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Gemäldegalerie — In neuem Licht: Hans Springinklee: Allegorie auf die Binde- und Lösegewalt des Papsttums

Either Gemäldegalerie rotate some of their collection (the smaller works it seems) or I magically have seen this work before on their walls. Or it’s from the room that’s currently holding Jean Fouquet’s Das Diptychon von Melun, ’cos one of my faves was definitely missing. Hans Springinklee, a student of Albrecht Dürer (notably worked on Durer’s Triumphal Arch, Ehrenpforte Maximilians I.), more known for woodcuts and illustrations, but occasionally he painted, and here’s his Allegorie auf die Binde- und Lösegewalt des Papsttums, (Allegory on the Binding and Loosening of the Papacy), a riot of saints and martyrs floating on clouds, waving palm fronds (Saint Christóforos is up the back; you could play Name that Saint all day), St. Peter offering the pope a chalice full of crowned black snakes, and St. Michael busy heaving a sword and weighing souls on his scales.

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Gemäldegalerie — In Neuem Licht: Two Die Anbetung der Könige

Two more Adoration of the Magi from Gemäldegalerie’s In Neuem Licht exhibition. The first, a copy after Hugo van der Goes’ Die Anbetung der Könige vor dem Stall im Hügel from around 1500 (or maybe more like a copy of Gerard David’s early-1500s copy of van der Goes’ now lost original, though this one’s narrower and missing a couple of figues on the left — either way, done around the same time). The second, the Meister der Crispinus-Legende’s Die Anbetung der Heiligen Drei Könige panel from the Straußfurter Marienaltar, from around 1520. Van der Goes did one of my favourite works in the Gemäldegalerie, Die Anbetung der Hirten, as well, the gallery has another of his, the Monforte altarpiece Der Anbetung der Könige. Meister der Crispinus-Legende I’ve never heard of, but does remind me of some pieces in Magyar Nemzeti Galéria in Budapest, I saw on my eastern Europe jaunt a couple of winters ago.

(These photos were taken when I’ve been not so inclined to spend days editing scores of images, nor to agonise over photographing under crap light — and the lighting in In Neuem Licht is on the crap end — so they’re both not really up to my usual standard, but on the off-chance I don’t go back to photograph these pieces properly, they seem to be the only easily findable images of these on the internet.)

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Gemäldegalerie — In Neuem Licht: Hieronymus Bosch — Die Anbetung der Könige

An afternoon at the Gemäldegalerie with one of my favourite museum partners, Robert. We spent a lot of time in front of Jean Fouquet’s Das Diptychon von Melun — which I will photograph, ’cos I have to go back for In Neuem Licht. I don’t think I can imagine the extent of their stockrooms. They’ve got 70 works on display in the central atrium, all deep blue walls and the gentle murmur of the long fountain, and any of them could easily win a fight for a hanging spot on in permanent collection (where I’m pretty sure some of them occasionally reside).

I’m fighting my urge to photograph everything in a museum at the moment. I wasn’t going to point camera at anything, but then I saw a trio of northern European mediæval Die Anbetung der Könige, and … especially when one of them is a copy of the very famous Hieronymus Bosch one, which hangs in Museo del Prado. It’s like I’ve already seen it, I know it so well. So I’m going to try blogging individually some of the pieces I like, and I have to go back anyway, ’cos it was all kinda rushed with the camera. This one, then, is a copy of Bosch’s Adoration of the Magi or The Epiphany, from around 1550, on oak, Kat.-Nr. 1223. It’s been in the Staatliche Museen zu Berlin’s collection since it was acquired in 1837 from General Otto August Rühle von Lilienstern. I’d love to go to Madrid and see the original, it’s one of my favourites, along with Pieter Bruegel de Oude’s unfinished De Aanbiddung der Wijzen.

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Gemäldegalerie: Jean Fouquet — Das Diptychon von Melun

I saw this. It’s mad brilliant. Like it should have the grimiest beat vibrating the walls and NoLay spitting for 500 years.

Gemäldegalerie: Jean Fouquet — Das Diptychon von Melun
Gemäldegalerie: Jean Fouquet — Das Diptychon von Melun

Ottensheim & Danube Panorama

First evening in Ottensheim, we all jump on the Drahtseilbrücke Ottensheim, a cable ferry that pendulums across to Wilhering on the other side, about 160 metres away. Up the river to Kraftwerk Ottensheim-Wilhering, Schloss Ottensheim on the hill, the town of Ottensheim itself with Pfarrkirche hl. Ägidius above the ferry pier (play spot the building with Wikipedia) on the market square where Kali and I did Friday in with goat cheese, bread, Most, smoked fish, apples and pears, and the most excellent Donau.hof restaurant where we ended up most days, either for eating or for drinking (& cheers to the head waiter for mad good service), further right the pointy apex of old church cum organ pipe factory cum rest home cum apartments where we had impromptu afternoon tea with a woman who lives there because we liked her garden so she showed us around, past the hills of Dürnberg and down the river to Linz, 10 km or so around the corner, and all the banks of the river we wandered and biked daily, if only to get our heads and emotions in order for Rest Area.

