’s account by storytellers of various religious persuasions, and Christian theologians’ interpretations of John 20 from the second century ad until the Counter-Reformation. His work shows how Thomas’s story, in its many guises, touches upon central questions of religion, philosophy, hermeneutics, and, not least, life.

When Oskar Reinhart (1885-1965) bequeathed a significant part of his remarkable art collection - chiefly of French nineteenth-century painting but also containing a number of outstanding Old Masters - to the Swiss nation, he did so on condition that the works of art would never be loaned. As a consequence the many very important works in the collection have not been discussed in major exhibition catalogues and have not received the scholarly attention they deserve. This volume, with full entries on the entire collection of 207 works by 45 leading scholars in their field, both American and European, and superb plates carefully checked against the originals, sets out to rectify this state of affairs. Artists represented by several works in the collection that Reinhart made his monument include: Cezanne (11), Chardin (4), Corot (9), Courbet (10), Daumier (20), Delacroix (9), Gericault (2), Van Gogh (5), Maillol (8), Manet (4), Picasso (4), Pissarro (2), Renoir (15), Sisley (2). A well illustrated introduction explains the ideas and context behind Reinhart's collecting and affords insights into his character.