Lucca Madonna

from Wikipedia, the free encyclopedia
Lucca Madonna (Jan van Eyck)
Lucca Madonna
Jan van Eyck , probably 1437/1438
Mixed media on wood
63.8 x 47.3 cm
Städel Museum

The Lucca Madonna is a painting by the Flemish painter Jan van Eyck , which was probably made between 1432 and 1441. It is named after Charles II (Parma) , the Duke of Lucca , in whose collection this painting was at times.

The 63.8 by 47.3 centimeter painting shows a Madonna seated on a wooden throne and crowned by a canopy, nursing the Christ child. This form of representing Mary is often referred to as " Maria Lactans ". In the 14th century, it replaced the depiction of Mary as the Queen of Heaven, which had been ideal until then, as was characteristic of the High Gothic .

The picture supports are three vertically arranged oak boards . The small image size suggests that it was intended as a private devotional image. The commissioner of the painting is unknown. Today the painting is in the Städel Museum in Frankfurt am Main and is considered one of the most important works in this collection.

Image description

Space and interior

The depicted space is narrow and dominated by the throne. In the corners of the room there are three-quarter columns, which at their upper end merge into a ribbed vault that is barely recognizable for the observer. The side wall to the left of the observer is broken through by a high window with clear hock panes. There are two fruits on the window ledge that cannot be clearly identified. In most of the picture descriptions the fruits are referred to as apples, but they can also be interpreted as oranges. According to today's art-historical understanding, what kind of fruit it is is of secondary importance for the image message, since both allude to paradise and have similar symbolism in this context. On the right side wall there is a wall niche mirroring the window. On the shelf embedded there is an empty candle holder and a half-filled glass carafe. On the ledge below is a large bowl or sink filled with water. An oculus is indicated in each case diagonally above the window or the wall niche . Only the wall inlets are visible to the viewer; the rest is cropped from the edge of the picture.

The floor of the room consists of blue and white, geometrically patterned tiles. A carpet covers the base of the throne and hides most of the tiles. Similar to the tiles, the red, green, blue and yellow carpet also has a geometric pattern. The beginning of the carpet is not visible to the observer. It is cut off from the edge of the image.

Only parts of the base, the armrests and parts of the backrest of the wooden throne are visible. The arm and back rests are each crowned with lion figures. Jan van Eyck painted them so that they are reminiscent of cast bronze. The canopy of the throne consists of a fabric with a stylized, even tendril pattern in green and gold running through its blue background. The canopy ends in a fine fringe. The same fabric that the canopy is made of covers the back of the throne, but here are evenly interspersed with white and red stylized flowers. The blue-green of the fabric covering is also repeated in the robe of Mary and in the ornamentation of the carpet. The flower motif of the fabric covering can be found in a similar form in the pearl-set red gemstone of the headband and in the ornament of the carpet.

Rote Heuken highlight the central figure in several of Jan van Eyck's paintings. Here is a panel from the Ghent Altarpiece

Figure of Mary and Christ Child

The white, almost transparent shirt that Maria wears under her robe can only be recognized by a thin border that is visible at the neckline. The basic color of the robe is blue and takes up the color of the fabric that makes up the canopy and the back of the throne. The robe has a yellow hem at the neckline. The left sleeve of this robe ends in a narrow fur strip and reveals a tight-fitting red sleeve of a second shirt or skirt that Maria is wearing under the robe. The right sleeve end of the robe is covered by the cloth-rich cloak that almost completely surrounds the figure of Mary. The color of this cape - also called Heuke - with its rich folds is red. The hems of the cloak are richly set with pearls, precious stones and gold embroidery . Pearls can also be found on the narrow diadem that holds Mary's light brown hair together over her forehead. In the middle of this diadem is a single, red gemstone, which is surrounded by six pearls in the shape of a flower. Mary's hair falls open and wavy over her shoulders. On the ring finger of her left hand, she wears a wide, gold ring with a blue stone in the middle. Above it is a narrow, second gold ring. Shirt and robe are open. With her left hand Mary extends her breast to the baby Jesus; her downcast eyes are fixed on the child's face.

The Christ Child sits in an upright position on a diaper that is spread over part of the red cloak. The ashen blond haired head of the Christ Child can only be seen in profile and tilted backwards. The naked child has fixed its eyes on its mother's face. The child braces its feet against its mother's womb and grasps the mother's arm with its right hand. It is holding an apple in its left hand. Where Maria supports her son in the back with her right hand, she pushes his skin up in small folds.

