文化      12-19世纪西方经典绘画(不断更新中)

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UNKNOWN MASTER, Spanish (early 13th century in Catalonia) Coronation of Mary 1200-20 Tempera on wood Museo Episcopale, Vich This is one of two the side panels of the altarpiece at Llus? the other representing St John the Evangelist with Mary.
Author: UNKNOWN MASTER, Spanish Title: Coronation of Mary Time-line: 1201-1250 School: Spanish Form: painting Type: religious

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UNKNOWN MASTER, Hungarian (active 1420-1430) The Virgin at the Spinning-wheel 1420-30 Tempera on panel, 89 x 78 cm Hungarian National Gallery, Budapest The painting originally made up one of the several scenes of a Mary altarpiece. On the left hand side of the mutilated painting once there were the figures of St. Joseph and an angel. There are flowers in the foreground, together with the attributes of the Virgin Mary - the wash-basin, the cauldron of water and a towel - all of which became frequent features of German and Austrian paintings influenced by Netherlandish art. The undulating forms of Mary's robe, which suggest her pregnancy, are characteristic of the Viennese painting.
Author: UNKNOWN MASTER, Hungarian Title: The Virgin at the Spinning-wheel Time-line: 1401-1450 School: Hungarian Form: painting Type: religious

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UNKNOWN MASTER, Hungarian (active around 1450) Holy Trinity c. 1450 Wood, 64,5 x 54,5 cm Hungarian National Gallery, Budapest This type of representation of the Holy Trinity - the Man of Sorrows held by God the Father with the Holy Ghost in the likeness of a dove - was widely adopted in European art around 1400 when it was customary to show particular reverence for the dead Saviour. Though of unknown provenance, it is thought that the panel comes from the western border region of Hungary, and is the only known Hungarian example of this iconographic type in painting. The earliest similar representation known to us is an example of French Burgundian art from around 1380. Pictures with half-length figures developed under the powerful influence of representations of the Pietà in which the Man of Sorrows is held by one or more angels. In respect to half-length figures, this work is similar to the Münster panel by the Master of St. Veronica (1395-1415). In the type of head adopted for the figure of God the Father there is a certain relationship with the Sankt-Lambrecht votive panel (around 1430), now in Vienna, and with the Holy Trinity in the Hungarian National Gallery. The finely tooled haloes and border adornments were very popular in Viennese painting at the beginning of the fifteenth century. They can also be seen on other panels more Austrian in style. It is believed that this painting was once on the obverse of the right wing of a small triptych or diptych.
Author: UNKNOWN MASTER, Hungarian Title: Holy Trinity Time-line: 1401-1450 School: Hungarian Form: painting Type: religious

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UNKNOWN MASTER, Hungarian (active 1470s) Crucifixion c. 1476 Tempera on wood, 154 x 98 cm Hungarian National Gallery, Budapest The painting is one of the exterior panels of the high altar of the church in Jánosrét. The altar was created, as was customary, to venerate the patron saint of the church. The carving in the shrine represents the titular saint while on the hinged shutters there are paintings depicting scenes from his life. The impact of Netherlandish painting is clearly evident in the detailed landscape background - feature unusual in earlier Hungarian panel painting - and also in some of the motifs adopted in Hungary from German art. The motif of the Mary Magdalen embracing the Cross, used by Eyck and Rogier, was transmitted to the Master of Jánosrét through one of the engravings of Master E.S., while the figures of the Virgin and St. John on the left of the Cross and of the Captain on the right, bear witness to the influence and accurate imitation of Schongauer's engraving.
Author: UNKNOWN MASTER, Hungarian Title: Crucifixion Time-line: 1451-1500 School: Hungarian Form: painting Type: religious

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UNKNOWN MASTER, Hungarian (active around 1490) The Sermon of Saint Martin c. 1490 Tempera on wood, 101,5 x 89,5 cm Hungarian National Gallery, Budapest There are two related panels, painted on both sides, in the Hungarian National Gallery which once were the wings of an altarpiece dedicated to St Martin and St Nicholas. One of the wings represents St Martin and the Beggar (outer side) and the Sermon of St Martin in Albenga (inner side). The other wing depicts St Nicholas and the Daughters of the Nobleman in Pataria (outer side) as well as the scene St Nicholas Resurrects Three Deads. The panel represents a legendary scene from the life of St. Martin. The Bishop, having given his clothes to a needy man, celebrates mass in poor, hastily acquired garments. At the elevation of the Host angels descend to cover his bare arms. The altar table in the sanctuary, shown in great detail, is decorated with a picture within the picture: a horizontally arranged retable with a scene of the Crucifixion. This is of special importance in the history of the development of winged altars in Hungary, for it demonstrates that this early type of retables of which very few examples have survived, was still in use at the end of the fifteenth century. Seen against the embroidered white altar-cloth the shadows are effective. The artist's representation of the missal is most realistic; also the representation of the mitre and the Gothic style objects made of precious metals, the ciborium between two candlesticks, the chalice and the paten, the latter only just visible under the edge of the communion cloth. Realism was not, however, an end in itself; the painter introduced these details to create an atmosphere of wonder before the legendary scene. The realistic characters are also imbued with piety. The portraitlike features of the male figure kneeling on the right suggest that it was he who commissioned the altarpiece. The painter's endeavours to represent the interior in perspective, the sharp folds shown almost in relief and the subtle colour effects all place the master of this panel among the finest Hungarian painters active in the late fifteenth century.
Author: UNKNOWN MASTER, Hungarian Title: The Sermon of Saint Martin Time-line: 1451-1500 School: Hungarian Form: painting Type: religious

