"Published on the occassion of the exhibition Riemenschneider and Late Medieval Alabaster, on view from March 26 to July 23, 2023"--title page verso. Includes bibliographical references (pages 164-174) and index.
Contents:
Director's foreword / William M. Griswold -- On the use of alabaster in fifteenth-century sculpture / Gerhard Lutz -- Alabaster as material in fifteenth-century sculpture / Wolfram Kloppmann, Sophie Jugie, Pierre-Yves Le Pogam, and Lise Leroux -- Alabaster bodies: medium and meaning / Elina Gertsman -- The master of the Rimini Altarpiece and contemporaneous alabaster sculpture in the Burgundian Netherlands / Stefan Roller -- Tilman Riemenschneider's early work and alabaster sculpture / Gerhard Lutz -- Saint Jerome and the Virgin of the Annuciation / Gerhard Lutz -- Archangel Gabriel / Gerhard Lutz -- Mourners from the Tomb of Philip the Bold / Samantha Truman and Angelica Verduci -- Mourner from the Tomb of John the Fearless and Margaret of Bavaria / Reed O'Mara -- Two Standing Apostles / Gerhard Lutz -- Saint Philip / Gerhard Lutz -- Christ Child / Gerhard Lutz -- Saint John the Evangelist / Gerhard Lutz -- Pieta / Alison Luchs -- Enthroned Virgin and Child / Alexandra Kaczenski -- Saint James the Greater / Julia Perratore.
Summary:
Said to have come from the Benedictine abbey church of Saint Peter in Erfurt, Germany, this statue by Tilman Riemenschneider (c. 1460 - 1531), dated to c. 1495, depicts the church father Saint Jerome as he removes a thorn from the paw of a lion, a legendary account of the saint's kindness. Following the common iconography of the scene, Jerome is dressed in the traditional robes of a Roman cardinal, with the cowl draped over his tonsured head and the broad-brimmed hat on his right leg. Traces of polychromy and gilding suggest that it was once brightly coloured. Drill holes in the hat further indicate that cords and tassels of fabric, typical of a cardinal's hat, would once have decorated the sculpture. Whether the statue was originally commissioned for an altar in a private chapel or for its artistic value remains unknown. Its alleged provenance from a church in Erfurt and Jerome's popularity as a patron saint of humanists and scholars make either scenario likely.0Alabaster was prized for its lustre and capacity for fine details from the fourteenth to the sixteenth century. The gleaming stone was used for altarpieces and small sculptures, as well as the tombs of wealthy princes. The book unites alabaster works from the medieval collection of the Cleveland Museum of Art and selected masterpieces of alabaster sculpture from North American museums and the Louvre in Paris, which allow insight into the production of alabaster sculptures in this period. It is striking that these works are of such a particularly exquisite quality that this material was used especially for high-ranking commissions, such as the tomb of Duke Philip the Bold of Burgundy in Champmol near Dijon. The book is accompanied by several essays that examine the subject of alabaster sculpture from different perspectives.00Exhibition: Cleveland Museum of Art, USA (26.03. - 23.07.2023).
This resource is supported by the Institute of Museum and Library Services under the provisions of the Library Services and Technology Act as administered by State Library of Iowa.