Changes to the painting in the artistic design process

From the X-ray analyzes of the painting as well as the investigations using infrared reflectography, we now know what changes Jan van Eyck made to the first color version of the painting.

Jan van Eyck made minor corrections to the hand position of Mary, to the diaper and to the figure of the Christ Child. To a far greater extent, he changed the representation of the interior, the canopy and the pedestal of the throne. The throne pedestal originally had two steps. The carpet was missing. The interior did not end with a ribbed vault, but with a flat ceiling; there were no occuli. The canopy was originally less wide and the fringed ceiling was pulled down less on the sides. After the reconstructions of the Städel Museum, the three-quarter pillars in the corners of the room were originally missing. Jan van Eyck also moved the lion, which crowned the right armrest of the throne, seen from the viewer, a little further forward. All of these changes helped to emphasize the depth of the space depicted.

Classification of the Lucca Madonna in Jan van Eyck's work

The Lucca Madonna is one of six Madonna paintings by Jan van Eyck known today, which are dated to a period between the completion of work on the Ghent Altarpiece in 1432 and his death in June 1441. These include in detail

The “Madonna in the Church” is one of the Madonna paintings that refer to a donor figure. This is shown here on a side panel
  • the Marien triptych from 1437, which is now in the Dresden State Art Collection and on which the Madonna, as with the Lucca Madonna, also has two rings on the ring finger of the left hand;
  • the Madonna in the church , which can be seen in the Gemäldegalerie in Berlin;
  • in the Louvre located Rolin Madonna ,
  • the Madonna at the fountain in Antwerp as well
  • the Madonna of Canon Joris van der Paele or Paele Madonna from 1436, which hangs in the Groeninge Museum in Bruges . This painting resembles the Lucca Madonna in a number of details: the embroidered hems and the folds of the red cloaks are similar; both figures of the Madonna have a similar headdress, and the floral pattern of both the carpet and the fabric covering the throne are similar.
  • The Madonna of Provost van Maelbeke, which is now in private ownership and resembles the Paele Madonna in its composition, remained unfinished.

Only a few of Jan van Eyck's Madonna paintings are large-format panels such as the unfinished Maelbeke Madonna. Small-format paintings, on the other hand, are characteristic, such as the Dresden Marien-Triptychon, a small travel altar that, including the preserved original frame, measures 33 by 53.5 centimeters. The Madonna at the fountain is even smaller, with a picture area of ​​nineteen centimeters by twelve centimeters, only slightly larger than a postcard. The Lucca Madonna is one of these rather small-format paintings.

The Fountain Madonna and the Lucca Madonna also have a special position within these Madonna paintings because neither of the paintings refers to a donor figure. According to the art historian Carol Purtel, these two paintings are thus in the tradition of devotional pictures, such as those created by painters from the schools of Siena and Florence towards the end of the 13th and beginning of the 14th centuries. Most of these paintings only show the Mother of God with the Christ child and show both figures during an intimate, related action. A number of art historians now assume that Jan van Eyck was in Italy around 1426 and had the opportunity to study paintings from these schools. Documents show the painter to be a close confidante of Duke Philip of Burgundy and Jan van Eyck has been entrusted several times with diplomatic missions. In 1427 Jan van Eyck was a member of an embassy that was supposed to initiate a marriage between the duke and a Spanish noblewoman in Aragon . From 1428 to 1429 he toured Portugal and the neighboring Spanish provinces of Galicia , Castile and Andalusia on a similar assignment . While the destinations of these diplomatic missions are known, the destination of the first diplomatic mission, which Jan van Eyck undertook on behalf of the Duke, does not appear in the account books of the ducal court. It is only mentioned that in 1426 Jan van Eyck undertook a “ long secret journey ”. The destination was very likely Italy. The fact that Jan van Eyck provided several of his paintings with names and sometimes even a year is taken as evidence of a stay in Italy, which was common in Italy but not in the Netherlands at the time.

Some details of the spatial representation of the Lucca Madonna can be found on two older paintings by Jan van Eyck, namely on the Arnolfini wedding as well as on the Ghent altarpiece. In the Arnolfini double portrait, as in the Lucca Madonna, a high window is depicted on the left, a fruit lies on the window ledge and a carved lion figure adorns the chair behind the bride. On the Annunciation table of the Ghent Altarpiece there is also a glass carafe, a candlestick and a large bowl or sink.

