La Crucifixion aux saintes femmes du Grand séminaire de Strasbourg. Expressivité et sens de la nature dans l’art allemand vers 1520
A Crucifixion with Holy Women, from the Grand séminaire in Strasbourg – on deposit at the Musée de l’Œuvre Notre-Dame –, completely absent from the scientific bibliography, is an important work of German painting, circa 1520. The seal on the reverse of the panel shows that it belonged to the daughte...
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| Format: | Article |
| Language: | fra |
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Centre d'Études Médievales Auxerre
2023-03-01
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| Series: | Bulletin du Centre d’Études Médiévales d’Auxerre |
| Subjects: | |
| Online Access: | https://journals.openedition.org/cem/20302 |
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| Summary: | A Crucifixion with Holy Women, from the Grand séminaire in Strasbourg – on deposit at the Musée de l’Œuvre Notre-Dame –, completely absent from the scientific bibliography, is an important work of German painting, circa 1520. The seal on the reverse of the panel shows that it belonged to the daughter of Duke Julius Franz of Saxony-Lauenburg, Sibylle, who married Louis-Guillaume, Margrave of Baden-Baden, in 1690. There are many features that evoke the Danube style, formerly known as the Donauschule : an intensely expressive atmosphere, a breath that animates the natural world and connects it with human beings, and the Mantegnesque motif of the group of Holy Women, taken from a woodcut by Albrecht Altdorfer. The execution on oak suggests that it was made in the Baltic region, which would be consistent with its possible provenance from Saxony-Lauenburg, and calls for a better understanding of its possible relationship with the art of Erhard Altdorfer, active in Schwerin from 1512 to 1561. |
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| ISSN: | 1623-5770 1954-3093 |