文化      12-19世纪西方经典绘画(不断更新中)

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MINIATURIST, Italian (active 1480-1500 in Northern Italy) On the Architecture by Averulinus c. 1490 Illumination on parchment Biblioteca Nazionale Marciana, Venice The decoration of this page from a codex is a representant of the Italian Renaissance miniature art at its peak, it represents the Lombard-Venetian style. All elements used for decoration can be found on this page: pearls, sphynx, fishes, putti, nude figures etc. At the top and the bottom the coat-of-arms of King Matthias are depicted. The scene representing the construction of a building is remarkable.
Author: MINIATURIST, Italian Title: On the Architecture by Averulinus Time-line: 1451-1500 School: Italian Form: illumination Type: other

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MINIATURIST, German (active in 13th century in Rheinau) Rheinau Psalter 13th century Illumination on parchment Zentralbibliothek, Zurich The main characters of this crowded composition depicting the Kiss of Judas are Christ and Judas in the centre. On the left side Apostle Peter can be seen as cutting the ear of a soldier. The beautiful frame of the scene is remarkable. The codex was made in the Rheinau monastery.
Author: MINIATURIST, German Title: Rheinau Psalter Time-line: 1201-1250 School: German Form: illumination Type: religious

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MINIATURIST, German (active in 1230s) St Matthew's Gospel 1235-40 Illumination on parchment, 33,5 x 25 cm St鋎tische Sammlung, Rathaus, Goslar The title page of the Evangeliary shows the Adoration of the Magi, the Dream of St Joseph and the Evangelist St Matthew. The style is expressive in its abrupt gestures and unexpected contortions of the drapery. The style survived for about eighty years and then was replaced by the more refined Parisian fashion.
Author: MINIATURIST, German Title: St Matthew's Gospel Time-line: 1201-1250 School: German Form: illumination Type: religious

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MINIATURIST, French (active c. 1300-1320) French Bible of Hainburg 1300-20 Illumination on parchment Episcopal Library, Pécs This miniature depicting King David Kneeling is from the French Bible of Hainburg, the finest illuminated manuscript of the Episcopal Library of Pécs, Hungary. The French Bible was made in Northern France at the beginning of the 14th century. The miniatures with lively figures and decorative background represent scenes from the Old Testament. ---
Author: MINIATURIST, French Title: French Bible of Hainburg Time-line: 1301-1350 School: French Form: illumination Type: religious

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MINIATURIST, Frankish (active in 1270s) Frankish Psalter 1279 Illumination on parchment Cathedral Library, Esztergom This initial representing King David, Adam and Eve is from the Frankish Psalter, a richly illuminated manuscript preserved in the Cathedral Library of Esztergom, Hungary. The Biblical compositions of the manuscript, painted in brilliant colours, show the solemn sternness of 13th century codex painting.
Author: MINIATURIST, Frankish Title: Frankish Psalter Time-line: 1251-1300 School: Other Form: illumination Type: religious

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MINIATURIST, French (active c. 1300-1320) French Bible of Hainburg 1300-20 Illumination on parchment Episcopal Library, Pécs This miniature depicting Moses is from the French Bible of Hainburg, the finest illuminated manuscript of the Episcopal Library of Pécs, Hungary. The French Bible was made in Northern France at the beginning of the 14th century. The miniatures with lively figures and decorative background represent scenes from the Old Testament.
Author: MINIATURIST, French Title: French Bible of Hainburg Time-line: 1301-1350 School: French Form: illumination Type: religious

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MINIATURIST, Frankish (active in 1270s) Frankish Psalter 1279 Illumination on parchment Cathedral Library, Esztergom This initial representing the Three Magi is from the Frankish Psalter, a richly illuminated manuscript preserved in the Cathedral Library of Esztergom, Hungary. The Biblical compositions of the manuscript, painted in brilliant colours, show the solemn sternness of 13th century codex painting.
Author: MINIATURIST, Frankish Title: Frankish Psalter Time-line: 1251-1300 School: Other Form: illumination Type: religious

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MINIATURIST, French (active c. 1300-1320) French Bible of Hainburg 1300-20 Illumination on parchment Episcopal Library, Pécs This miniature depicting Prophet Baruch is from the French Bible of Hainburg, the finest illuminated manuscript of the Episcopal Library of Pécs, Hungary. The French Bible was made in Northern France at the beginning of the 14th century. The miniatures with lively figures and decorative background represent scenes from the Old Testament.
Author: MINIATURIST, French Title: French Bible of Hainburg Time-line: 1301-1350 School: French Form: illumination Type: religious