Imagery

Image composition

Dresden Marien-Triptychon, Jan van Eyck, around 1437, Gemäldegalerie in Dresden
Depiction of the Madonna and Child, Très Riches Heures , Brothers of Limburg

The relatively small picture area of ​​63.8 by 47.3 centimeters allows the conclusion that the picture was not intended for the sanctuary of a church, but was painted for a client who wanted a private devotional picture. The execution of the picture also suggests this. The carpet trimmed by the lower edge of the picture, the figure representations above the center of the picture, and the seemingly arbitrary trimming of the vaulted ceiling and side walls give the viewer the feeling of being in the same room as the raised figure of Mary with the Christ Child. Some details, such as the pile of carpets breaking open on the edge of the throne steps, are evidence that the painting was created for a viewer who can grapple with the content of the picture in extreme close-up. Oswald Goetz wrote in a view of the picture from 1932:

The spectator has approached the throne. He shares the coolness of the room with the couple, Maria is enthroned in front of him. You have the feeling that you are taking part in this intimate hour unsolicited. As if dressed for a ceremony in all splendor, Mary sits on the throne, in solemn grandeur and aloofness, and as if by a miracle the cheerful and serious occupation of mother and child, who are gracefully devoted to each other, is revealed to us. The soft, subdued light covers them, we are so close that we can see the dust falling and rising in the air .

Despite this monumental elevation of the figure of Mary and the Christ Child, János Végh describes it as an intimate, bourgeois image. The two figures are not enthroned in a splendidly furnished church space, such as in the Dresden Marien-Triptychon. There is also a lack of patron saints who emphasize the particularity of the moment. Only the carpet and the canopy lift the two figures out of the simple surroundings. The spatial depth is emphasized by the perspective representation of the tiles as well as the throne pedestal and the lion sculptures on the arm and backrest. The use of tiles to emphasize the extent of depth also indicates the influence of Italian images that Jan van Eyck was able to study during his supposed trip to Italy. The large, pyramid-shaped heuke that envelops the figure of Mary emphasizes the depth of the space. The folds of the cloak at its end indicate that there are steps to the throne beneath the cloak. A sharp line emphasizes the knee height of the figure of Mary. The thighs and the seat of the throne are not shown, which gives the viewer the impression of looking up at a figure seated in an elevated position. Its eye point is chosen so that it rests on the knee line.

The depiction of the Christ Child in a side view is one of the pictorial features that distinguish the Lucca Madonna from northern Italian devotional images, in which the central figure is always shown from the front. This form of representation appears for the first time at the Paris book painters at the beginning of the 15th century, found in Marie representations of the Très Riches Heures of the Limbourg brothers and in a resulting in Utrecht devotional book of Mary of Guelders from the year 1415. The art historian Carol Purtle could show based on the similarity of the picture solutions that Jan van Eyck was very likely familiar with some of these illuminations.

Rolin Madonna

The red cape

The painting is dominated by the red of the heuke. This red shade is also used on some of the flowers on the fabric covering the back of the throne and on the sleeve of the skirt. Jan van Eyck has repeatedly wrapped his depicted people in such red cloaks rich in fabrics. The figure of the Father of God on the central panel of the opened Ghent altarpiece has a lush red cape similar to that of the Lucca Madonna. Again, the hem is embroidered with gold and pearls. Jan van Eyck painted the heuke of the Madonna figure on the Dresden Marien triptych and the Rolin Madonna in a similar way . The use of the color red to dress figures of the Madonna or God the Father is a characteristic of Dutch painting in the 15th century. Italian painters preferred to use the precious ultramarine as color , which in the best quality was worth more than its weight in gold and which, because of its high material value, was seen as an appropriate choice. In the Netherlands, on the other hand, scarlet-colored garments, which were dyed with the most expensive textile dye carmine, were particularly valued at this time . This dye was extracted from the eggs of the scale insect species Kermes ilicis and Kermes vermilio . In line with the fashion taste of his Dutch contemporaries, Jan van Eyck has wrapped his central figures in red robes on several paintings. He used vermilion as the lower layer of paint on his paintings . However, this can change to a brown or almost black color when exposed to light. To prevent this, Jan van Eyck put a second layer of transparent, dark madder red on top of it, which on the one hand prevented the cinnabar from changing color and at the same time gave the red robes a sheen that has been preserved to this day.