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UNKNOWN MASTER, Spanish (active 1400-1425 in Castile) Virgin and Child with Angels and Saints 1400-25 Tempera on wood, 150 x 82 cm Museo del Prado, Madrid The picture shows the central panel of a polyptych called the Alterpiece of Archbishop Don Sancho de Rojas after the donator who is depicted kneeling at the left side of the painting. It comes from the church of San Benito (St Benedict) in Valladolid. The painter is identified as Rodriguez de Toledo, a representant of the Italo-Gothic painting in Castile.
Author: UNKNOWN MASTER, Spanish Title: Virgin and Child with Angels and Saints Time-line: 1401-1450 School: Spanish Form: painting Type: religious

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UNKNOWN MASTER, Spanish (active in the 14th century in Castile) Altarpiece 14th century Panel, 270 x 149 cm Museo del Prado, Madrid The altarpiece represents St Christopher with the Child, The Deposition, and Scenes from the Lives of Saints.
Author: UNKNOWN MASTER, Spanish Title: Altarpiece Time-line: 1351-1400 School: Spanish Form: painting Type: religious

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UNKNOWN MASTER, Hungarian (active around 1490) Saint Martin and the Beggar c. 1490 Tempera on wood, 101,5 x 89,5 cm Hungarian National Gallery, Budapest There are two related panels, painted on both sides, in the Hungarian National Gallery which once were the wings of an altarpiece dedicated to St Martin and St Nicholas. One of the wings represents St Martin and the Beggar (outer side) and the Sermon of St Martin in Albenga (inner side). The other wing depicts St Nicholas and the Daughters of the Nobleman in Pataria (outer side) as well as the scene St Nicholas Resurrects Three Deads.
Author: UNKNOWN MASTER, Hungarian Title: Saint Martin and the Beggar Time-line: 1451-1500 School: Hungarian Form: painting Type: religious

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UNKNOWN MASTER, Hungarian (active around 1490) Saint Martin and the Beggar c. 1490 Tempera on wood, 88 x 91 cm Hungarian National Gallery, Budapest The panel, painted on both sides, was part of the moving wing of a winged altarpiece. The panel represents the best-known episode from the legend of St. Martin. The young knight at the town-gate of Amiens cuts his cloak in two and gives half of it to a beggar. In the interior represented on the left side of the picture another episode from the legend can be seen. Christ appears at night to Martin, who suddenly realizes that it was the Saviour himself who put him to the test in the guise of a beggar. He is then baptized. The building on the left, decorated with statues mounted on brackets, and the room into which we can look, show the distant influence of Netherlandish art. This building, a fantastic edifice of many storeys, is an imaginative feat on the part of the painter. Although it seems the painter had some difficulty in representing the figure on horseback, his skill is amply demonstrated in the symmetrical composition, the distressed expression of the faces, the careful treatment of such details as the hair and the beard, and also the freshness of the colours.
Author: UNKNOWN MASTER, Hungarian Title: Saint Martin and the Beggar Time-line: 1451-1500 School: Hungarian Form: painting Type: religious

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UNKNOWN MASTER, Spanish (active mid 14th century) The Life of St Eulalia c. 1350 Tempera on wood Cathedral, Palma de Mallorca The altarpiece has a composition characteristic of 13th-14th century Sienese painting. The figures and the scenes show the strong influence of Pietro and Ambrogio Lorenzetti. The master of the altarpiece is referred to as the Master of the Privileges after he had illustrated the famous Majorcan Book of Privilegies of about 1334.
Author: UNKNOWN MASTER, Spanish Title: The Life of St Eulalia Time-line: 1301-1350 School: Spanish Form: painting Type: religious

