Saint Barbara is a sculpture statuette in limewood with paint, completed by an unknown, probably German, artist in Strasbourg, Alsace, in present-day France, around 1490. This representation of the early Christian martyr Saint Barbara is today in the collection of the Metropolitan Museum of Art, New York. It was commissioned as a fitting as part of for the high altarpiece of the Saint Mauritius church, near Strasbourg. [1] Some of the painted wings and figures of this central shrine have survived, allowing art historians to propose a possible reconstruction, usually with this work as one of the two outermost figures. Lost sculptures, but known from record include those of Saint Maurice, Pope Gregory the Great, while the central figure was a standing Virgin and Child. [2]
The modeling and colourisation is of the first quality, completed in the then popular monumental style. The model seems refined and aristocratic, and is dressed in high fashion. Her red dress, which is highly detailed, but very large drapery fold, is molded and contains gilt wax brocade patterns. [1] She is intelligent looking and obviously educated, she hold a book outstretched before her. In style, the work seems influenced by the late Gothic work of Nikolaus Gerhaert. [2]
The Cloisters, also known as the Met Cloisters, is a museum in the Washington Heights neighborhood of Upper Manhattan, New York City. The museum, situated in Fort Tryon Park, specializes in European medieval art and architecture, with a focus on the Romanesque and Gothic periods. Governed by the Metropolitan Museum of Art, it contains a large collection of medieval artworks shown in the architectural settings of French monasteries and abbeys. Its buildings are centered around four cloisters—the Cuxa, Saint-Guilhem, Bonnefont and Trie—that were acquired by American sculptor and art dealer George Grey Barnard in France before 1913, and moved to New York. Barnard's collection was bought for the museum by financier and philanthropist John D. Rockefeller Jr. Other major sources of objects were the collections of J. P. Morgan and Joseph Brummer.
The Mérode Altarpiece is an oil on oak panel triptych, now in The Cloisters, in New York City. It is unsigned and undated, but attributed to Early Netherlandish painter Robert Campin and an assistant. The three panels represent, from left to right, the donors kneeling in prayer in a garden, the moment of the Annunciation to Mary, which is set in a contemporary, domestic setting, and Saint Joseph, a carpenter with the tools of his trade. The many elements of religious symbolism include the lily and fountain, and the Holy Spirit represented by the rays of light coming through from the central panel's left hand window.
Romanesque art is the art of Europe from approximately 1000 AD to the rise of the Gothic style in the 12th century, or later depending on region. The preceding period is known as the Pre-Romanesque period. The term was invented by 19th-century art historians, especially for Romanesque architecture, which retained many basic features of Roman architectural style – most notably round-headed arches, but also barrel vaults, apses, and acanthus-leaf decoration – but had also developed many very different characteristics. In Southern France, Spain, and Italy there was an architectural continuity with the Late Antique, but the Romanesque style was the first style to spread across the whole of Catholic Europe, from Sicily to Scandinavia. Romanesque art was also greatly influenced by Byzantine art, especially in painting, and by the anti-classical energy of the decoration of the Insular art of the British Isles. From these elements was forged a highly innovative and coherent style.
The Hours of Jeanne d'Evreux is an illuminated book of hours in the Gothic style. According to the usual account, it was created between 1324 and 1328 by Jean Pucelle for Jeanne d'Evreux, the third wife of Charles IV of France. It was sold in 1954 to the Metropolitan Museum of Art in New York where it is now part of the collection held at The Cloisters, and usually on display.
The Crucifixion and Last Judgement diptych consists of two small painted panels attributed to the Early Netherlandish artist Jan van Eyck, with areas finished by unidentified followers or members of his workshop. This diptych is one of the early Northern Renaissance oil-on-panel masterpieces, renowned for its unusually complex and highly detailed iconography, and for the technical skill evident in its completion. It was executed in a miniature format; the panels are just 56.5 cm (22.2 in) high by 19.7 cm (7.8 in) wide. The diptych was probably commissioned for private devotion.
Saint Barbara is a small 1437 drawing on oak panel, signed and dated 1437 by the Netherlandish artist Jan van Eyck. It is unknown if the work is a chalk ground study in pencil for a planned oil painting, an unfinished underdrawing or a completed work in of itself, although the latter is deemed more likely. The panel shows Saint Barbara imprisoned in a tower by her pagan father to preserve her from the outside world, especially from suitors he did not approve of. While there, she converted to Christianity, enraging her father and leading to her murder and martyrdom.
The St John Altarpiece is a large oil-on-oak hinged-triptych altarpiece completed around 1479 by the Early Netherlandish master painter Hans Memling. It was commissioned in the mid-1470s in Bruges for the Old St. John's Hospital (Sint-Janshospitaal) during the building of a new apse. It is signed and dated 1479 on the original frame – its date of installation – and is today still at the hospital in the Memling museum.
The Mystic Marriage of St. Catherine is a c. 1480 oil-on-oak painting by the Early Netherlandish painter Hans Memling, now in the Metropolitan Museum of Art, New York. The Virgin Mary sits on a throne in a garden holding the Child Jesus in her lap. Mother and child are flanked by angels playing musical instruments, with St Catherine of Alexandria to the left opposite St Barbara on the right. The male figure standing slightly behind the celestial group presumably commissioned the painting as a devotional donor portrait.
