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The sumptuous paintings of Stefan Lochner (d. Cologne 1451) are among the most familiar yet least understood images of the late Middle Ages. His depictions of the Virgin and Child have entered the popular imagination as models of sweetness and grace, values superficially attached to them since their rediscovery two hundred years ago. Appreciation of Lochner's achievements has also been impeded by criticism that artificially judges him in terms of perceived realism. Both attitudes have blinded us to Lochner's creativity and invention.This book explores Lochner's oeuvre from various vantage points. Tracing current conceptions of the artist back to the earliest recorded testimonies, it first reviews Lochner's changing critical fortunes. A perceptual account of Lochner's major paintings and illuminated manuscripts follows, clarifying the artist's passion for the nature of representation and the different ways in which he engages the viewer. In addition, study of Lochner's works by means of infrared reflectography reveals a draftsman of the first order: his complex underdrawings foreshadow Martin Schongauer's graphic style of forty years later. Lochner's atelier and the different forms of collaboration that took place within it are the focus of a separate chapter. The book then identifies criteria in his images that contemporaries would have valued, such as his enduring engagement with the goldsmith's art, which typifies the manner in which his technical versatility enhanced the sensorial and emotive appeal of his images. An excursus examines painting in Cologne at the end of Lochner's career, while a catalogue provides basic information on all the paintings associated with Lochner and discusses the reflectography of most of them. The appendices contain Truus van Bueren's transcription and translation of all the known documents related to Lochner, the regulations of the Cologne painters' corporation, and Peter Klein's dendrochronological findings on Lochner's panels.The first monograph on Stefan Lochner since 1938, this book is richly illustrated with 69 color plates and 225 black-and-white reproductions; it includes a bibliography and index.
Ces Actes du Colloque XV pour l'etude du dessin sous-jacent et de la technologie dans la peinture (Bruges, 11-13 septembre 2003), reunissent trente-six etudes traitant d'oeuvres d'art flamand, espagnol, portugais, italien et francais. Ces etudes sont suivies, comme dans les Actes precedents, d'une bibliographie de l'infrarouge.Depuis de nombreuses annees on sait que la peinture ancienne est constituee - outre d'oeuvres dites "originales" - de copies, de repliques et de pastiches, produites dans des ateliers actifs qui faisaient appel a des collaborations. Les bases sur lesquelles on avait fonde jadis les catalogues des maitres sont ebranlees. De nombreuses attributions doivent etre revues. Les auteurs du present volume ont porte leur effort dans ce sens, examinant d'un oeil critique le statut des peintures et les indices qui permettent de reconnaitre l'original de la copie. Certains auteurs traitent de procedes de copies, de l'usage de cartons, modeles et papiers perfores, mais egalement de couleurs, d'encres, d'enduits, de technique picturale ... D'autres auteurs tentent de preciser le nombre de collaborateurs dans les ateliers. D'autres encore s'interessent a une methode d'examen, comme la radiographie, pour l'exploiter afin de distinguer au mieux la main du maitre de celle du copiste.
Johann Friedrich Karl Lochner (1822-1902) immigrated from Germany to Toledo, Ohio and married three times. Descendants lived throughout most of the United States. Includes ancestry and some descendants who lived in Germany.
THE argument for animal rights, a classic since its appearance in 1983, from the moral philosophical point of view. With a new preface.
13 slide presentations, Dornach, Oct. 8, 1916 - Oct. 29, 1917 (CW 292) "I am going to show you a series of reproductions, of slides, from a period in art history to which the human mind will probably always return to contemplate and consider; for, if we consider history as a reflection of inner spiritual impulses, it is precisely in this evolutionary moment that we see certain human circumstances, ones that are among the deepest and most decisive for the outer course of human history, expressed through a relationship to art." --Rudolf Steiner Rudolf Steiner understood that the history of art is a field in which the evolution of consciousness is symptomatically and transparently revealed. This informal sequence of thirteen lectures was given during the darkest hours of World War I. It was a moment when the negative consequences of what he called the age of the consciousness soul, which began around 1417, were made most terribly apparent. In these lectures he sought to provide an antidote to pessimism. After describing the movement of consciousness from Greece into Rome, coupled with influences from the Orthodox East, he showed how these influences transformed as the Middle Ages became the Renaissance. The process that begins with Cimabue and Giotto develops, deepens, and becomes more conscious in the great Renaissance masters Leonardo, Michelangelo, and Raphael. Then this movement continues with the Northern masters, Dürer and Holbein, as well as the German tradition. One entire lecture is devoted to Rembrandt, followed by one on Dutch and Flemish paintings. Themes are woven together to show how past epochs of consciousness and art live again in our consciousness-soul period. Replete with interesting information and more than 600 color and black-and-white images, these lectures are rich and dense with ideas, enabling us to understand both the art of the Renaissance and the transformation of consciousness it announced. These lectures demonstrate (to paraphrase Shelley) that artists truly are the unacknowledged legislators of the age. Art History as a Reflection of Inner Spiritual Impulses is a translation from German of Kunstgeschichte als Abbild innerer geistiger Impulse (GA 292, Rudolf Steiner Verlag, 2000).