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MINIATURIST, Frankish (active in 1270s) Frankish Psalter 1279 Illumination on parchment Cathedral Library, Esztergom This initial representing Christ and the Doubting Thomas is from the Frankish Psalter, a richly illuminated manuscript preserved in the Cathedral Library of Esztergom, Hungary. The Biblical compositions of the manuscript, painted in brilliant colours, show the solemn sternness of 13th century codex painting.
Author: MINIATURIST, Frankish Title: Frankish Psalter Time-line: 1251-1300 School: Other Form: illumination Type: religious

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MINIATURIST, French (active c. 1300-1320) French Bible of Hainburg 1300-20 Illumination on parchment Episcopal Library, Pécs This miniature depicting King David with Armoured Knight is from the French Bible of Hainburg, the finest illuminated manuscript of the Episcopal Library of Pécs, Hungary. The French Bible was made in Northern France at the beginning of the 14th century. The miniatures with lively figures and decorative background represent scenes from the Old Testament.
Author: MINIATURIST, French Title: French Bible of Hainburg Time-line: 1301-1350 School: French Form: illumination Type: religious

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MINIATURIST, Frankish (active in 1270s) Frankish Psalter 1279 Illumination on parchment Cathedral Library, Esztergom This initial representing the Crowning of Mary is from the Frankish Psalter, a richly illuminated manuscript preserved in the Cathedral Library of Esztergom, Hungary. The Biblical compositions of the manuscript, painted in brilliant colours, show the solemn sternness of 13th century codex painting.
Author: MINIATURIST, Frankish Title: Frankish Psalter Time-line: 1251-1300 School: Other Form: illumination Type: religious

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MINIATURIST, French (active c. 1300-1320) French Bible of Hainburg 1300-20 Illumination on parchment Episcopal Library, Pécs This miniature depicting King David Taken Ill is from the French Bible of Hainburg, the finest illuminated manuscript of the Episcopal Library of Pécs, Hungary. The French Bible was made in Northern France at the beginning of the 14th century. The miniatures with lively figures and decorative background represent scenes from the Old Testament.
Author: MINIATURIST, French Title: French Bible of Hainburg Time-line: 1301-1350 School: French Form: illumination Type: religious

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MINIATURIST, French (active c. 1300-1320) French Bible of Hainburg 1300-20 Illumination on parchment Episcopal Library, Pécs This miniature depicting Judith and Holofernes is from the French Bible of Hainburg, the finest illuminated manuscript of the Episcopal Library of Pécs, Hungary. The French Bible was made in Northern France at the beginning of the 14th century. The miniatures with lively figures and decorative background represent scenes from the Old Testament.
Author: MINIATURIST, French Title: French Bible of Hainburg Time-line: 1301-1350 School: French Form: illumination Type: religious

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MINIATURIST, French (active c. 1300-1320) French Bible of Hainburg 1300-20 Illumination on parchment Episcopal Library, Pécs This miniature depicting the Madonna Enthroned is from the French Bible of Hainburg, the finest illuminated manuscript of the Episcopal Library of Pécs, Hungary. The French Bible was made in Northern France at the beginning of the 14th century. The miniatures with lively figures and decorative background represent scenes from the Old Testament.
Author: MINIATURIST, French Title: French Bible of Hainburg Time-line: 1301-1350 School: French Form: illumination Type: religious

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UNKNOWN MASTER, Bohemian (active 1390s) St Bartholomew and St Thomas 1395 Tempera on wood, 65,5 x 49,5 cm National Gallery, Prague The work is a fragment of the epitaph of Jan of Jeren, canon of Prague, who died in 1395 and was buried in Prague Cathedral. The inscribed panel must have been set on his tomb a short time afterwards. The Madonna and Child may have been in the centre of the surviving right-hand part, while on the left further saints and the praying figure of the donor may have completed the composition. The Apostles Bartholomew and Thomas are standing on a narrow strip of ground in front of a shining golden background. Their figures are surrounded by abundant intricate draperies, whose edges of soft lines, corners and folds which tumble down like waterfalls seem to live a separate life independent of the bodies. The bright colours of the two saints' cloaks complement one another-as do the hues of the linings. The pink lining of the green cloak and the blue lining of the red one serve a purely decorative function. The artist composed the two figures so as to create harmonious forms. The right-hand edge of St Bartholomew's draperies, forming a gently wavy line and the straight left-hand contour of St Thomas's mantle, which appears to continue the line of the spear, run very near each other. This narrow stripe turns the two figures into a form springing from the same basis and bending in two opposite directions. At the bottom the formation is completed by the green cloak flowing into the red one, while at the top it is enclosed by the tips of the flaying knife and of the spear which touch each other.
Author: UNKNOWN MASTER, Bohemian Title: St Bartholomew and St Thomas Time-line: 1351-1400 School: Bohemian Form: painting Type: religious

