Lindau lamentation

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Lamentation of Christ, Engelpietà with Maria and Johannes, Man of Sorrows or Christ of Sorrows
Lindau lamentation
Master of the Lindau Lamentation , around 1420
Egg tempera on softwood
62.5 × 46 cm
City museum in the "Haus zum Cavazzen", Lindau (Lake Constance)

Link to the picture
(please note copyrights )

The Lindau Lamentation (also Lamentation of Christ , Man of Sorrows or Engelpietà ) is a late Gothic panel painting by an artist unknown by name, who was given the emergency name “ Master of Lindau Lamentation ” from this work . The picture, created between 1410 and 1420, was painted in egg tempera on softwood and is one of the most important works of Lake Constance Swabian painting of the early 15th century. It is owned by the municipal art collections of the city of Lindau (Lake Constance) and is shown in the permanent exhibition of the city ​​museum in the Haus zum Cavazzen .

Motif

The central motif of the picture is the body of Jesus as a Man of Sorrows (also Erbärmdechristus ) that surrounding the experience of Passion and the Kreuztod of Maria on the left of the screen along with John on the right hand side and an angel in the background in an open sarcophagus is laid down. Jesus' head is inclined slightly to the right shoulder, he wears the crown of thorns on his head , his long brown hair falls in curly strands on his shoulders. His facial expression is marked by pain, but looks relaxed. His body, clad in a loincloth, is littered with minor wounds, and blood runs from the larger wounds on his chest, forehead and hands. Maria wears a wide blue dress with the sleeves rolled back and her head is covered by a white veil . With her right hand she is holding Jesus' right hand. John, in a red robe, is holding Jesus' left arm, and he has brought his left hand to his head in wail. The angel in the background supports the body of Jesus with a white cloth under his left armpit, his peacock-like wings are only vaguely recognizable. All the characters have expressions of deep sadness and despair on their faces. The painter gave all heads plate nimbs ( halos ), the nimbus of Jesus is also adorned with a stylized cross with floral ends.

technology

The picture has a height of 625 millimeters and a width of 460 millimeters. To paint on the artist used a soft-wood with one to four millimeters thick casein - lime - primer . As paint he used egg tempera and casein colors in the shades of light and dark ocher , Bohemian green earth , dark red burnt earth , natural and burnt Umbrian earth , copper oxide blue and lapis lazuli . He provided the gold plating and dark colors with an underpainting of light ocher. The original brilliance and radiance of the painting, as well as numerous details, however, have been greatly changed and partially lost through centuries of use of the picture, multiple overpaintings , damage, various repair and restoration attempts . The wings of the angel were originally gilded, now only the dark preliminary drawings exist, the originally lapis lazuli blue sky in the background is now deep dark blue. So far, the picture has only been examined and documented visually, with a magnifying glass and microscope, as well as photographically, more detailed scientific investigations, for example with the help of UV light and X-rays , which can provide further details on the painting style, additions and the original version, were carried out on the Image not yet done.

Art-historical classification

The image type of the Lamentation of Christ , to which the Lindau Lamentation can also be ascribed, originated in Byzantium in the 12th century and gradually spread through Italy to Europe, where independent types of composition developed from the 1380s, especially in Germany and Burgundian France. In the Italian tradition , the body of Jesus, held upright by Mary and other protagonists, lies in a coffin in front of the cross of Christ . In the Burgundian tradition, the body of Christ is usually only depicted in half-length. It is initially held by a single person , such as God or an angel, and from 1420 by three people, mostly Mary, John and another angel. In the German tradition, represented here primarily by Master Francke , the body of Jesus appears more alive, as if it were standing on its own and only had to be supported by the other figures shown. For the first time, the Lindau Lamentation forms a connection between German and Burgundian-French compositional schemes and thus represents an iconographic peculiarity in art history.

history

The Lindau Lamentation probably originated in the Swabian region north of Lake Constance. Art historians consider cities such as Lindau, Bregenz or Ravensburg to be the places where the master of the Lindau Lamentation worked, and where the picture was most likely made, even if the painter probably worked as far as the Cologne area. Four other works, which are ascribed to the master of Lindau Lamentation , were probably created after the Lindau panel painting.

The commissioner and the early whereabouts of the painting are not known. Until 1803 it was owned by the canoness of Lindau and was sold in the course of secularization . In private ownership it was stored in a granary for many years and came into the possession of the municipal art collections, which was badly damaged. In 1926 it was shown for the first time in the exhibition Upper German Painting around 1400 in the Ulm Museum , where it was named Lindau Lamentation . The first art historical dating of the picture to the 1390s was made in 1926 by Max Sefold. The currently accepted dating around the 1420s came from the art historian Ernst Buchner (1930), who Rainer Burbach joined in 1982. The work becomes our inventory number ÖAKD in the Lindau City Museum. 34 led.

