First stop on my Landesmuseum Oldenburg visit, the Augusteum for Galerie Alte Meister, which for me means mediæval art. It’s not very large, only four medium-sized rooms over one floor — the upper floor reserved for temporary exhibitions. It also suffers from frankly atrocious lighting of the “dark, lacquered artwork facing open, sunny windows” variety, so quite a few pieces I’d have loved to have photographed were not only camera-impossible, but not even viewable. Plus side: The captions are extensive and in English and German; the works themselves in all the museums are obviously loved, and there’s a lot of care taken in arranging them, in considering them within the whole.
There were a few special pieces, like the Florentiner Meister’s Musizierende Engel; a double-sided Madonna sculpture (photograph was blah so not included here); the remarkable Fragment des Krapendorfer Altars showing Christus in der Vorhölle und Anbetung der Könige by Meister des Krapendorfer Altars (Heinrich Blanckebiel); a small Cranach (the Elder, of course); Franz Timmermann’s Die Bekehrung des Paulus, an apprentice of Cranach, and which is a representation of a story I don’t think I’ve seen before. Benedetto Caliari’s Der reiche Mann und der arme Lazarus I assembled from multiple images, and it’s surprising it came out even presentable — let’s just say this is a good approximation of it.
Franz Francken D. J.’s Die Welt huldigt Apoll is one of those colonial Baroque pieces of the allegorical Four Continents type. I couldn’t help look at white Apollo sitting there above the sycophantic children of the lesser continents, the wealth of their world stacked at his feet and think this is an allegory of another kind. A small detail is the red coral the figure denoting Africa holds, which was so popular in Northern Mannerist gold- and silverware in the 17th century, which I saw masses of in Dresden.
Finished with the Augusteum, across the road to Prinzenpalais for the Galerie Neue Meister.