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UNKNOWN MASTER, Bohemian (beginning of 15th century) First Folio of the Golden Bull of Charles IV 1400 Vellum, 42 x 29,5 cm 謘terreichische Nationalbibliothek, Vienna In 1400 Wenceslas, King of Bohemia and Emperor of the Holy Roman Empire, had a copy made of the Golden Bull - a version of the Empire's constitution - first issued in 1356. The copy is richly decorated and displays a number of the emblems of Wenceslas himself. We do not know what part political considerations played in the commission, nor how great a part was played by his enthusiasm for beautiful books. At all events, in the same year Wenceslas was deprived by the electors from his rank as emperor. The volume is among the few that survived from his magnificent library. The text arranged in two columns is encircled by stylized acanthus leaves and scrolls. The light colours of the fleshy leaves appear like tongues of flames in the space they have created for themselves. A variety of tiny figures and animals painted from a close observation of nature, or derived from fairytales, are to be seen among the serpentine vines: birds, monkeys, a bear, a dog, a crouching monk, a "savage" in animals' skins who is holding a heraldic shield, girls dressed in light and loose garments, etc. In their shapes and colours these figures resemble the foliate ornaments, curving along with the vines. Indeed, the maidens' draperies are tied at the waist, and look like vines. On the other hand, the blue acanthus leaves in the round field in the bottom right turn into spilt water, where the tub has been turned upside down. Below the entangled foliate ornaments the motifs are compressed around a three-dimensional letter W, in which the monarch himself is depicted. The humorous detail with the bathing-women, a nearly nude female figure and towels tied into knots are, on the one hand, symbols of the Luxembourg dynasty and, on the other, of eroticism, referring to the love of the King and Queen, inspired by the plays of chivalric poetry. But, in addition to this, a romantic and Utopian desire for general physical and spiritual cleansing is also expressed in these representations (motifs of bathing) as well as for a return to the primordial state of mankind (the savage). The text of the Golden Bull begins with a prayer to the Creator, which is illustrated by the Maiestas Domini on the right-side column. The figures of the Lord and two praying angels appear in a three-dimensional frame which seems to lift their figures from the sphere of the world of nature; nevertheless it does not break the homogeneity of the folio, because it gives the impression of being stretched between two green stems of the foliate decoration, while new shoots spring from its corners.
Author: UNKNOWN MASTER, Bohemian Title: First Folio of the Golden Bull of Charles IV Time-line: 1351-1400 School: Bohemian Form: graphics Type: historical

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UNKNOWN MASTER, Russian (13th or 14th century) Icon of St Nicholas 13th-14th century Egg tempera on panel, gesso ground, 107 x 82 cm The Hermitage, St. Petersburg Novgorod Veliky (Novgorod the Great) is one of the oldest Russian towns. In the 12th to 15th centuries it was the centre of a large republic, whose art was greatly influenced by popular ideas of beauty. This was especially striking in the art of painting of the 13th and early 14th centuries, the period to which the Hermitage icon of Saint Nicholas is dated. Its red background is usually noted, for the vivid red (cinnabar) background combined with the lemon-coloured halo and the bluishgreen vestment of the saint make a striking impression. The beauty of the icon is enhanced by the careful graphic treatment of the forms and by the ornamental design. The saint is represented as sublime and severe in accordance with the standard developed in the Christian art of Byzantium. But the vivid colours and embellishments adopted from folk art soften the hieratic posture and stern countenance, turning the austere Byzantine saint into the Russian Nikóla, who was believed to be involved in all of humans' daily doings and cares.
Author: UNKNOWN MASTER, Russian Title: Icon of St Nicholas Time-line: 1301-1350 School: Russian Form: painting Type: religious

