Burgpfeifer. Mitteilungen aus Donaustauf und Sulzbach 4/1980

darin u. a.: N. N., Albrecht Altdorfer 500 Jahre (S. 2

Entre simpatía cósmica y observación distinta: el orden natural y moral en la pintura paisajista de Joaquín Patinir

La pintura paisajista tuvo sus orígenes hacia 1500 en Amberes, en Venecia y en Alemania meridional. Para comprender su génesis, debemos analizar la aproximación de la naturaleza hacia 1500 (las cuestiones de impulsividad y autocontrol, vivencia inmediata y representación distante) y las concepciones del orden natural y moral en la visión humanista, además la temática y la clientela internacional (los Países Bajos, Italia, España,...) de Patinir. Los temas de Patinir conectan delitos morales o influencias diabólicas con cataclismos naturales, o personas o eventos sagrados con la belleza panorámica del mundo. La simpatía cósmica se revive -de manera distante y 'estética'en la pintura.Early landscape painting originated ca. 1500 in Antwerp, Venice and Southern Germany. In order to understand its genesis, we must analyze the early modern approach of Nature (the problems of compulsivity and self-control, immediate experience and distant representation) and the early humanist concepts of the parallel between natural and moral orders; further, we must study Patinir's thems, and his clientele (Netherlands, Italy, Spain .. ). Patinir's thems connect moral offences or diabolical influence to natural cataclisms, or sacred events and persons to the panoramic beauty of the world. 'Cosmic sympathy' is revived, but in a distant and 'aesthetic' way, in painting

Distorted Norms: German Expressionist Prints and the Legacy of the Early German Masters

German Expressionism, one of the most influential art movements of the twentieth century, was the source of unprecedented experiments in printmaking. Although the works appear modern to our eyes, Expressionist printmakers drew heavily from the early history of printmaking, which emerged in northern Europe in the fifteenth and sixteenth centuries. The early history of the print included the development of the woodcut, the innovation of the printing press, and the invention of new printmaking techniques such as engraving and drypoint. The ways in which German Expressionists drew upon their heritage in printmaking is evident in three key ways: the revival of the woodcut, the distortion of the human figure, and social observation. Because German Expressionism embraced various styles and numerous artists, it has been challenging to clearly demonstrate how they looked back into the early German printmaking masters. However, the exhibition and catalogue for Distorted Norms: German Expressionist Prints and the Legacy of the Early German Masters reveals the visual connections between the two eras of printmaking and draws on two major strengths of UWM Art Collections

Fireworks for the Emperor. A new hand-colored impression of Sebald Beham’s “Military Display in Honor of the Visit of Emperor Charles V to Munich”

A little studied Einblattdruck, or single-sheet woodcut, from the sixteenth century shows early incendiary devices used to honor the entry of the Holy Roman Emperor in 1530. The large woodcut displays the military honors given to the emperor: cannons firing on a castle constructed for the occasion and fireworks. Harnessing the potential of powders for both pyrotechnics and color added by hand to prints was among the many cultural developments of the sixteenth century. This article makes known a recently rediscovered impression of the print, unique with hand coloring, which serves as the focus of discussion for several aspects of the print including the ephemeral and incendiary, the states, and related prints with rocket Turks. A technical analysis discusses the color azurite and completes the article. “The Military Display in Honor of the Visit of Emperor Charles V to Munich” ( Pauli 1115)1 measures slightly over 1 foot x 4 feet (360 x 1340 mm, 14.17 x 52.76 in.). It was printed from five wood blocks onto five sheets of paper glued side-by-side, with each image and sheet measuring ca. 350/360 x 1330/1340 mm.2 The banderole at the top indicates that the “The Princely City of Munich – Die Furstlich Statt München” is the location depicted. The year 1530 is included at lower left, and although the print is not signed, the style is unmistakably Sebald Beham’s. It is initialed “NM” at center bottom indicating the printer was Niklas Meldemann, also from Nuremberg, for whom Beham designed other prints.3 Meldemann included his name and date in the placard at upper right as the person responsible for printing the woodcut (“ytzd im druck verfertigt vnd auszgangen […] 1530. Des 10. Tags Junij”). The date of 10 June 1530 indicates the day Charles V victoriously entered Munich after his defeat of the Ottoman Turks at Vienna. The Bavarian and Austrian coat of arms, upper left and right, underscore the connection to the men identified in the placard as Bavarian dukes, the brothers Wilhelm and Ludwig. The print appears to have been made both to commemorate the event and to honor the two brothers (“Zu eren den Hochgebornen Fürsten vnd Herrn”) on the occasion of the entry of his Imperial Majesty. The inscription calls the woodcut a “true record – aigentlich verzeichnus”) of the event. The Emperor’s name, Charles V, appears to have been included only in the first state of the print, which is now lost, and his image is almost impossible to locate in the composition as are those of Wilhelm and Ludwig. Zu den bedeutendsten Stücken in der Sammlung des Historischen Vereins von Oberbayern gehört das einzige bekannte altkolorierte Exemplar von Sebastian Behams Holzschnitt »Manöver zu Ehren Kaiser Karls V. anlässlich dessen München-Besuchs 1530«. Das von Niklas Meldemann gedruckte Blatt wurde 1860 im Rahmen der Gesamttagung der Geschichtsvereine an den Verein geschenkt und jahrzehntelang in den Vereinsräumen ausgestellt. Durch den vorliegenden Beitrag wird es aus seiner zwischenzeitlichen Versenkung wieder hervorgeholt und – im Vergleich mit eindrucksvollen Abbildungen verschiedener Siegesfeiern – als herausragende Dokumentation eines Huldigungsevents und einer militärischen Darbietung der Zeit vorgestellt. Neben der Darstellung militärischer Macht wurden auf Blättern dieser Art stets die technischen Errungenschaften der Zeit, darunter die verschiedenen Formen der Pyrotechnik, mit Freude am Detail illustriert. Auch die besiegten »Feinde« – insbesondere die einfach darzustellenden Türken – wurden gerne vorgeführt. Unter vergleichbaren Siegesfeier-Darstellungen nimmt der Beham-Holzschnitt des Historischen Vereins aufgrund seiner außergewöhnlichen Größe, seines theatralischen Aufbaus und vor allem seiner Farbigkeit eine Sonderstellung ein. Jüngst auf Anregung der Autorin Alison Stewart durchgeführte Analysen der eingesetzten Farben bestätigten, dass die eindrucksvolle Kolorierung – mit der Ausnahme einer kleinen Retusche – aus der Zeit des Drucks stammt. Die reichhaltige Farbpalette beinhaltet Pigmente, die zu dieser Zeit in der Malerei weit verbreitet waren. Die Farben kamen aus den gleichen Quellen, die auch die Chemikalien für das abgebildete Schießpulver und die Pyrotechnik lieferten – den deutschen Apotheken des 16. Jahrhunderts. Dieser Beitrag ist das Ergebnis einer Zusammenarbeit von Alison G. Stewart und Nicole Roberts. Letztere schrieb den Abschnitt »Farbanalyse« am Ende des Aufsatzes