Most Beautiful and Highly Esteemed Friends-
Your adoring Museum Store has so many gifts that say “I love you,” you may very well swoon with delight! Read on to uncover some of our favorite gifts, then check out the online Valentine’s Day gift guide for more inspirational ideas to help you lavish your beloved with objects of affection. Continue reading
The inaugural exhibition in the European works on paper rotation space (on view until March 20) explores the Renaissance in Germany. Comprised completely of prints from the collection of the Milwaukee Art Museum, you can find engravings by Heinrich Aldegrever (1502–ca. 1561) and stipple engravings by Hans Sebald Beham (1500–1550). But you can’t study printmaking in the German Renaissance without a serious consideration of Albrecht Dürer (1471–1528). And we’re lucky enough to have 14 prints by the master! This is the second of a series of posts related to Dürer’s prints.
Albrecht Dürer (German, 1471–1528), Madonna with the Monkey, ca. 1498. Engraving. Milwaukee Art Museum, Gertrude Nunnemacher Schuchardt Collection, presented by William H. Schuchardt M1924.169. Photo credit: P. Richard Eells.
Last time, we learned a little about Albrecht Dürer by looking at a woodcut from his series called The Apocalypse. In this post, we’ll look at a different type of print—an engraving—with religious subject matter.
Madonna with the Monkey is one of several Madonna and child compositions that Dürer produced throughout his career. His Catholic German patrons would be interested in the powerful woman that had become so central to the salvation of man by being the mother of Christ. This type of print would be popular and consequently sell well. In the current display at the Milwaukee Art Museum, there are two other depictions of the Madonna and child (Madonna and the Infant in Swaddling and the Madonna with the Pear) and two prints from the series The Life of the Virgin (The Death of Mary and The Circumcision of Jesus).
The inaugural exhibition in the European works on paper rotation space (on view until March 20) explores the Renaissance in Germany. Comprised completely of prints from the collection of the Milwaukee Art Museum, you can find engravings by Heinrich Aldegrever (1502–ca. 1561) and stipple engravings by Hans Sebald Beham (1500–1550). But you can’t study printmaking in the German Renaissance without a serious consideration of Albrecht Dürer (1471–1528). And we’re lucky enough to have 14 prints by the master! This is the first of a series of posts related to Dürer’s prints.
Albrecht Dürer (German, 1471–1528), St. John’s Vision of Christ and the Seven Candlesticks, from the series The Apocalypse, 1498; published 1511. Woodcut. Milwaukee Art Museum, Gift of Mrs. Albert O. Trostel M1972.41. Photo credit: P. Richard Eells.
Albrecht Dürer is often considered the father of the northern Renaissance. He traveled to Italy twice, bringing the Italian Renaissance’s interests in art and culture back to Germany. Not only was he a well-respected visual artist, but he was also a widely published author on humanistic thought and scientific topics. Also, he was engaged in debate on religious issues. Serving as the first court artist to Holy Roman Emperors Maximilian I and his successor Charles V, Dürer had access to some of the highest social circles of Europe. Accordingly, he embraced the Renaissance idea of the artist as a creative genius whose gifts were bestowed by God rather than as a hard-working craftsman.
Adriaen van der Werff (Dutch, 1659–1722). Self-portrait with the Portrait of his Wife, Margaretha van Rees, and their Daughter Maria, 1699. Oil on canvas. Rijksmuseum, Amsterdam, SK-A-465.
In the first part of this post, using the Milwaukee Art Museum’s painting Doubting Thomas, we explored the biography and style of Dutch artist Adriaen van der Werff (a self-portrait of him from the Rijksmuseum is to the left). This week, we’re going to trace the provenance of Doubting Thomas and see what it tells us about the history of taste in art and trends in collecting.
Van der Werff was one of the most famous painters of his day and was known internationally throughout his career. He was in demand in his earlier career for his rich portraits in the popular “Fine School” style. One example of his early work is the 1685 painting in the National Gallery, London called Portrait of a Man in a Quilted Gown.
Then in the 1690’s van der Werff’s paintings became more and more influenced by the classical style admired in France. He already had a tendency to use richer detail and elegant lines in his Fine School paintings. An important reason for this transition is the fact that the new style was preferred by patrons in the late Baroque period. If you want to make a living, you paint want people want to buy!
Franz Ittenbach (German, 1813–1879), Mother of the World, 1872. Oil on panel. Milwaukee Art Museum, Purchase, René von Schleinitz Memorial Fund and with funds in memory of Betty Croasdaile and John E. Julien.
From the glittery gold background to the touching depiction of the Madonna and child, the Milwaukee Art Museum’s new acquisition Mother of the World by Franz Ittenbach (German, 1813–1879) is a perfect subject for our blog post during the weeks leading up to Christmas.