The Psalter of Bonne de Luxembourg is a small 14th-century illuminated manuscript in tempera, grisaille, ink and gold leaf on vellum. It is held in the collection of The Cloisters, New York, where it is usually on display.
The Flemish Hunting Deck, also known as the Cloisters set of fifty-two playing cards and Hofjaren Jachtpakket, is a set of fifty-two playing cards owned by the Metropolitan Museum of Art, New York, United States. It is significant in that it is the only complete set of ordinary playing cards from the fifteenth century. Estimate ranges of manufacture are between 1470 and 1480.
The Enthroned Virgin and Child is a statuette in elephant ivory dated to between 1290 and 1300, now at The Cloisters in New York. Originating probably from London, certainly English, it is today badly damaged. It originally showed a seated Virgin Mary, holding the child Christ, most of whose body is now lost, but at one time was perched on her left knee looking upwards. Only the toes of his left foot and part of his left leg and foot survive. It has a reddish-brown appearance, probably from a staining agent used in restoration.
The Altarpiece with Christ, Saint John the Baptist, and Saint Margaret is an autographed 1434 sculpture in Carrara marble by the Italian artist Andrea da Giona, now in the collection of The Cloisters in New York City. It was commissioned by the Knights of Malta, a band of Christian sailors preoccupied with defending Spain from Muslim invasion.
Prayer bead with the Adoration of the Magi and the Crucifixion is a small south Netherlandish prayer nut, carved in fine-grained boxwood, dated c. 1500–1510. It is now in the collection of The Cloisters, New York. Originally the bead would have been part of a complete rosary set, and its size suggests its use as an Ave bead, where the supplicant would recite the "Hail Mary". Objects of this type were in great demand in the early sixteenth century. Apart from use in private veneration, they could be worn as necklaces or hung from belts as fashionable accessories. The exceptional craftsmanship of this example indicates that it was intended for a member of the high nobility. J. P. Morgan donated the bead to the Metropolitan Museum of Art in 1917.
The Fuentidueña Apse is a Romanesque apse dated 1175–1200 that was built as part of the San Martín Church at Fuentidueña, province of Segovia, Castile and León, Spain. Little is known about the church's commission, design or early history. It is believed to have been built when the town was of strategic importance to the Christian kings of Castile in their defence against Moorish invaders; the church is situated on an imposing hill below a fortified castle.
The Doorway from Moutiers-Saint-Jean is a portal dating from c 1250, originally for the monastery of Moutiers-Saint-Jean, near Dijon, Burgundy, France, and installed at The Cloisters, New York City, since 1932. It was designed in the Gothic style and carved from white oolitic limestone. The abbey was founded in the 5th century, and became a major center of influence. The abbey was patronised by a line of kings and nobles over the centuries; at one time it was financed by the dukes of Burgundy.
Gothic boxwood miniatures are very small Christian-themed wood sculptures produced during the 15th and 16th centuries in the Low Countries, at the end of the Gothic period and during the emerging Northern Renaissance. They consist of highly intricate layers of reliefs, often rendered to nearly microscopic level, and are made from boxwood, which has a fine grain and high density suitable for detailed micro-carving. There are around 150 surviving examples; most are spherical rosary beads, statuettes, skulls, or coffins; some 20 are in the form of polyptychs, including triptych and diptych altarpieces, tabernacles and monstrances. The polyptychs are typically 10–13 cm (3.9–5.1 in) in height. Most of the beads are 10–15 cm (3.9–5.9 in) in diameter and designed so they could be held in the palm of a hand, hung from necklaces or belts, or worn as fashionable accessories.
The Cloisters Apocalypse, MS 68.174 is a French illuminated manuscript dated c. 1330. The text is the Book of Revelation, thought in the Middle Ages to be by John the Evangelist, part of the New Testament, containing visions and apocalyptic revelation. According to Christian legend John was exiled c. 95 CE to the Aegean island of Patmos, where he wrote. The book evokes John's despair and isolation while exiled, and his prophecy of events and terrors of the last days. Today the book is in The Cloisters in New York.
Pietà a small painted wood sculpture dated to c. 1375–1400, now in the collection of the Cloisters, New York. Very little is known of it, except that is probably of southern German origin. The statuette emphasises the suffering of both the Virgin and Jesus Christ.
The Reliquary Shrine is an especially complex 14th century container for relics, now in The Cloisters, New York. It is made from translucent enamel, gilt-silver and paint, and dated to c 1325–50. Although first mentioned in a convent in Budapest, its style and influences indicates French craftsmanship. It has been tentatively attributed by the Met to Jean de Toul, a French goldsmith about whom little is known, but who is associated with a small number of works with similar stylistic characteristics.
Adam Dircksz is the name ascribed by some art historians to a highly influential Dutch sculptor whose workshop is often attributed with the creation of around 60 of the c. 150 extant Gothic boxwood miniature micro-carvings. Other historians prefer to attribute various unrelated artists who are given individual or grouped notnames. It may be that the master was the innovator in this style of sculpture, and that similar works were directly inspired. According to the British Museum, Dircksz may have served "elite patrons in the circle of the Holy Roman Emperor Charles V, with a strong link to Delft."