6
Rogier van der Weyden, NachfolgeMadonna mit Kind
Beschreibung
Rogier van der Weyden, Nachfolge
Madonna mit Kind
Öl auf Eichenholz. 48 x 37 cm.
Provenienz
Jacques Leegenhoek, Paris, 1984.
Literatur
Corinna Peuckert, in: Ekkehard Mai (Hg.): Das Kabinett des Sammlers, Köln 1993, S. 45-7, Abb. Nr. 18.
Rogier van der Weyden war einer der erfindungsreichsten Maler der niederländischen Kunst des 15. Jahrhunderts. Er schuf Bildthemen, die jahrzehntelang von seiner Werkstatt und später von seinen Nachfolgern verwendet wurden. Von all seinen Schöpfungen erwies sich die Darstellung der „Maria Lactans“, der „Stillenden Madonna“ als eine der beliebtesten. Sie war vor allem für die häusliche Andacht gefragt und wurde gelegentlich auch mit einem Stifterporträt als Diptychon verlangt.
Die vorliegende Tafel ist ein schönes Beispiel für einen Bildtypus, der auf dem Kunstmarkt in Brügge und Brüssel sehr geschätzt wurde. Die verschiedenen überlieferten Versionen dieses be- und geliebten Bildes unterscheiden sich in Stil, Fassung, Ornamente und Technik voneinander. Je nach dem Preis, den der Auftraggeber zu bezahlen bereit war, wurden die Figuren entweder in einer repräsentativen Umgebung, vor einer Landschaft oder einfach nur vor einem monochromen Hintergrund dargestellt.
In Brügge finden sich solche Beispiele u.a. beim „Meister der Ursula Legende“, wo die Jungfrau Maria im Himmel vor einem Goldgrund gekrönt erscheint (vgl. Aachen, Suermondt-Ludwig-Museum; Worcester, Art Museum), im Gerard-David-Kreis (vgl. Madrid, Museo Lázaro Galdiano, Inv.-Nr. 3049), von Adriaen Isenbrant und Ambrosius Benson, oder gar auf einem Manuskriptbild aus der Gent-Brügger Schule (vgl. Brüssel, Auktion Romantic Agony 14.6.2008, Lot 951).
Am Ende des 15. und Anfang des 16. Jahrhunderts arbeiteten in Brüssel, der Heimatstadt van der Weydens, verschiedene Maler noch unter seinem Einfluss. Darunter der „Meister der Blattstickerei“ oder der „Meister der Legende der Heiligen Katharina“. Das Nationalmuseum in Stockholm beherbergt eine „Maria Lactans“ (Inv.-Nr. NM 6179), die diesem namentlich nicht bekannten Meister zugeschrieben wird. Kompositorisch ist das Stockholmer Bild mit der vorliegenden Tafel vergleichbar und führte zu einer Zuschreibung unseres Bildes an den „Meister der Katharinen-Legende “ (E. Mai, op. cit.). Allerdings entspricht die Auffassung der Landschaft bei dem Katharinen-Meister richtigerweise noch dem gotischen Stil des 15. Jahrhunderts. Das Lempertz-Bild hingegen, mit seiner realistischeren Behandlung der Natur, der tiefen Perspektive und der Maltechnik, bei der die Figuren mit Bleiweiß modelliert wurden, ist als ein eindeutiges Werk des frühen 16. Jahrhunderts zu erkennen.
Abgesehen von der Landschaftsdarstellung fügt sich das Marienbild perfekt in die ursprüngliche Tradition des Vorbilds van der Weydens ein. Die Jungfrau Maria und das Christuskind sind in Nahansicht vor einer Hügellandschaft in der Nähe eines Dorfes dargestellt. In der Ferne ragt eine mittelalterliche Burg zwischen den Bäumen heraus. Ein kleiner Fluss schlängelt sich parallel zwischen dem Weiler und der Figurengruppe. Mit dem leicht nach links geneigten Kopf bereitet sich Maria darauf vor, das Kind mit der linken Hand zu stillen, während sie es mit der anderen Hand auf ihrem Schoß hält. Sie sitzt vor einer niedrigen, mit Laub bedeckten Steinmauer. Die linke Hand des Kindes ist erhoben, während die rechte einen kleinen Apfel hält. Ein Strahlenkranz hebt beide Figuren hervor. Maria trägt einen blauen Umhang und ein rotes, mit Pelz unterfüttertes Überkleid, die Ärmel aus Goldbrokat haben goldene Knöpfe an den Handgelenken. Auf dem Brüsseler Kunstmarkt des frühen 16. Jahrhunderts waren solche Bilder mit einer derartigen Mischung von geistiger Kraft und mütterlicher Liebe, eingebettet in eine friedliche Natur, für die private Andacht sehr geschätzt.
Rogier van der Weyden, follower of
The Virgin and Child
Oil on oak panel. 48 x 37 cm.
Provenance
With Jacques Leegenhoek, Paris, 1984.
Literature
Corinna Peuckert, in: Ekkehard Mai (ed.): Das Kabinett des Sammlers, Cologne 1993, pp. 45-7, no. 18, reproduced.
