A Procession of Virgin Martyrs -Francisco de Zurbaràn

Francisco de Zurbaràn, Saint Rufina, 1635

Francisco de Zurbaràn, Saint Rufina, 1635

There are two full length, life size female portraits in the Hispanic Society's collection in New York hanging amongst their Spanish Golden Age masterworks section. The two portraits appear almost as pendants painted using the same color palette, with both figures composed in a similar pose looking up towards the same point outside the picture frame.   These two figures are actually, Saint Lucy, ca. 1630  and Saint Rufina, ca. 1635, by Francisco de Zurbaràn.  

Renowned for his monastic commissions, (I wrote in depth about this in an earlier post) the most popular works from Zurbaràn's oeuvre were his series of female saints.  Also known as the virgin martyrs, each one comes with a very interesting legend attached to their name. Saint Lucy’s name Lucia, means light in Latin and it is supposed to herald the Light of the World, which is why she is appealed to against disorders of the eye and carries her eyes as her attributes.  There are also embellished versions of her story where she rips out her eyes to send them to her suitor.  Saint Rufina, who was martyred in Seville in the 3^rd century, was a potter who refused to sell her wares to be used for a pagan celebration and as a result was executed for being a Christian.

A Transcendent Experience - Philipp Otto Runge's Morning

Philipp Otto Runge, Morning, 1808
(Hamburger Kunsthalle)

"A man should hear a little music, read a little poetry, and see a fine picture everyday of his life, in order that worldly cares may not obliterate the sense of the beautiful which God has implanted in the human soul."

- Johann Wolfgang Goethe

I have been obsessed with Philipp Otto Runge's Morning, ever since I first heard of it in a German Romanticism class.  I think there was something about it that resonated with what I was familiar with in Islamic manuscript painting.  The style and symmetry of Runge's composition, the expressive use of  color and elements from nature, and especially the frame, all added to the similarities  between the two traditions in my personal opinion.  I should probably admit that most of these observations may be a bit cursory and although the painted frame reminiscent of Islamic illuminations is an integral part of the painting in Morning, it is interpreted in the Renaissance tradition, as validating this as a work of art or the open window to the world outside.  

Konrad Witz - The Queen of Sheba with King Solomon

Konrad Witz, The Queen of Sheba with King Solomon, 1435-37
(Gemaldegalerie, Berlin)

This lovely square panel situated in Gallery 1 of the Gemaldegalerie, lured me in with its embossed gold background and the jewel tones of the fabrics.  The color red , the design on King Solomon's green satin robe,the gold studs on his hat and the urn Queen of Sheba is holding are all wonderful details that help to balance the whole composition.   I don't know if it's the figures' placement in a shallow foreground but something about this painting recalls to mind Rogier van der Weyden's paintings. Unfortunately there doesn't seem to be too much readily availabe information about Witz (in English at least) so I could not find a link.
Then again, looking at Rogier van der Weyden's Deposition from 1435, the same year as this panel, Van der Weyden's attention to the intricate details on the surfaces, and most important of all the realism conveyed in the emotions of his figures are not to be found in Witz's painting.

Having said all that, I still found The Queen of Sheba with King Solomon quite charming and worthy of a peak for anyone who is in Berlin visiting the Gemaldegalerie.

Tschuss...

Hans Multscher - Wings of the Wurzach Altarpiece

Hans Multscher, Wings of the Wurzach Altarpiece, 1437
(Gemaldegalerie, Berlin)

To the uninitiated, a visit to an art museum can be anything from a pleasant interlude to an excruciatingly painful experience but for a lover of art, visiting a great collection is analogous to being handed a piece of heavenly splendor.   I have been lucky enough to find many opportunities to go exploring to my heart's content through some great collections in New York, Istanbul and London but visiting any city for a limited amount of time and having to prioritize among what to survey, always leaves me in a state of panic. During our recent two day trip to Berlin, however, instead of my usual gluttonous approach to absorbing as much as possible, I tried to be present in the moment and relished the little details I came across in the small amount of time I had.


In Art as in Life, beauty and meaning can be found in the little details which can enchant, amuse and enlighten  even the most skeptical individual.  It is one thing to study a work of art methodically and know all there is to know about it but , as a viewer, I believe, we must also be able to interact with it on a more personal level.  Afterall, why do we prefer one work of art over another? What makes one artist more fascinating to us personally than another? What is the secret appeal of art that has some of us in a state of ecstasy while leaving others comatose from boredom?  I hope to reveal my personal insights and experiences as I venture into different museums and special exhibits, in hopes of sharing my joy of art and   what makes it so special and relevant for us all.  I will start with the treasures I recently discovered at the Gemaldegalerie in Berlin...