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UNKNOWN MASTER, Hungarian (active around 1500) Marriage of Saint Catherine c. 1500 Tempera on wood, 101,5 x 73 cm Hungarian National Gallery, Budapest For a work of this period the panel is strikingly archaic in character. The calm, seemingly immobile figures, the effective silhoutte of the decorative crowns, the spatial depth scarcely emphasized in spite of the tiling of the floor and the gilded background, are characteristics of fifteenth century pictorial art. On the other hand, the manner of painting and the arrangement of the figures filling the space without overcrowding it, link the panel to a later period. This inconsistency serves to enhance the solemnity of the meeting between the saintly women and their queen. Barbara, seen holding a tower in the lower left corner, Catherine sitting above her with a broken wheel in her lap and, on the other side of the Virgin, St. Dorothy with a basket of flowers, and Margaret leading a dragon on a leash like a dog, are the noblest of the martyr virgins. St. Catherine having been regarded as the highest ranking among them, it is on her finger that the Infant Jesus slips the engagement with a play boyish gesture. This unstressed yet very important detail illustrates an episode from a characteristically medieval legend that probably owed its birth to a misunderstanding. It is thought that Catherine's original attribute, the wheel, as represented in a small picture, was mistaken for engagement ring symbolizing devotion to the Saviour. As the role of a betrothed would not have befitted the adult Christ, He is represented here as an Infant in his mother's lap, an ingenious idea hinting at the irrationality of the event. The style of the picture is directly related to that of contemporary Austrian painting, a link frequently found in Western Hungary in several periods.
Author: UNKNOWN MASTER, Hungarian Title: Marriage of Saint Catherine Time-line: 1451-1500 School: Hungarian Form: painting Type: religious

lewin

中世纪的绘画看上去总是有些病态，心态扭曲。
少有活泼鲜亮的。

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UNKNOWN MASTER, Hungarian (active 1510s) Flagellation 1514 Tempera on pine-wood, 109 x 102,5 cm Hungarian National Gallery, Budapest The panel once decorated the outside of the wing of an altar. Stylisticallty it is a problematic work. The emphasis on the cruel details of The Flagellation is in keeping with the period indicated by the date, but the style is based on a mixture of elements taken from Dürer and the Danube School; the colours are as bright as those of Albrecht Altdorfer or Wolf Huber. These characteristics are enhanced by unrestrained animation. The figures seem to be unable to move in the low, squat space filled with an unnecessarily large number of columns, so that their gestures seem all the more violent. The columns suggest a grand portico, rather than a torture chamber; the head of a person lurking in the left upper corner could be that of the proconsul himself. At the beginning of the sixteenth century columns were a rarity in architecture north of the Alps; for this reason, they did not often figure in paintings. Thus their presence here adds an element of grandeur to the chamber, giving it a more contemporary Italianate appearance. At the same time, however, the queer, ring-shaped ornaments appearing at intervals on the stem of the columns, make them look awkward and primitive.
Author: UNKNOWN MASTER, Hungarian Title: Flagellation Time-line: 1501-1550 School: Hungarian Form: painting Type: religious

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UNKNOWN MASTER, Spanish (active 1480-1500 in Valencia) The Visitation 1480-1500 Panel, 126 x 155 cm Museo del Prado, Madrid The artist of the panel is referred to as the Master of Perea.
Author: UNKNOWN MASTER, Spanish Title: The Visitation Time-line: 1451-1500 School: Spanish Form: painting Type: religious

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UNKNOWN MASTER, Spanish (active 1490-1500 in Castile) The Death of the Virgin 1490s Panel transferred to canvas, 212 x 113 cm Museo del Prado, Madrid This painting of the Hispano-Flemish master is from the monastery of La Sisla in Toledo. The artist of the panel is referred to as the Master of La Sisla.
Author: UNKNOWN MASTER, Spanish Title: The Death of the Virgin Time-line: 1451-1500 School: Spanish Form: painting Type: religious

