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1

A PIETA AT THE 'GERMANISCHES NATIONALMUSEUM' - IMPORTATION OR A WORK OF LOCAL PRODUCTION?

100%
Kvapilova L.
Umění (Art)
|
2007
|
vol. 55
|
issue 6
442-458
EN
There is a wooden Pieta at the 'Germanisches Nationalmuseum' in Nuremberg labelled 'Salzburg, circa 1390'. This is how Heinz Stafski characterised it in the museum catalogue of 1956. In the museum yearbook of 1941 it was described with the words 'Prague, circa 1400' and at an exhibition titled 'Kunst und Kultur in Böhmen, Mahren und Schlesien' as '(Southern) Bohemia'. This article aims to reassess these controversial arthistorical determinations regarding the work in question. Whereas we find no direct analogues either in Bohemia or in the Salzburg region for the Nuremberg Pieta, two wooden Pietas closely akin to the Nuremberg sculpture in style and motif have survived in the Mittelfranken region: one Pieta in the All Saints Church in Allersberg and another in the St George parish church in Dinkelsbuhl. The monumental Allersberg Pieta (circa 1400-1410) foreshadows the expressive insistence and the effort to approach the real developments that followed the Beautiful style. By contrast, the composition, a square outline and the body of Christ in horizontal position, alludes to Bohemian-style horizontal Pietas. It is not impossible that the sculptor already knew this work, which was thirty years older, or had perhaps studied Pietas imported into Bavaria from Bohemia. Despite the differences in composition, the Allersberg and Nuremberg Pietas share such similarities which suggest the possibility of common origins in a single workshop. The Dinkelsbuhl Pieta closely resembles the sculptures at the Allersberg and Nuremberg museums in the physiognomy of Mary's face and hair. The arthistorical assessment that the sculpture at the Museum is from 'Salzburg' or 'Prague' thus appears to be unsuitable. It seems instead that the Pieta may be considered a domestic product from a Franconian workshop working within the framework of the International style and under the influence of the contact between the two Central European artistic centres of Prague and Nuremberg.
2

THE MEANING OF EXISTENCE AND ART IN THE PAINTING 'PIETA' BY TADEUSZ BORUTA (Sens egzystencji i sztuki w swietle obrazu Pieta Tadeusza Boruty)

100%
Haake M.
Sacrum et Decorum. Materiały i studia z historii sztuki sakralnej
|
2011
|
vol. 4
80-94
EN
The article deals with the methodology of art history; based on the interpretation of Pieta by Tadeusz Boruta, it argues the need to analyze how pictorial representation (motifs, forms, colour, texture) is related to the plane of the painting. The multi-layered meaning of Boruta's work emerges from the fact the painting brings to light the inscription of motionless figures in the structure of temporality, where 'before', 'after', and the immediate 'now' of the seeing process are distinguished. This structure sends a message about the essence and mission of the human life of Christ, and the incarnation of God, which is directed at every human being in the Eucharist.
3

SANDSTONE PIETA FROM THE RIGA ST. JAMES' CHURCH. ORIGINS, ICONOGRAPHY AND STYLE (Smilsakmens Pieta no Rigas Sv. Jekaba baznicas. Izcelsme, ikonografija un stils)

100%
Grosmane E.
Materiali Latvijas makslas vesturei
|
2003
|
vol. 3
19-27
EN
It is a surprising and unbelievable fact that the sandstone Pieta of so high artistic value that might feature in the permanent exposition of any museum of the world so far has gone unnoticed by both Latvian and foreign art historians. The sadly beautiful Virgin holding her son in her lap demonstrates God's final farewell to the earthly life. It is a common subject of medieval art that is distinguished by the unique quality of artistic execution. It stands out in comparison with the mean scope of medieval sculpture in the Eastern Baltic region and Latvia in particular; it is also the only stone example in the sculpture collection of the Latvian History Museum. Looking for origins of the figural group one has to stop at the Mater Dolorosa Church in Riga. A prospect drawn by Johann Christoph Brotze in 1791 depicts the choir apse of the church still oriented towards the Castle Square. There was a big open niche at the very centre of the apse where the brightly coloured Virgin, surrounded by a heavy falling cloth, was standing on a high pedestal with Christ in her lap. Outlines of the sculptural group clearly point to the Pieta from the Latvian History Museum. Following J. C. Brotze's suggestion one has to continue the search in the Riga St. James' Church. The heightened religious feelings favoured building of a chapel in this church in 1404. The sandstone Pieta is dated by the same period. The artwork itself is not mentioned in written sources, so to detect the place of its origin which is the aim of this paper, one has to take up stylistic analysis. A detailed analysis proves that the Riga St. James' Church was decorated with a very subtle and emotionally charged work of art. Some concluding remarks: the origins of the sandstone Pieta are to be found not in the Mater Dolorosa Church but in the medieval St. James' Church. This work is an imported one because there are no similar pieces in the Eastern Baltic region, the group is quite small and a cavity at its back side might ease transportation. The work belongs to the Schoner Stil horizontal versions of Pieta that flourished in Central Europe around 1400 when several centres of origin coexisted in different areas.
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