The nursing mother

The breastfeeding Maria, who, as in the Lucca Madonna, gives herself to the child as a mother, is a type of image that was particularly popular north of the Alps. They indicate an environment that saw it as ideal when a mother renounced the wet nurse and nursed her child herself. Maria was used as a role model. Already in Wolfram von Eschenbach's Parzival, Herzeloyde justified by referring to the Mother of God that she nourished her son herself. Christine de Pizan , who died in 1431, emphasized in her Les XV Joyes Notre Dame (The Fifteen Joys of Mary) the feelings of joy that Maria felt while breastfeeding her son. Mapheus Vegius did not refer directly to Mary in his 1444 educational doctrine . On the contrary, he praised the mother of St. Bernard for the fact that she saw it as her duty to breastfeed her children herself. In the case of private devotional pictures commissioned in northern Italy during this period, however, the type of the breastfeeding Madonna is rare. There are also no depictions that show Maria performing other household tasks. According to the historian Klaus Schreiner, this reflects the reality of life of the classes in northern Italy who were financially able to purchase a private devotional painting. In northern Italian patrician families it was more natural than north of the Alps that a wet nurse would nurse the child and that servants would raise the toddler. Accordingly, the mother-child relationship is only hinted at in northern Italian panel painting - the toddler does not suckle on the mother's breast, at best it fiddles with the mother's clothes.

The New Testament only indicates in one place that Mary suckled her son: In the Gospel of Luke there is the tradition that a woman from the people carried the body that Jesus bore and the breasts that suckled him as blessed praises (Luk. 11, 27-28). The image of the Mother of God nourishing with the milk of her breasts has nevertheless acquired a complex meaning in Christian theology and symbolic language. Even the early church fathers Irenaeus of Lyon , Augustine , Clemens of Alexandria and Ambrosius of Milan speak vividly of a church that, like a mother, nourishes the believers who belong to it with the milk of faith. Theologians such as Tertullian or Athanasius the Great emphasize that the physical process of breastfeeding proves that Jesus has a human body and at the same time is the Son of God as a true man. At the same time, the bare breast symbolically indicates Mary's promise that the believer can rely on the intercession of the Mother of God on the day of judgment. A fresco that was created almost 50 years after the Lucca Madonna and that is on the south wall of the Cathedral of Graz makes this particularly clear because of the intercession on it:

Oh Lord God and ainiger sun
Have mercy on the sinner now
Look at the prusst dy suck you
Forgive the sinner through me
Madonna at the fountain - similar to the Lucca Madonna, the donor figure is not shown here
Ghent Altarpiece, Annunciation plaque: here, too, the towel, wash bowl and water carafe indicate the ritual cleansing of the bride

symbolism

In the center of the painting is a small apple that the Christ child is holding in his left hand. The apple would actually be in the child's body shadow. Jan van Eyck painted it as if light were falling on it. The central position in the painting and the painterly emphasis emphasize the importance of the apple in the message.

The symbolic language of the apple is diverse in the fine arts: the Church Fathers already equated the tree of knowledge with the apple tree and to this day the apple is understood as a symbol of the fall of man, even if Genesis does not mention which tree Eve was taken from plucked forbidden fruit. However, the apple can also be understood as a reference to the enclosed garden, which is described in the Old Testament Song of Songs . In contrast to the report on the Fall of Man, the apple is named twice in the Song of Songs:

Like an apple tree among the wild trees, so is my friend among the young men. I desire to sit under his shadow; and its fruit is sweet to my taste buds. (Hld 2,3)
I said: I will climb the palm tree and take its branches. Let your breasts be like grapes on a vine and the scent of your breath like apples; (Hld 7.9)

If the apple refers to the fall of man, then the Christ child and Mary are represented as the new Adam and the new Eve, who lead humanity to their redemption instead of damnation. The fact that Christ is depicted as a suckling child on the Lucca Madonna does not restrict this interpretation. The “ Maria Thronus ” sermon, widespread in Jan von Eyck's time, describes Mary's pregnant body as the paradise of the new Adam. And while the old Adam, who ate the forbidden fruit offered by Eve, lost Paradise and became mortal, the new Adam, who is nourished by the new Eve, again promises immortality. Carol Purtle has shown in her image analysis that this interpretation is obvious, but that there are also a number of indications that Jan van Eyck intended a different image statement. Four paintings by Jan van Eyck have survived, depicting Adam and Eve. They are never in the center of the picture, but are always decorative and complementary accessories - on the Paele Madonna, for example, they adorn the throne of Mary as carvings. If Jan van Eyck refers to the Fall, then it is Eva who holds the apple in her hand.