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UNKNOWN MASTER, Hungarian (active 1590s) Saint Ladislaus, King of Hungary c. 1600 Oil on wood, 103 x 101,3 cm Hungarian National Gallery, Budapest Of the Hungarian kings St Ladislas is perhaps the one most often represented in post-medieval frescoes, altar paintings and statues. In the Middle Ages he was associated with the ideal of chivalry and the legends which gathered around him determined the manner of his representation. Thus the knightly armour and the battle-axe have become permanent attributes, in addition to the crown and the orb. The painting illustrated here, dating from the late sixteenth century, is only superficially linked with medieval portraits of St. Ladislas. The king is shown seated on a throne wearing an ample, richly embroidered cloak studded with pearls round the hem. In the foreground is a voluted and foiled shield with the national emblem, stylized in harmony with the throne. The background is designed to suggest the interior of a Renaissance palace. Through opening on either side of the wall behind the throne - draped with embroidered hangings - there is a view of landscape. A similar motif was often used to fill in the background in north Italian Madonna paintings of the fifteenth and sixteenth centuries. The monochrome landscape on the left is a topographic reference to one of St. Ladislas' most important church activities, the foundation of the Cathedral in Nagyvárad, while the one on the right shows his legendary defeat of the Cumanian abductor. This evocation of two popular episodes from the story of the king's life is intended partly to identify St. Ladislas as a rule of worldly power, and partly to indicate the ideal unity of the Christian king and the Christian knight. St Ladislas is shown as a historical personage, without a halo - a fact indicating that the painting was destined for a secular building. The episodes from the king's life or, to be mere accurate, from legends associated with his name, are treated as historical facts. The same approach characterized the series of prints of royalty and other notabilities which became so popular all Europe in the course of the sixteenth century. It may be assumed that such prints served as models for the painted portrait of St. Ladislas and the two related pictures of St. Stephen and St Emeric.
Author: UNKNOWN MASTER, Hungarian Title: Saint Ladislaus, King of Hungary Time-line: 1551-1600 School: Hungarian Form: painting Type: religious

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UNKNOWN MASTER, Hungarian (active 1640s) Middle Class Woman of L鮟se 1641 Oil on canvas, 94,5 x 78,5 cm Hungarian National Gallery, Budapest We know mainly from literature that in Hungary in the mid-seventeenth century family portraits we no longer confined to aristocratic homes but were also to be seen in the houses of the bourgeoisie. Of that period, however, little has survived and these remain include few portraits of the middle classes. Most of then are half-length portraits with neutral backgrounds, whereas in portraits of the aristocracy dignity and rank were indicated by the richness of the clothing and the elegant setting. In the picture illustrated here the artist has captured the individuality of the sitter, her rather hard features, the details and texture of her clothing - all testifying to the fact that aristocratic and bourgeois portraits were occasionally of equal quality. Indeed this portrait is the work of a talented painter who must surely have been a member of the painters' guild in L鮟se. The painting also provides interesting information for students of the history of Hungarian national costume, for it shows a combination of European court fashion and the typically Hungarian style only the beginning to develop. The lace-hemmed rich colarette known as "the fraise", which came to Hungary from the Spanish court, was adopted both by the aristocracy and the middle classes. It is matched in an interesting way by a pearl-embroidered reticulated bonnet closed in front like a "párta" (a headdress worn by Hungarian girls), a bodice richly embroidered with gold thread an fastened with hooks, and a pleated green silk apron trimmed with gold lace. These profusely decorated pieces worn by Hungarian women provided the unique local character which foreign travellers visiting Hungary had so often admired. The subject of this portrait is seen holding a shawl embroidered with Turkish motifs, while round her waist is a superb enamel-painted, gilded belt.
Author: UNKNOWN MASTER, Hungarian Title: Middle Class Woman of L鮟se Time-line: 1601-1650 School: Hungarian Form: painting Type: portrait

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MINIATURIST, French (active in 1370s) Bible of Charles V 1372 Illumination on parchment Rijksmuseum, The Hague The picture shows thefrontispiece of the Bible of Charles V. The miniature of Jean Bandol is inserted in the Bible of Charles V. It shows the presentation of the manuscript to Charles V by Jean de Vaudetar. The bulky and heavily modelled King Charles V sits in a clearly indicated space marked out by a tiled floor and, overhead, a circular baldacchino.
Author: MINIATURIST, French Title: Bible of Charles V Time-line: 1351-1400 School: French Form: illumination Type: religious

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MINIATURIST, French (active 1405-1420) Book of Hours of Maréchal de Boucicaut 1405-08 Parchment, 27,4 x 19 cm Musée Jacquemart-André, Paris This illumination showing the Visitation of Mary was made by a miniaturist referred to as the Master of the Book of Hours of Maréchal de Boucicaut. The painter's favourite bird was the swan which is present in the background of this picture, too. He was called also as Maitre aux Cygnes, the Master of Swans.
Author: MINIATURIST, French Title: Book of Hours of Maréchal de Boucicaut Time-line: 1401-1450 School: French Form: illumination Type: religious

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MINIATURIST, French (active 1405-1435 in Paris) Book of Hours c. 1423 Illumination on parchment, 41 x 28 cm British Library, London The picture shown is taken from the Book of Hours, a richly illustrated book. It represents the Building of the Ark. The manuscript is the masterpiece of the Master of Duke of Bedford who received his name from his patron, the Regent of France.
Author: MINIATURIST, French Title: Book of Hours Time-line: 1401-1450 School: French Form: illumination Type: religious