Ottensheim and Donau panorama from Drahtseilbrücke Ottensheim on the Wilhering side
Ottensheim and Donau panorama from Drahtseilbrücke Ottensheim on the Wilhering side

Jüterbog Saint Mauritius

Jüterbog has been on my list of German towns with a connection to Saint Mauritius to visit. It’s approximately spring, which means time for weekend bike trips with David, and as we haven’t gone south, and the Berlin-Leipzig bicycle Autobahn goes through Jüterbog, it seemed like a good combination of for a Saturday.

So, the bike path. It’s an Autobahn. For the most part. Sometimes it’s like Paris-Roubaix, but mostly it’s gloriously hoonable, with twists and hairpins as it weaves between farmers’ fields and forests, those pretty but somehow disturbing towns by lakes where Baroque and Gründerzeit mansions and estates gradually return to earth, drivers that are embarrassingly polite when they need to overtake you on the occasional stretches of road, utterly, utterly flat except for one long, low hill we passed by that might have been a mirage or a crop of taller than usual trees, a couple of downhill stretches into Jüterbog that make me yearn for a UCI Tour von Deutschlands Osten — it’d be like Ronden van Vlaanderen.

We ended up in Jüterbog’s town square looking for coffee after not that many hours pedalling. Jüterbog is one of those walled villages on the borders of the Holy Roman Empire a thousand years ago, then called Jutriboc. It fell under the rule of the Archbishopric of Magdeburg, and as Magdeburg is where the earliest extant representations of Saint Mauritius as a black knight are found, he turns up regularly in churches and towns of the diocese. I knew he was in Jüterbog, I just wasn’t expecting to see him — and his impressive codpiece — on the north-west corner of the mediæval Gothic brick Rathaus, watching over us in the café.

Translated from the plaque:

The statue of Saint Maurice points to the town’s incorporation within the Magdeburg diocese (1157-1635). In 1507, the lord and Archbishop of Magdeburg Ernst von Sachsen, donated the sandstone figure in the form of a contemporary knight. After damage, the canopy was restored in 1935, and the statue itself in 1958-1960, courtesy Karl-Heinz Sachamal. The original is in Mönchenkloster.

As usual, he’s missing his lance, but the stonework of his gauntlets and shield are some of the best I’ve seen. We didn’t hang around long, so I saw neither the 12th century Liebfrauenkirche nor Mönchenkirche, which is now a museum, though did make it to the top of Stadtkirche St. Nikolai, via a claustrophobic and murderously easy to defend stairwell, whose massively thick walls reminded me of Torri Asinelli in Bologna. Along with a dozen other towns nearby, I have idle plans to return for the unseen museums and churches.

Victoria & Albert Museum

All the Victoria & Albert Museum. Well, all the mediæval stuff. That I could find. Plus some renaissance stuff, and a couple of other nice pieces. Masses of art from a Sunday afternoon with the awesome Jennifer Evans for company. Shared hangover also. In the sun in the courtyard garden. Romping the halls and galleries.

I saw: half of Level 0; less than a third of Level 1; a bit under half of Level 2; not much more than a quarter of Level 3; nothing of Levels 4 and 5; dunno if Level 6 even exists. All that in five hours until I got kicked out. I get booted from museums at closing time like most people get booted from bars, pubs, and clubs.

I missed: The brilliant Würzburg St. Maurice wooden statue because … I dunno. Was the room closed? Did I think there was nothing in the next room? Like many museums, incompleteness is a reason to return, to the city and the museum.

Best thing: It’s free! Blimey! So was the National Gallery. What kind of witchcraft is that where museums are free? Other best thing: It’s organised by material as well as chronologically. Which is frankly awesome. Another best thing: It was packed. And I mean packed. They must get millions of visitors a year. Yay, art! (Good estimate based on a single day, Frances: 3.5 million in 2015.)

How many photos did you take, Frances? A shade over 300, including captions. And how many have you blogged? This is the bit that always embarrasses me when I’ve finished editing them all: 111. The number’s kinda like an objective remark on my tendency towards excessive fun. I mean it’s not like I’m banging heroin anymore, is it? Museums it is, then.

