The Carl Otto von Kienbusch, Jr. Memorial Collection (Princeton: Princeton University Art Museum, 1956)
","citation":"The Carl Otto von Kienbusch, Jr. Memorial Collection (Princeton: Princeton University Art Museum, 1956)
, cat. no. 39 (illus.)","date":1956,"id":1824,"uri":"https://search.worldcat.org/title/3809022"},{"boilertext":"H.R.H., \"The Art Museum at Princeton University: a selection from the collections\", Art Journal 26, no. 2 (Winter, 1966-1967): p. 172+174+176+178.","citation":"H.R.H., \"The Art Museum at Princeton University: a selection from the collections\", Art Journal 26, no. 2 (Winter, 1966-1967): p. 172+174+176+178.","date":1966,"id":3404,"uri":"https://www.jstor.org/stable/775045"}],"nowebuse":"False","periods":[],"department":"European Painting and Sculpture ","attribute_groups":[{"id":2199321,"term":"European Art","termtype":"Collecting Area"},{"id":2199338,"term":"Nazi-era gaps","termtype":"Provenance & Cultural Heritage"}],"daterange":"A.D. 1500-1600","dateend":1529,"depicted":[],"titles":[{"title":"Virgin and Child","titletype":"Primary Title","displayorder":1}],"hasimage":"true","creditlinerepro":"","objectnumber":"y1954-73","inscribed":null,"texts":[{"texttype":"Online","textpurpose":"Gallery Label","textentryhtml":"The Virgin tenderly grasps the Christ Child as he steps forward to bless the viewer. The addition of painted polychromy to this wooden sculpture enlivens the holy figures and encourages an intimate, personal interaction between viewer and sculpture. The downward gazes of the Virgin and Child, as well as the Virgin’s hollowed back, suggest that this sculptural group was once elevated on an altar or displayed in a niche. The ornamental curls of the Virgin’s hair and animated folds of her drapery also appear in contemporaneous prints from southern Germany, demonstrating the circulation of styles and designs across media.\n","remarks":"EUR1_02-05_WLA-Day 1 Cataloguing"},{"texttype":"Online","textpurpose":"Gallery Label","textentryhtml":"This work is representative of the development of a new, specifically German, taste in art in the late-fifteenth and early-sixteenth centuries. One of the most active sectors of production was carved painted wooden sculptures. This work also illustrates the importance of the invention and spread of printmaking in disseminating the style in the regions of the Rhine and Danube rivers. For example, comparisons for the Virgin's highly ornamental curls of hair and the animated folds of the drapery can be found in prints. ","remarks":"Medieval Gallery Reinstallation"},{"texttype":"Online","textpurpose":"Handbook Entry","textentryhtml":"\r\nIn the late fifteenth century, the prosperous south German trading centers on the Rhine and Danube were the locations of an artistic flowering in which a self-consciously \"German\" style spread rapidly through the area. The diffusion was aided by the invention of printmaking. One of the most active sectors of art production was carved polychrome wood sculpture, some of which was related to commissions of the type of looming altarpiece called Schnitzaltare, that combined painted shutters with a sculpted interior. Other commissions were for isolated groups.\r\nCarved in soft limewood (lindenwood), this Virgin and Child group illustrates the dynamic spatial relationships between figures that sculptors were able to achieve. The anonymous master, from the upper Rhine area, worked in a style close to that of two major artists: the Master of the Dangolsheim Madonna, named for his masterpiece (Bode Museum, Berlin), and Nicholas Gerhart von Leyden, a highly influential figure with documented works in Strasbourg and Vienna. (Some scholars believe the Dangolsheim Master was the youthful Nicholas.) This group was probably placed high, given the downward gazes of the figures. Since the back is hollowed out, as is usual in such sculpture, it may have been on an altar or in a niche. The polychromy is partially restored, the crown a replacement of uncertain date. The group exemplifies the late Gothic love of exuberant curves and rich draperies. ","remarks":null},{"texttype":"Online","textpurpose":"Provenance","textentryhtml":"Mathias Komor Gallery, New York; [1] Purchased in February 1954 by The Princeton University Art Museum as a gift of Carl Otto von Kienbusch for the Carl Otto von Kienbusch Jr. Memorial Collection.
\nNOTES:
\n[1] Described by Mathias Komor as a \"Carved wood bust of the Virgin and Child, blessing. With old gilt and polychromy, intact, with only very slight retouching. Germany – from the Upper Rhine. Attributed to the Master of the Dangolsheimer Madonna. About 1490. With old red velvet stand.\" See receipt in curatorial file.
","remarks":"Lauren Maceross, Summer 2023 Intern"}],"datebegin":1470,"sortnumber":"1954 73y","published_date":"2026-10-16 02:04:15.375920","objectid":24961,"dimensions":"86.5 x 55.4 x 31.7 cm (34 1/16 x 21 13/16 x 12 1/2 in.)","on_view":false}