The Wings of the Wurzach Altarpiece by renowned German sculptor Hans Multscher, which are considered to be one of the most important works of German painting in the first half of the 15th century, are in the first room of the Gemaldegalerie.  Since the lighting in the galleries were not ideal, it was impossible to take good quality photographs; Google Art Project has wonderful visuals of these panels that are definitely worthy of close inspection. 


The wings of the altar piece depicting scenes from Christ's Passion and the Life of Mary, are striking for their Flemish influenced realism and brilliant colors. The intricate detailing reminiscent of  manuscript illuminations  is amazing given the size of the altarpiece.  The artist has started to give the protagonists unique characteristics and use perspective as well as finding charming solutions to problems he was not advanced enough to solve, like Christ's left leg that is supposed to be coming out of the tomb in The Resurrection of Jesus Christ which is concealed beneath the drapery.

The first scene on the upper left of Christ's Passion start with 'Christ on the Mount of Olives'. The disciples  on the left are asleep in varying poses while Christ is praying amidst a field full of flowers.  In the background Judas is leading a group of Roman soldiers towards Christ.  

The next scene on the upper right is 'Christ before Pilate' where Christ is being led towards Pilate by a big crowd.  Pilate is shown washing his hands to signify he is not responsible for the execution.  The figures crowded into the front of the  picture plane all bear different facial expressions.

On the lower left is 'Christ Bearing the Cross' in which Christ bent under the weight of the cross dominates the lower right of the panel.  Virgin Mary, Saint John and the women stand in the back totally powerless while little children throw rocks at him.  There are bones and a skull on the ground foreshadowing Jesus's death.

On the lower right is the scene of the 'Resurrection.'  Jesus ascends from a sealed sarcophagus.  The rocky cave it is supposed to be set in, is alluded to by the rock formations around the tomb. The guards are sleeping on the ground around the tomb.  Christ 's right hand is raised in blessing and he holds a banner of the cross in his left hand as a sing of victory. Christ's left leg is conveniently hidden under the drapery.

Detail of the flowers in Resurrection

The first scene from Mary's life in the upper left is 'Birth of Christ' where Mary and Joseph are kneeling and worshipping the child beneath the roof of the stable.The angel announcing the Lord's birth to the shepherds can be seen in the back while a crowd of men and women are watching from behind a fence with varying expressions.

On the upper right is the 'Adoration of the Kings'. Kings from different age groups and races are all gathered here to present the baby Jesus  with gold and gifts. Joseph seen behind Mary holding a frying pan with their meal brings a dose of pedestrian charm into the picture.

On the lower left is 'The Pentecostal Feast' where Mary sits in the center of a circle with the twelve Apostles in a chapel-like room. The Holy Spirit is depicted hovering over them as a dove, and the its rays are depicted as tiny flames above the heads of the figures.

The last scene on the lower right is 'The Death of Mary' in which Mary is lying at the center, surrounded by the apostles and Christ holding a miniature of his mother as a symbol of her soul. The remarkable realism of the little details and the characteristic of individual figures is especially apparent in this panel. 

Detail from The Death of Mary

Hans Multscher is primarily known as a sculptor and there is some speculation that this one of the reasons this work contains two signatures by him, to ensure its correct authorship.  The altar piece was owned by Count of Waldburg Zeil in Schloss in Wurzag, which is where it gets it's name; the original location is unknown and the central altar that was probably carved, is lost as well.  But what is left of this wonderful work is still incredible to encounter.  

Sources
http://www.googleartproject.com/museums/gemaldegalerie/the-wings-of-the-wurzach-altar-2

http://www.wga.hu/html_m/m/multsche/wurzach/index.html

A Treasure Trove of a Museum - GEMALDEGALERIE

We spent two glorious days in Berlin as we make our way back to the States.  I came with the intention of realizing my lifelong dream of seeing the Pergamon Museum which I accomplished yesterday but the Gemaldegalerie, today, was more than anything I could have possibly imagined. 

I had an experience akin to walking into a virtual art history book.  Gemaldegalerie is one of the best museums I have seen anywhere in the world.  It seems to have a perfect representation of 13th century to 18th century European Art divided into two main sections Art from Italy, France and Spain and Art from the North of the Alps, as well as a gallery of paintings from England, works by Sir Joshua Reynolds and Thomas Gainsborough.

Five hours and five hundred photographs later, I had to leave ... but my thoughts are still there and I hope I can get back here sometime soon.  All the art history classes and books and blogs I have been reading proved their weight in gold today...  Every single painting, in all the galleries, was observed with a knowing eye.  I basically took photographs of the works I particularly favored or details that I found charming in specific paintings... I can't wait to share them all here in this blog... soon.