Anne altar of the master of Frankfurt

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Anne altar of the master of Frankfurt ({{{artist}}})
Anne altar of the master of Frankfurt
, around 1505
Oil painting on oak wood / grisaille
212 × 242 cm
Historical Museum Frankfurt, State Gallery Stuttgart

The Anne Altar of the Master of Frankfurt is a late Gothic winged altar from around 1505 . It was created by an unknown Flemish master who worked in Antwerp between 1480 and 1525 and has been known in art historical literature since 1897 under the emergency name " Meister von Frankfurt ". Originally created for the Dominican monastery in Frankfurt am Main , the painting panels on the altar retable are now kept in the Frankfurt Historical Museum (Inv.-No .: B259-261). The two panels of the predella are now in the Staatsgalerie Stuttgart (Inv.-No .: 1009-1010).

history

Panel with Ottilie and Cäcilia

The altar originally stood in the Dominican monastery in Frankfurt. In the course of secularization as a result of the Reichsdeputationshauptschluss of February 25, 1803, the monastery and collection came into the possession of the city of Frankfurt. This sold the pictures to the prince-primate of the Rhine Confederation, Karl Theodor von Dalberg , who gave them to the Frankfurt Museum Society . It was at this time that the panels on the altar wings were separated. One of the four painting panels on the outside, made in grisaille technique, was removed, as were the predella panels, also made in grisaille . From 1824 to 1851 or 1867, the works of art were exhibited or stored in the Städel Art Institute . After a municipal picture gallery had been set up in the Saalhof in 1867 , the altar was moved there and, along with the other pieces in the collection, became the property of the newly founded Historical Museum in 1877.

The missing painting panel depicting the two saints Ottilia and Cäcilia was acquired in the Berlin art trade around 1928 by the Dutch art dealer Jacques Goudstikker (1897–1940). From July 1940 to 1945 it was found as Nazi-looted art in Hermann Göring's Carinhall property. After the war ended, the panel remained in the care of the Dutch state, which returned it to Marie van Saher-Langenbein, Goudstikker's heir, in 2006. In 2011 the Historical Museum acquired the plaque.

The Predella was acquired in 1898 by the Staatsgalerie Stuttgart (Inv.-No .: 1009-1010) from a private collection.

construction

The original case of the winged altar is lost. The middle panel of the reredos measures 212 x 126 cm, the wings each 214 x 58 cm, the predella per panel 53.7 x 64.8 cm. The paintings are made in oil on oak wood. Two to three oak boards were thinned to the thickness of the veneer. In the 19th century, the painting panels were split and their backs were stabilized with different parquets .

Painting panels (closed state)
Altar wing Altar wing
Agnes with lamb and book;
Lucia with sword and book
Valentin with a church model;
Martin with beggar
Joseph with a stick and baby Jesus;
Gregory with tiara and lecture cross.
Ottilia with open book, eyes in it;
Cecilia with pen in hand and organ

All figures are executed in grisaille painting with colored incarnate against a neutral background.

Painting panels (open state)
Altar wing Central panel Altar wing
Virgin Mary's birth Holy clan Mary's death

The two grisailles of the predella show an escape to Egypt and the child murder in Bethlehem .

Attribution and dating

The altar was first mentioned in 1790 by Henrich Sebastian Hüsgen , who attributes it to an "old German master". In 1804, the art dealer Christian von Mechel examined the work of art on behalf of the city and attributed it to a "younger Rogier van der Weyden " († 1529). Goethe rejected this assignment in 1815; the wing paintings reminded him of Jan van Scorel . The attribution to van der Weyden is retained in the catalogs of paintings of the Städelsche Kunstinstitut from 1830 and 1833.

In 1841, Passavant recognized that the Humbracht family's crucifixion triptych in the Städelsche Kunstinstitut and the panels on the Anne's Altarpiece must have come from the same workshop, and assigned them to the Frankfurt painter Conrad Fyoll (around 1425–1486). In 1888, Carl Justi referred to Antwerp as the location of the workshop. In 1897 Weizsäcker coined the emergency name “Master of Frankfurt”, which he counts among the Dutch-Lower Rhine artists who were active in Antwerp at the beginning of the 16th century. Weizsäcker proved that the panels of the Annenretabel could have served as a model for the outside of the wings of the Heller altar . From this he concluded that the Anna Altar had been delivered before 1507, the year in which the order for the Heller Altar was placed. Dendrochronological examinations on the oak wood of the painting panels showed the year 1496 as the earliest possible felling date for the wood used.

literature

  • The Anne Altar of the Master of Frankfurt . In: Wolfgang P. Cilleßen, Sandra Burckhardt (Hrsg.): Kunststücke des historisches museum frankfurt . tape 2 . Heinrich Editions, Frankfurt am Main 2012, ISBN 978-3-921606-95-7 .

