Tod von der Jungfrau 1442-43
Drawing
Basilica di San Marco, Venice 1442-43 Zeichnungen Basilika di SanktMarco, Venedig Italian
c1421-1457
Andrea del Castagno Location
Tod von der Jungfrau 1437
Mixed technique on wood
Gemäldegalerie Staatliche Museen, Berlin. 1437 Gemischten Verfahren aufHolzedelsteinauml; ldegalerie Staatliche Hat, Berlin Nachgesonnen. Irish Romantic Painter, 1786-1863
Tod von der Jungfrau mk93
1605-06
Oil on panel
145 1/4x96 1/2in
Louvre
Paris
mk93 1605-06 der Öl ist auf Unterausschuss145 1/4x96 1/2in Louvre Paris Born 1606, Died 1669
Gemälde ID:: 63554
Death of the Virgin 1490 Tempera on oak panel, 150 x 228,5 cm Museum of Fine Arts, Budapest Signed on the censer: HANS. HOLPAIN. At the turn of the sixteenth century Hans Holbein the Elder, famous painter of altarpieces and portraits, was the leading painter of the rich merchant city of Augsburg. The painting in Budapest is one of his finest works and, indeed, one of the most significant works of German painting at that time. The inscription tells us that it was commissioned by Wolfgang Preu, Canon of Rottenbuch between 1490 and 1500 and that it originally decorated the tomb of the Preu family in the Church of St James at Straubing. The death of the Virgin is placed in a contemporary domestic setting. Mary, represented as a middle-class woman of Augsburg and wearing the clothes of the period, is seen lying on her canopied bed with the Apostles grouped about her like her family - one of them, wearing spectacles, is reading from the Bible. The artist follows the medieval tradition of simultaneous narration by depicting the sequel in the same picture: at the top we see the Virgin's soul, in the form of an innocent young girl in white, ascending to heaven to be received by God the Father. The Virgin Mary is seen surrounded by the apostles assembled, according to the Legenda Aurea, by divine miracle from various remote parts of the world for this solemn occasion. Though they cannot have met for a long time, they do not speak to one another; uncontestably the Virgin remains the centre of the scene. Every activity, every gesture of pain is directed towards her. She is seated in their midst, fragile and graceful, with a dreamy face - of all the faces in the picture hers shows the finest painting - and a halo around her head representing the supernatural element which is, however, hidden by a bonnet, a concession to wordly fashion. The picture is, indeed, marked by a mixture of accentuated verisimilar and supernatural elements. The young apostle-sitting before the bed, absorbed in reading and taking no part in the social gathering - who wears a kind of pince-nez in accordance with the customs of those days, is a veritable genre figure. The books lying on the bed, the censers and aspersorium painted with equally meticulous precision became ubiquitous pieces of the still-lifes of subsequent ages. In this painting Holbein, with exquisite taste and force, blends the traditional, late Gothic approach with a new style of representing nature and reality adopted from Netherlandish painting (b. 1460/65, Augsburg, d. 1524, Isenheim
Gemälde ID:: 64136
Death of the Virgin 1515-25 Oil on wood, 100,4 x 51,7 cm Museum Mayer van den Bergh, Antwerp This unusual Mannerist painting is a masterpiece of Antwerp Mannerism. The artist is referred to as the Master of Amiens. , Artist: UNKNOWN MASTER, Flemish , Death of the Virgin , 1501-1550 , Flemish , painting , religious