Rogier van der Weyden's œuvre reveals the master as the most inventive early Netherlandish painter in the 15th century, creating works of art which served as for decades onwards by his workshop and followers. Among his creations the Virgo lactans or Nursing Madonna turns out to have been one of the most popular themes used for private devotion, sometimes associated with a donor portrait in the format of a diptych.
The present panel is a fine example of a pictorial type highly appreciated on the art market in Bruges and Brussels. The various surviving versions of this beloved image single out from each other by their style, setting, ornaments and technique. According to the price paid by the patron the figures were either set in a prestigious surrounding, before a landscape or just simply in front of a monochrome background.
In Bruges such examples can be found among others by the Master of the Legend of Saint Ursula where the Virgin appears crowned in heaven before a gold ground (Aachen, Suermondt-Ludwig-Museum; Worcester, Art Museum) in the circle of Gerard David (Madrid, Museo Lázaro Galdiano, inv. no. 3049) by Adriaen Isenbrant and Ambrosius Benson, or even on a manuscript painting from the Ghent-Bruges school (Sale Romantic Agony, Brussels, 14 June 2008, lot 951).
At the end of the 15th and early 16th centuries in Brussels - home town of Van der Weyden - painters were all working under his strong stylistic influence. Among them were the Master of the Embroidered Foliage and the Master of the Legend of Saint Catherine. The National Museum in Stockholm houses A Virgin nursing the Child holding an apple (inv. no. NM 6179) which has been attributed to the latter. Compared with the present composition it shows a clear stylistic relationship. But while the Swedish panel belongs to the 15th century gothic style, the present painting bears witness to the 16th century style with its much more realistic treatment of the landscape, the in-depth perspective and its painting technique using white lead in modelling the figures.
Apart from the presence of a landscape the Marian icon fits perfectly into the original Rogerian tradition. The Virgin and Infant Christ are depicted in a close-up view in front of a hilly landscape near a village with a medieval castle at the far distance. A small river meanders parallel between the hamlet and the group. Her head slightly inclined to the left, the Virgin Mary prepares to nurse the Child with Her left hand while holding Him in Her lap with the other. She sits before a low stone wall covered with foliage. The Child's left hand is raised while the right holds a small apple and both Mary and Jesus have a halo around their heads. She wears a cloak and a red overdress lined with grey fur. Her armlets are of gold brocade with golden buttons at the wrists. It bears no doubt that the Brussels art market would have indeed appreciated such a blend of spiritual power and motherly imagery set in nature's peaceful backdrop, to adorn one's private home.
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Rogier van der Weyden, Nachfolge
Madonna mit Kind
Öl auf Eichenholz. 48 x 37 cm.
Provenienz
Jacques Leegenhoek, Paris, 1984.
Literatur
Corinna Peuckert, in: Ekkehard Mai (Hg.): Das Kabinett des Sammlers, Köln 1993, S. 45-7, Abb. Nr. 18.
Rogier van der Weyden war einer der erfindungsreichsten Maler der niederländischen Kunst des 15. Jahrhunderts. Er schuf Bildthemen, die jahrzehntelang von seiner Werkstatt und später von seinen Nachfolgern verwendet wurden. Von all seinen Schöpfungen erwies sich die Darstellung der „Maria Lactans“, der „Stillenden Madonna“ als eine der beliebtesten. Sie war vor allem für die häusliche Andacht gefragt und wurde gelegentlich auch mit einem Stifterporträt als Diptychon verlangt.
Die vorliegende Tafel ist ein schönes Beispiel für einen Bildtypus, der auf dem Kunstmarkt in Brügge und Brüssel sehr geschätzt wurde. Die verschiedenen überlieferten Versionen dieses be- und geliebten Bildes unterscheiden sich in Stil, Fassung, Ornamente und Technik voneinander. Je nach dem Preis, den der Auftraggeber zu bezahlen bereit war, wurden die Figuren entweder in einer repräsentativen Umgebung, vor einer Landschaft oder einfach nur vor einem monochromen Hintergrund dargestellt.
In Brügge finden sich solche Beispiele u.a. beim „Meister der Ursula Legende“, wo die Jungfrau Maria im Himmel vor einem Goldgrund gekrönt erscheint (vgl. Aachen, Suermondt-Ludwig-Museum; Worcester, Art Museum), im Gerard-David-Kreis (vgl. Madrid, Museo Lázaro Galdiano, Inv.-Nr. 3049), von Adriaen Isenbrant und Ambrosius Benson, oder gar auf einem Manuskriptbild aus der Gent-Brügger Schule (vgl. Brüssel, Auktion Romantic Agony 14.6.2008, Lot 951).