The Old Testament Song of Songs, to which the apple shown also refers, is a collection of love songs that the Jewish scribes already understood allegorically and theologically, because the prophet Isaiah already says ... how a bridegroom is happy about the bride, becomes your god will be happy about you . Christianity has followed this theological interpretation of love songs and has always seen Christ as the bridegroom. However, over the centuries the question of who should be seen as the bride has been answered differently. In the oldest interpretations, the church, the “ ecclesia ”, has the role of the bride. In medieval mysticism, as represented by Bernhard von Clairvaux , who lived in the 12th century, among others , it is the soul of the individual who is married to Christ in a “ unio mystica ”. In the same century Mary is increasingly equated with the Church and interpreted as mother and bride at the same time. The writings of Rupert von Deutz , who saw the Virgin Mary as the bride of the Song of Songs in no fewer than seven commentaries, were particularly decisive for this interpretation . These interpretations are not only indicated by the girlishly falling hair and the jeweled headband, but also - according to Carol Purtle - the two rings that Maria wears on the ring finger of her left hand. They represent Mary as a bride of two who marries the divine bridegroom at the same time as the representative of the “ ecclesia ” and as the Virgin Mary. Similar to the apple, the hand adorned with rings is also in the center of the painting.

The throne adorned by lions underlines the reference to the bride of the Song of Songs. This collection of love songs was attributed to King Solomon, who the Old Testament records as seated on a lion throne. The water carafe and the bowl also point to the interpretation of the Madonna figure as a bride. Both appear on the Annunciation plaque of the Ghent Altarpiece and can be interpreted as an allusion to the ritual cleansing of the bride before the wedding.

Dating of the Lucca Madonna

Jan van Eyck was the first Dutch painter to sign paintings and occasionally even add a year. In the case of the Lucca Madonna, however, both the signature and the date are missing. Jan van Eyck often put both on the frame. However, the original frame of the Lucca Madonna has not been preserved; the table is now in a modern frame. Art-historical consensus is that the Lucca Madonna is more recent than the Ghent Altarpiece, on which Jan van Eyck completed his work in 1432. A more precise dating has been attempted based on a comparison with other depictions of the Madonna by Jan van Eyck.

The Ince Hall Madonna - today it is no longer considered a painting by Jan van Eyck
Madonna of Canon Paele

For a long time, attempts to date the Lucca Madonna were compared with the so-called Ince Hall Madonna , which was considered a dated and signed original by Jan van Eyck. Unlike a number of Van Eyck's panel paintings, this one bears the signature and the date of 1433 on the picture surface and not on the frame. Until a more detailed analysis of the picture, an attempt to explain that was widely accepted in art history was that after the loss of the original frame, the original signature was subsequently transferred to the picture surface by an unknown painter. However, more detailed investigations have shown that this attempted explanation does not work. The signature and inscription are on the painting surface itself and are not attached afterwards. Today, the Ince Hall Madonna is no longer a true copy of a lost Jan van Eyck original, as the chosen depiction has a number of contradictions: although the figure of Mary is crowned by a magnificent canopy, it does not sit on one Throne, but crouches on the floor, as is characteristic of the representation of a Madonna humilitatis . The spatial relationship between the figure of Mary and the Christ child with the furniture surrounding them is only vaguely indicated, and the composition of the picture lacks the depth that Jan van Eyck was able to give his Lucca Madonna. The Ince Hall Madonna is therefore now classified as a painting by Jan van Eyck's successor, who to a large extent was based either on the composition of the Lucca Madonna or on another, unsuccessful Madonna painting by Jan van Eyck. The dating of the picture is considered apocryphal and thus worthless for the chronological classification of the Lucca Madonna.