Web links

Commons : Works of the Master of Frankfurt  - collection of images, videos and audio files


Individual evidence

  1. ^ A b Heinrich Weizsäcker: The master of Frankfurt . In: Alexander Schnütgen (Ed.): Journal for Christian Art, Vol. 10 . 1897, p. 1–16 ( uni-heidelberg.de [accessed November 17, 2017]).
  2. ↑ Cilleßen and Burckhardt, 2012, pp. 4–5
  3. ^ A b Jochen Sander: The Annenretabel of the Master of Frankfurt in the Historical Museum Frankfurt . In: Wolfgang P. Cilleßen (Ed.): The Annenaltar of the Master of Frankfurt . Frankfurt 2012, p. 6–45, here: p. 22 .
  4. ↑ Jochen Sander: The Annenretabel of the master of Frankfurt in the Historical Museum Frankfurt . In: Wolfgang P. Cilleßen (Ed.): The Annenaltar of the Master of Frankfurt . Frankfurt am Main 2012, p. 7 .
  5. ↑ Anja Damaschke: "Split with a saw" and "without cleaning" - The storage and preservation of the Annenretabel . In: Wolfgang P. Cilleßen (Ed.): The Annenaltar of the Master of Frankfurt . Frankfurt am Main 2012, p. 63 .
  6. ↑ Jochen Sander: The Annenretabel of the master of Frankfurt in the Historical Museum Frankfurt . In: Wolfgang P. Cilleßen (Ed.): The Annenaltar of the Master of Frankfurt . Frankfurt am Main 2012, p. 9 .
  7. ↑ Jochen Sander: The Annenretabel of the master of Frankfurt in the Historical Museum Frankfurt . In: Wolfgang P. Cilleßen (Ed.): The Annenaltar of the Master of Frankfurt . Frankfurt am Main 2012, p. 11-15 .
  8. ↑ Jochen Sander: The Annenretabel of the master of Frankfurt in the Historical Museum Frankfurt . In: Wolfgang P. Cilleßen (Ed.): The Annenaltar of the Master of Frankfurt . Frankfurt am Main 2012, p. 16-17 .
  9. ^ Henrich Sebastian Hüsgen: Artistisches Magazin: containing the life and lists of the works of local and other artists; With 2 copper. / Henrich Sebastian Hüsgen . Bayerdorffer, Frankfurt a. M. 1790, p. 559 ( uni-frankfurt.de [accessed on November 17, 2017]): "2) the child of Jesus in the midst of two holy women and a crowd of other people, surrounded by an old German master"
  10. ^ Text of the report in Heinrich Weizsäcker: The art treasures of the former Dominican monastery in Frankfurt a. M. according to the archival sources . Munich 1923, p. 360 ( sudoc.fr [accessed November 17, 2017]). Quoted from Cilleßen (2012), p. 22
  11. ↑ quoted by Sander in Cilleßen (2012), pp. 22-23
  12. ↑ quoted by Sander in Cilleßen (2012), p. 23
  13. ^ Johann David Passavant: Contributions to the knowledge of the old painting schools in Germany from the 13th to the 16th century . In: Morgenblatt for educated readers. Art sheet, vol. 101 . 1841, p. 417–419 ( limited preview in Google Book search).
  14. ^ Carl Justi: The Portuguese Painting of the XVI. Century . In: Yearbook of the Royal Prussian Art Collections, Vol. 9 . 1888, p. 150 , JSTOR : 25167172 .
  15. ↑ Peter Klein: Dendrochronological studies on Dutch panel paintings from the 15th and first half of the 16th century in the Städel . In: Jochen Sander (Ed.): Dutch paintings in the Städel 1400–1550 . Philipp von Zabern, Mainz 1993, ISBN 3-8053-1444-2 , p. 457 .