Why does a society seek out images of violence? What can the consumption of violent imagery teach us about the history of violence and the ways in which it has been represented and understood? Assaf Pinkus considers these questions within the context of what he calls galleries of violence, the torment imagery that flourished in German-speaking regions during the fourteenth and fifteenth centuries. Exploring these images and the visceral bodily responses that they produced in their viewers, Pinkus argues that the new visual discourse on violence was a watershed in premodern conceptualizations of selfhood. Images of martyrdom in late medieval Germany reveal a strikingly brutal parade of passion: severed heads, split skulls, mutilated organs, extracted fingernails and teeth, and myriad other torments. Stripped from their devotional context and presented simply as brutal acts, these portrayals assailed viewers’ bodies and minds so violently that they amounted to what Pinkus describes as “visual aggressions.” Addressing contemporary discourses on violence and cruelty, the aesthetics of violence, and the eroticism of the tortured body, Pinkus ties these galleries of violence to larger cultural concerns about the ethics of violence and bodily integrity in the conceptualization of early modern personhood. Innovative and convincing, this study heralds a fundamental shift in the scholarly conversation about premodern violence, moving from a focus on the imitatio Christi and the liturgy of punishment to the notion of violence as a moral problem in an ethical system. Scholars of medieval and early modern art, history, and literature will welcome and engage with Pinkus’s research for years to come.
Kaum eine Epoche der Kunst ist von so durchgreifenden Veränderungen geprägt wie die Spätgotik im 15. Jahrhundert. Angeregt durch niederländische Vorbilder werden Licht und Schatten, Körper und Raum zunehmend wirklichkeitsnah dargestellt. Der Alltag hält Einzug in die Künste. Mit der Erfindung der Drucktechnik kommt es zu einer ungeahnten Verbreitung von Bildern und Texten. Künstler wie Nicolaus Gerhaert oder Martin Schongauer erlangen überregionale Berühmtheit und nehmen über alle Gattungen hinweg Einfluss auf die Entwicklung der Bildkünste in ganz Europa. Die Gegenüberstellung der unterschiedlichen Gattungen macht den Katalog zu einem Handbuch der Kunst am Übergang zur Neuzeit.
This volume traces the history of painting from medieval times to modern times with a focus on each era and its major artists. This volume traces the history of painting from medieval times to modern times with a focus on each era and its major artists.
From emperors and queens to artists and world travelers, from popes and scholars to saints and heretics, Key Figures in Medieval Europe brings together in one volume the most important people who lived in medieval Europe between 500 and 1500. Gathered from the biographical entries from the on-going series, the Routledge Encyclopedias of the Middle Ages, these A-Z biographical entries discuss the lives of over 575 individuals who have had a historical impact in such areas as politics, religion, or the arts. Individuals from places such as medieval England, France, Germany, Iberia, Italy, and Scandinavia are included as well as those from the Jewish and Islamic worlds. A thematic outline is included that lists people not only by categories, but also by regions. For a full list of entries, contributors, and more, visit the Routledge Encyclopedias of the Middle Ages website.
This volume and the exhibition it accompanies bring together eighty of the finest masterpieces in the collection of the Calouste Gulbenkian Museum, Lisbon. All of the works of art are richly illustrated in color and described in authoritative texts by the curators of the Gulbenkian Museum. These magnificent pieces, which reflect the renowned art collector Calouste Gulbenkian's eclectic taste, include paintings by Rubens, Fragonard, Gainsborough, Turner, and Manet; silver from services created for the nobility of Russia and Western Europe; Roman medallions; Ottoman ceramics; Japanese lacquerware; jewelry by Lalique; and books and textiles from both East and West. These works of art offer dazzling testimony to Gulbenkian's devotion to the quality of the individual object and to his refined connoisseurship. The Calouste Gulbenkian Museum was created under the terms of Gulbenkian's will in order to preserve under one roof the artworks in his collection--one of the preeminent art assemblages of the first half of the twentieth century. Gulbenkian, a successful businessman who was born in 1869 in Ottoman Turkey to an Armenian family, made his fortune in the oil industry. In April 1942, in the midst of World War II, he arrived in Lisbon seeking a peaceful place to live. Portugal had remained neutral in the conflict that was engulfing the world. Gulbenkian spent the rest of his life in Lisbon, where he died in 1955. As a collector--whether of ancient Egyptian art, Islamic art, or European painting and decorative arts--Gulbenkian acquired "only the best."