Two other depictions of the Madonna by Jan van Eyck can be classified in terms of time, so that they were used to fine-date the Lucca Madonna by way of style comparisons: The Madonna of Canon Joris van der Paele , which is now in the Groeninge Museum in Bruges , is on the original frame dated to the year 1436. In the case of the Marien triptych, which is now in the Dresden State Art Collection, the date of the year 1437, which had previously been painted over, was uncovered during a modern restoration. The art historian Otto Pächt classifies the Lucca Madonna stylistically earlier than these two dated Madonna paintings. As with the Lucca Madonna, the figure pyramid of the Paele Madonna also has the chest area without transition to the horizontal of the Madonna's lap. However, while the Christ boy in the Lucca Madonna is depicted parallel to the picture, the Christ boy in the Paele Madonna with the three-quarter turn of the upper body and head and the shortened leg is a much more complex solution than the representation of the Lucca Madonna. The staggering of the depicted Madonna figure with the Christ Child in the Dresden Marien triptych is even further developed.

The method of comparing styles for dating assumes a linear stylistic development by Jan van Eyck, which art historians also disputed. It does not take into account that Jan van Eyck could have chosen the display mode depending on the image function. The Lucca Madonna can be understood as a devotional or meditation image, which, with the frontal alignment of the figures, consciously wanted to address the client who was praying directly in front of it. A donor figure in a richly furnished church room creates a distance between the viewer and the group of figures represented. The imagery of the Lucca Madonna can therefore also be understood as more radical and more advanced than that of the Paele Madonna or the Dresden Marien Triptych.

In addition to the stylistic analysis, the image carrier gives an important clue for the dating of the painting. Jan van Eyck used oak boards as a support, the dendrochronological examination of which suggests that they come from a tree that was felled in 1422 at the earliest, but probably not until 1428. Freshly felled wood is unsuitable as a picture carrier; it has to go through a lengthy drying process beforehand so that the boards do not crack after being painted. On the basis of statistical studies of the time between precipitation and use as a picture carrier, painting from 1438 onwards suggests itself. The Städel Museum , whose holdings the painting today, assumes that it was created around 1437/1438.

Provenance

The commissioner of the painting is unknown. The Lucca Madonna was only "rediscovered" in the 19th century and assigned to Jan van Eyck by Johann David Passavant in the 1840s . At the beginning of the 19th century the picture was still in the possession of the Marquis Cittadella in Lucca. From there it ended up in the collection of Karl Ludwig von Bourbon-Parma , who was Duke of Lucca from 1824 to 1847. The Brussels art dealer CJ Niewenhuysen acquired the painting in 1841 and sold it to King Willem II of the Netherlands in 1843 . After the death of Willem II, the art collection was auctioned. The Städel Museum in Frankfurt was able to acquire the picture after a bidding contest with other European museums.