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UNKNOWN MASTER, Russian (15th century) Icon of St Theodore Stratilates and St Theodore Tyron 15th century Egg tempera on panel, gesso ground, 53,5 x 38 cm The Hermitage, St. Petersburg The ancient Novgorod school of painting is a remarkable and singular phenomenon in Russian art. This is especially evident from 15th century icon painting. A refined work of art, this icon in the Hermitage collection was produced by a skilful master who preferred graceful delicate forms and elongated proportions. The icon depicts two holy warriors. The features of their faces are small, which is a characteristic of the Novgorod icon-painting school. The saints' light figures are full of inner movement and their feet barely touch the ground. They are draped with flowing cloaks. The faces are dark with sharply contrasting light spots. In the colour scheme based primarily on the combination of ochre, red, brown and green, the cinnabar cloak of Theodore Stratilates is a bright spot on a light background. The haloes still retain traces of their original gilding.
Author: UNKNOWN MASTER, Russian Title: Icon of St Theodore Stratilates and St Theodore Tyron Time-line: 1451-1500 School: Russian Form: painting Type: religious

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UNKNOWN MASTER, Russian (16th century) Icon of the Transfiguration 16th century Egg tempera on panel, gesso ground, 55,5 x 43,5 cm The Hermitage, St. Petersburg The icon of the Transfiguration creates a tremendous impression on its simplicity and clarity of composition, splendid drawing and bright coloration. On the mount are Christ in His glorious radiance and the Prophets Elijah and Moses conversing with him; below are apostles astonished by the miracle, Peter kneels in amazement and John and James fall dazzled by the light. The painter, illustrating the evangelical theme of Christ's miraculous transfiguration in the presence of his disciples, was, above all, an excellent colourist. On the light blue background and light ochre mountain he boldly laid thick, bright colours-green and red, yellow and brown, white, and dark to the point of blackness. Typical of none of the icon-painting schools, the icon of the Transfiguration with this light blue background can, owing to its artistic merits, rank among the finest examples of early Russian easel painting.
Author: UNKNOWN MASTER, Russian Title: Icon of the Transfiguration Time-line: 1501-1550 School: Russian Form: painting Type: religious

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UNKNOWN MASTER, Bohemian (beginning of the 15th century) St Margaret c. 1400 Brush, Chinese ink, red chalk, 21.4 X 14 cm Museum of Fine Arts, Budapest This lovely sheet is one of the drawings made about 1400, which are on the borderline of drawing as an autonomous genre. It may have been the preparatory sketch for a picture or a sculpture, or its subsequent copy; or else it may have served for a model drawing. Up to now no direct connection with existing works of art has been established. The drawing produced by the brush in greyish-black Chinese ink and coloured by red chalk is so delicate and exquisite, asserting three-dimensional values and effects of light with such a number of nuances, that for us it represents self contained artistic values of a very high level indeed. The main reason why it is so difficult to fix the place where the work was created is that it represents in a very highly developed form and exceptional quality the style of the time about 1400, an art interwoven from several European trends. It was originally considered to have been the work of a Cologne master, then an Austrian one, while Oettinger, due to the relationship between the drawing and the Pühl Altarpiece, had in mind a master of the Augsburg region, but working under the effect of Bohemian art. Czech scholars revealed some connections, both of form and of shape, with the so-called "beautiful Madonnas" and a group of paintings produced under their influence. Indeed, the equilibrium of the figure brought about by movements of opposite directions, and, above all by the dense and deep folds of the wide garment which completely conceals the body, draperies that fall downwards on either side like a cascade, the edges showing rhythmically undulating lines, as well as the three-dimensional modelling of the soft, heavy folds are reminiscent of the Beautiful Madonna of Krumlov and the sculptures and paintings inspired by it. The composition of the drawing is carefully poised. The dragon at the saint's feet provides a pedestal broad enough for the slender figure in her ample garments. The mass of the dragon's head is counterbalanced by the sling made by the end of its tail, whereas the line of the saint's body leaning towards the right is counterpoised by an imaginary diagonal line drawn from the dragon's head to the cross. The abundant drapery falling onto the right hip is a characteristic example of how in the International Gothic style draperies achieved the status of elements from which a picture can be constructed, motifs that have an independent life of their own.
Author: UNKNOWN MASTER, Bohemian Title: St Margaret Time-line: 1351-1400 School: Bohemian Form: graphics Type: religious