The Vienna galleries : giving a brief history of the public and private galleries of Vienna ; with a critical description of the paintings therein contained . Imperial castle Karlstein. These were three primi-tive examples of the work of the so-called Meistervon Prag, who was active in 1348-1367. The earliest work we find here now is a panelshowing the Holy Family (No. 1478), andcatalogued as German school, second half of the15th century. This picture must from internal evi-dence be assigned to the first half of that century,and to the Basel artist, Konrad Witz, whose styleseems to have been f
The Vienna galleries : giving a brief history of the public and private galleries of Vienna ; with a critical description of the paintings therein contained . Imperial castle Karlstein. These were three primi-tive examples of the work of the so-called Meistervon Prag, who was active in 1348-1367. The earliest work we find here now is a panelshowing the Holy Family (No. 1478), andcatalogued as German school, second half of the15th century. This picture must from internal evi-dence be assigned to the first half of that century,and to the Basel artist, Konrad Witz, whose styleseems to have been founded on that of the Masterof Flemalle, Jules Daret. The monogram MS. onthe panel, evidently referring to Martin Schongauer,is indubitably forged. To the right we see the be-diademed Madonna with the Child, in a dark furgarment, at her side. Joseph stands to the lefthanding the child a pear. There is a feeling forlight-effect such as the school of van Eyck hadoriginated. Although the foreshortenings are in-exact, the attempt to solve this problem is striking;but there is an exaggeration of the sharp andangular lines in the voluminous folds of drapery,. MARTINSCHONGA UER HOLY FAMILYPlate xviii Imperial Museum ZTbe Earlg German painters 13s which the early German painters adopted in imita-tion of the sculpture of that period. The absence ofany mysticism, and the material, naturalistic mannerof presentation must be noted. Only a little later is the origin of a Crucifixion (No. 1396), by Meister Pfenning, who accordingto the date on the panel was active in 1449, mostprobably in Nuremberg. There is a dramatic juxta-position in the group under the crosses of the twothieves, fully expressive of the warring factions thatwere gathered. These people are dressed in acurious mixture of German and oriental is dominated by the high centre-cross with itsburden of woe, and the group of sorrowing womenin the foreground. The types of faces are far morerealistic and less archaic tha
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Keywords: ., bookcentury1900, bookdecade191, booksubjectpainting, bookyear1912