Am Ende des 15. und Anfang des 16. Jahrhunderts arbeiteten in Brüssel, der Heimatstadt van der Weydens, verschiedene Maler noch unter seinem Einfluss. Darunter der „Meister der Blattstickerei“ oder der „Meister der Legende der Heiligen Katharina“. Das Nationalmuseum in Stockholm beherbergt eine „Maria Lactans“ (Inv.-Nr. NM 6179), die diesem namentlich nicht bekannten Meister zugeschrieben wird. Kompositorisch ist das Stockholmer Bild mit der vorliegenden Tafel vergleichbar und führte zu einer Zuschreibung unseres Bildes an den „Meister der Katharinen-Legende “ (E. Mai, op. cit.). Allerdings entspricht die Auffassung der Landschaft bei dem Katharinen-Meister richtigerweise noch dem gotischen Stil des 15. Jahrhunderts. Das Lempertz-Bild hingegen, mit seiner realistischeren Behandlung der Natur, der tiefen Perspektive und der Maltechnik, bei der die Figuren mit Bleiweiß modelliert wurden, ist als ein eindeutiges Werk des frühen 16. Jahrhunderts zu erkennen.
Abgesehen von der Landschaftsdarstellung fügt sich das Marienbild perfekt in die ursprüngliche Tradition des Vorbilds van der Weydens ein. Die Jungfrau Maria und das Christuskind sind in Nahansicht vor einer Hügellandschaft in der Nähe eines Dorfes dargestellt. In der Ferne ragt eine mittelalterliche Burg zwischen den Bäumen heraus. Ein kleiner Fluss schlängelt sich parallel zwischen dem Weiler und der Figurengruppe. Mit dem leicht nach links geneigten Kopf bereitet sich Maria darauf vor, das Kind mit der linken Hand zu stillen, während sie es mit der anderen Hand auf ihrem Schoß hält. Sie sitzt vor einer niedrigen, mit Laub bedeckten Steinmauer. Die linke Hand des Kindes ist erhoben, während die rechte einen kleinen Apfel hält. Ein Strahlenkranz hebt beide Figuren hervor. Maria trägt einen blauen Umhang und ein rotes, mit Pelz unterfüttertes Überkleid, die Ärmel aus Goldbrokat haben goldene Knöpfe an den Handgelenken. Auf dem Brüsseler Kunstmarkt des frühen 16. Jahrhunderts waren solche Bilder mit einer derartigen Mischung von geistiger Kraft und mütterlicher Liebe, eingebettet in eine friedliche Natur, für die private Andacht sehr geschätzt.
Rogier van der Weyden, follower of
The Virgin and Child
Oil on oak panel. 48 x 37 cm.
Provenance
With Jacques Leegenhoek, Paris, 1984.
Literature
Corinna Peuckert, in: Ekkehard Mai (ed.): Das Kabinett des Sammlers, Cologne 1993, pp. 45-7, no. 18, reproduced.
Rogier van der Weyden's œuvre reveals the master as the most inventive early Netherlandish painter in the 15th century, creating works of art which served as for decades onwards by his workshop and followers. Among his creations the Virgo lactans or Nursing Madonna turns out to have been one of the most popular themes used for private devotion, sometimes associated with a donor portrait in the format of a diptych.
The present panel is a fine example of a pictorial type highly appreciated on the art market in Bruges and Brussels. The various surviving versions of this beloved image single out from each other by their style, setting, ornaments and technique. According to the price paid by the patron the figures were either set in a prestigious surrounding, before a landscape or just simply in front of a monochrome background.
In Bruges such examples can be found among others by the Master of the Legend of Saint Ursula where the Virgin appears crowned in heaven before a gold ground (Aachen, Suermondt-Ludwig-Museum; Worcester, Art Museum) in the circle of Gerard David (Madrid, Museo Lázaro Galdiano, inv. no. 3049) by Adriaen Isenbrant and Ambrosius Benson, or even on a manuscript painting from the Ghent-Bruges school (Sale Romantic Agony, Brussels, 14 June 2008, lot 951).
At the end of the 15th and early 16th centuries in Brussels - home town of Van der Weyden - painters were all working under his strong stylistic influence. Among them were the Master of the Embroidered Foliage and the Master of the Legend of Saint Catherine. The National Museum in Stockholm houses A Virgin nursing the Child holding an apple (inv. no. NM 6179) which has been attributed to the latter. Compared with the present composition it shows a clear stylistic relationship. But while the Swedish panel belongs to the 15th century gothic style, the present painting bears witness to the 16th century style with its much more realistic treatment of the landscape, the in-depth perspective and its painting technique using white lead in modelling the figures.
Apart from the presence of a landscape the Marian icon fits perfectly into the original Rogerian tradition. The Virgin and Infant Christ are depicted in a close-up view in front of a hilly landscape near a village with a medieval castle at the far distance. A small river meanders parallel between the hamlet and the group. Her head slightly inclined to the left, the Virgin Mary prepares to nurse the Child with Her left hand while holding Him in Her lap with the other. She sits before a low stone wall covered with foliage. The Child's left hand is raised while the right holds a small apple and both Mary and Jesus have a halo around their heads. She wears a cloak and a red overdress lined with grey fur. Her armlets are of gold brocade with golden buttons at the wrists. It bears no doubt that the Brussels art market would have indeed appreciated such a blend of spiritual power and motherly imagery set in nature's peaceful backdrop, to adorn one's private home.
Meisterwerke der Sammlung Bischoff / Masterpieces from the Bischoff Collection
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Germany
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