swell

Individual evidence

  1. ^ Leasehold: Van Eyck. 1989, p. 8.
  2. ↑ Max Hollein , director of the Städel Museum, in the foreword to the museum's own publication: Sander (ed.): Focus on Jan van Eyck: Lucca-Madonna, around 1437/38 (inv. No. 944). 2006.
  3. ^ Purtle: The Marian Paintings of Jan van Eyck. 1982, pp. 104 and 121.
  4. ↑ a b Purtle: The Marian Paintings of Jan van Eyck. 1982, p. 110.
  5. ↑ Sander (Ed.): Focus on Jan van Eyck: Lucca-Madonna, around 1437/38 (Inv. No. 944). 2006.
  6. ^ Végh: Jan van Eyck. 1984, description no.25.
  7. ^ Végh: Jan van Eyck. 1984, description no.27.
  8. ^ Purtle: The Marian Paintings of Jan van Eyck. 1982, pp. 98-99.
  9. ^ Leasehold: Van Eyck. 1989, p. 80.
  10. ↑ a b c Végh: Jan van Eyck. 1984, p. 15.
  11. ↑ a b Végh: Jan van Eyck. 1984, p. 3 and p. 9.
  12. ^ Gallwitz (Ed.): Visit to the Städel. 1986, p. 41.
  13. ↑ a b Végh: Jan van Eyck. 1984, description no.22.
  14. ^ Purtle: The Marian Paintings of Jan van Eyck. 1982, p. 100.
  15. ↑ Margarete Bruns: The riddle of color. Matter and myth. Philipp Reclam jun. GmbH, Stuttgart 1997, ISBN 3-15-010430-0 , p. 155 and p. 154.
  16. ↑ Margarete Bruns: The riddle of color. Matter and myth. Philipp Reclam jun. GmbH, Stuttgart 1997, ISBN 3-15-010430-0 , p. 157 f. and p. 74.
  17. ↑ Klaus Schreiner : Maria. Virgin, mother, ruler. Carl Hanser, Munich 1994, ISBN 3-446-17831-7 , p. 195.
  18. ↑ Klaus Schreiner: Maria. Virgin, mother, ruler. Carl Hanser, Munich 1994, ISBN 3-446-17831-7 , pp. 177-181, p. 196 and p. 197.
  19. ↑ In today's German, for example, Oh Lord God and only son / Have mercy on the sinner now / Look at the breast that nurses you / forgive the sinner through me
  20. ↑ See for example Margarethe Schmidt : Why an apple, Eva? The imagery of tree, fruit and flower. Schnell & Steiner, Regensburg 2000, ISBN 3-7954-1304-4 , pp. 48-53.
  21. ^ Purtle: The Marian Paintings of Jan van Eyck. 1982, p. 104.
  22. ^ Purtle: The Marian Paintings of Jan van Eyck. 1982, pp. 104-105.
  23. ↑ Margarethe Schmidt: Why an apple, Eva? The imagery of tree, fruit and flower. Schnell & Steiner, Regensburg 2000, ISBN 3-7954-1304-4 , pp. 101-103.
  24. ^ Purtle: The Marian Paintings of Jan van Eyck. 1982, p. 105; On pages 105 to 110, Carol Purtle goes into detail on the influence of Rupert von Deutz's comments on the visual arts.
  25. ^ Purtle: The Marian Paintings of Jan van Eyck. 1982, pp. 111-112.
  26. ^ Purtle: The Marian Paintings of Jan van Eyck. 1982, pp. 114-121.
  27. ^ Leasehold: Van Eyck. 1989, p. 88.
  28. ^ Purtle: The Marian Paintings of Jan van Eyck. 1982, p. 98.
  29. ↑ For a more detailed discussion of the Ince Hall Madonna, see Pächt: Van Eyck. 1989, pp. 87-88 and Sander (ed.): Focus on Jan van Eyck: Lucca-Madonna, around 1437/38 (inv. No. 944). 2006, pp. 37-38.
  30. ↑ Sander (Ed.): Focus on Jan van Eyck: Lucca-Madonna, around 1437/38 (Inv. No. 944). 2006, p. 18.
  31. ^ Leasehold: Van Eyck. 1989, p. 84.
  32. ↑ Sander (Ed.): Focus on Jan van Eyck: Lucca-Madonna, around 1437/38 (Inv. No. 944). 2006, pp. 32, 33 and 37.
  33. ↑ Sander (Ed.): Focus on Jan van Eyck: Lucca-Madonna, around 1437/38 (Inv. No. 944). 2006, p. 28 and p. 38.
  34. ^ Johann David Passavant: Contributions to the knowledge of the old Dutch painting schools up to the middle of the sixteenth century. (Continuation). In: Morgenblatt for educated readers . Art sheet. No. 55, 1843, pp. 229-231, here p. 229 .
  35. ↑ Sander (Ed.): Focus on Jan van Eyck: Lucca-Madonna, around 1437/38 (Inv. No. 944). 2006, p. 14.

literature

  • Klaus Gallwitz (Ed.): Visit to the Städel. Reflections on pictures (= Insel-Taschenbuch. 939). Insel Taschenbuchverlag, Frankfurt am Main 1986, ISBN 3-458-32639-1 .
  • Otto Pächt : Van Eyck. The founders of Dutch painting. Published by Maria Schmidt-Dengler. Prestel, Munich 1989, ISBN 3-7913-1033-X .
  • Carol J. Purtle: The Marian Paintings of Jan van Eyck. Princeton University Press, Princeton NJ 1982, ISBN 0-691-03989-5 .
  • Jochen Sander: Dutch paintings in the Städel. 1400–1500 (= catalogs of the paintings in the Städelsche Kunstinstitut Frankfurt am Main. 2). von Zabern, Mainz 1993, ISBN 3-8053-1444-2 , pp. 244-263.
  • Jochen Sander (Ed.): Focus on Jan van Eyck: Lucca-Madonna, around 1437/38 (Inv. No. 944). Städel Museum, Frankfurt am Main 2006.
  • János Végh: Jan van Eyck. Henschelverlag et al., Berlin et al. 1984.
This article was added to the list of excellent articles on May 10, 2008 in this version .