The first restoration by Franz Fürstmann took place in 1950. He tried to expose the original version of the painting by removing old layers of dirt, varnishes and overpainting. He used historical painting materials to make up for missing spots and impregnated the back of the wooden panel with beeswax . He replaced the picture frame, which in his opinion was stylistically unsuitable, with a frame made by himself. Just one year later, Fürstmann's restoration work received a critical assessment by Ernst Buchner, who classified the previous work as not very understanding and the restoration result as blurred. In 1966, Toni Mayer carried out another restoration. He documented the current state of the picture microscopically and photographically and found that Fürstmann had also removed parts of the original version during his previous restoration. Mayer removed Fürstmann's overpainting, added further imperfections, glued on flaked and loosened layers of paint and cleaned the picture from the usual dirt. During this restoration, the picture frame from 1950 was also replaced by a new one, which Alfred Schädler, the chief curator of the Bavarian National Museum in Munich, made from spruce wood based on the Pähler house altar and set it with dark, oxidized shiny gold and shiny silver to match the picture. A grid-shaped substructure on the back of the panel, with which a break in the panel running roughly in the middle from top to bottom through the picture, whose gap was roughly painted on the front, can no longer be classified in terms of time. This repair must have been done well before 1950.

reception

Under the influence of the image of the Lindauer Beweinung , Nikolaus Brass created the musical work structures of echo - lindauer beweinung for 32 voices and orchestra. It was premiered in 2003 in Stuttgart under Rupert Huber by the SWR Symphonieorchester and the SWR Vokalensemble Stuttgart.

literature

  • Carola Hagnau: The master of Lindau lamentation: the Cologne panel painting 'Christ as Man of Sorrows and the Stigmatization of St. Francis' in work and regional context . For science and research, Berlin 1998, ISBN 3-89700-047-4 , p. 47-56 (dissertation).
  • Cultural Office d. City of Lindau (Ed.): The “Lindauer Beweinung” and the Swabian painting of the 15th century: Kunstverein St. Gallen, 3.7. - 8/22/1982; City Art collections Lindau (B), September 16 - October 28, 1982 . Lindau (Lake Constance) 1982.
  • Ernst Buchner : The master of the Lindau lamentation . In: Das Münster: Journal for Christian Art and Art History . No. 4 . Schnell & Steiner, 1951, ISSN  0027-299X .
  • Ernst Buchner : The Lindauer Lamentation and Stephan Lochner . In: Wallraf-Richartz-Yearbook New Series . No. 1 , 1930, ISSN  0083-7105 , p. 100-101 .

Web links

Commons : Master of Lindau Lamentation  - collection of images, videos and audio files

Individual evidence

  1. ↑ a b Max Sefold: An exhibition of top German painting in 1400 at the Museum of the City of Ulm . In: The Swabian Museum . 1926, ISSN  0177-3380 .
  2. ↑ Description on the frame
  3. ↑ Lindau Lamentation. Stadtmuseum Lindau, March 5, 2007, archived from the original on January 15, 2012 ; Retrieved February 3, 2016 .
  4. ↑ a b 1. Restoration by Franz Fürstmann . In: Kulturamt d. City of Lindau (Hrsg.): The "Lindauer Beweinung" and the Swabian painting of the 15th century . Lindau (Bodensee) 1982, p. 44-46 .
  5. ↑ a b 2. Restoration by Toni Mayer . In: Kulturamt d. City of Lindau (Hrsg.): The "Lindauer Beweinung" and the Swabian painting of the 15th century . Lindau (Bodensee) 1982, p. 47-48 .
  6. ↑ a b c Carola Hagnau: The Master of Lindau Lamentation: the Cologne panel painting “Christ as Man of Sorrows and the Stigmatization of St. Francis” in work and regional context . For science and research, Berlin 1998, ISBN 3-89700-047-4 , p. 47-56 (dissertation).
  7. ↑ Annette Pfaff-Stöhr: On the origin of the image type of the "Lindauer Beweinung" . In: Kulturamt d. City of Lindau (Hrsg.): The "Lindauer Beweinung" and the Swabian painting of the 15th century . Lindau (Bodensee) 1982, p. 12-13 .
  8. ↑ a b Rainer Burbach: The "Lindauer Beweinung" and the Swabian painting of the 15th century . Ed .: Kulturamt d. City of Lindau. Lindau (Bodensee) 1982, p. 6-11 .
  9. ^ Ernst Buchner : The Lindauer Lamentation and Stephan Lochner . In: Wallraf-Richartz-Yearbook New Series . No. 1 , 1930, ISSN  0083-7105 , p. 100-101 .
  10. ↑ Ernst Buchner : The Master of Lindau Lamentation . 951, p. 65-71 .
  11. ↑ Biography Nikolaus Brass on SWR2 (May 3, 2011)

Coordinates: 47 ° 32 ′ 50 "  N , 9 ° 41 ′ 11.8"  E