  1. Victoria & Albert Museum — Level 0
    • Medieval & Renaissance 300-1500
  2. Victoria & Albert Museum — Level 1
    • Medieval & Renaissance 1350-1600
    • Cast Courts: The Weston Cast Court
    • Sculpture 1300-1600
    • Raphael
  3. Victoria & Albert Museum — Level 2 & 3
    • Medieval & Renaissance 300-1600
    • Rosalind & Arthur Gilbert Collection
    • Sacred Silver & Stained Glass
  4. Victoria & Albert Museum: Margot Fonteyn’s Swan Lake Tutu
  5. V&A

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Victoria & Albert Museum — Level 2 & 3

I took another diversion through the Asian Collection again before heading up one of the many sets of stairs to Level 2. More mediæval art. I was kinda committed to it at this stage, as much as I wanted to go off at random. I could have spent the whole day on the ground floor, working my way through the Asias. One thing I really liked here, and I reckon it has a lot to do with both the museum being free to visit, and London having a far more confident mob of people from more recent-ish immigration backgrounds — even the Mayor, the most awesome and we can all agree pretty bloody fine Sadiq Khan, son of a Pakistani immigrant bus driver — was so many people were not the default white / northern European I see in Berlin museums. Plus I find it entirely awesome when I see groups of young guys running around the Middle East, South Asia, and Islamic collections getting really excited about the pieces cos they identify with them and see themselves or their history in them. This is something I genuinely miss and struggle with in Berlin, the monoculturalisation and paucity of the rest of us in — I don’t know exactly what to call it — in mainstream German/-ic culture. It feels to me that in London at least (despite the white nationalism of Brexit and all) immigrants of any generation are Londoners / British / not sure the most applicable appellation here, but you get what I mean, in a way I feel the comparable groups in Germany are not and perhaps will never be allowed to be. I miss that confidence and feel in Berlin being an immigrant or just somehow being marked as an outsider means keeping your head down, constantly scanning in case whoever walking towards you on the street is going to bring one of the so many forms of bullshit with them.

I was also thinking, as I plundered the Level 2 mediæval stuff, that it might be time to properly go eastwards and indulge my enthusiasm for Islamicate and Persian art as much as I do old European stuff.

There’s a couple of pieces here (The Adoration of the Kings, images 1 and 2; Descent from the Cross, images 9 and 10) are only details because I couldn’t photograph through glass. One of the most spectacular pieces is the wooden altarpiece by (probably) Giovanni Angelo del Maino and Tiburzio del Maino (images 3-7). This is simply extravagant and endlessly intricate. The detail is in the crush of the public arrayed along three levels and decreasing in size as they move higher and further back. The three crucifixes stick like masts high above the mass, the flanking pair bowing outwards in the emptiness, a forest of spears, halberds, and pikes at their feet. Lower left, the first figure above the predella is a woman breastfeeding. There’s children everywhere. In the predella itself, the central panel is the Adoration of the Shepherds, which I saw a lot of in London.

Plenty of other beautiful pieces. The Dish with a Couple and an Inscription by Workshop of Giacomo Mancini I loved because it’s secular, and one of the first pieces I saw that went this way; Plate with Three Graces by Workshop of Maestro Giorgio because it goes into Greek mythology; the various Virgin and Childs all of which so different from each other. The out of that and into Cast of Judith and Holofernes, from the original by Donatelli. It’s in the Simon Sainsbury Gallery high up on a plinth, suitably brutal and awful.

Up to Level 3. I spent a long time in the Materials and Techniques sections, a lot of design in metal, glass, enamel, porcelain, silver. I didn’t photograph much; there was far too many pieces to even think coherently about. Even with a full day I doubt I’d get through everything. Two to three days would be probable. So I finished with stained glass.

There’s a brilliant, small piece, Christ as the Man of Sorrows, with the Imago Pietatis, what I call a Bynum (because of her work, Wonderful Blood), Jesus literally dripping blood and filling a bath with it, the objects of his torture arrayed around him. I’ve never seen this subject on glass and despite being from the mid-1600s, it looks like it belongs three hundred years earlier. Then lucky last, The Adoration of the Magi by (possibly) Master of the Holy Kindred, another work massive and far above me (so it’s a little distorted from straightening it out). And shortly after I got kicked out. Out into the late-afternoon sun, onto a bus and see London pass by for an hour as I northwards home.

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Victoria & Albert Museum — Level 1

Speaking of massive altarpieces, here we go. Level 1 of Victoria & Albert Museum, the ground floor entrance, lofty, airy ceilings and art stretching up to them. It’s a bit like the Bode Museum for scale of art and architecture. Unlike the Bode, it’s packed. People are promenading like it’s life’s greatest accomplishment to wander around mediæval art. Which it is.

I’m first taken by The Troyes Altarpiece. We’re getting into very Late Mediæval / Early Renaissance here, and it’s not the most virtuoso altarpiece I’ve seen, it’s in limestone so the finesse possible in wood isn’t here, but it has a solidity and depth, like exaggerated perspective between the foreground and background figures. It’s not even especially large compared to The Brixen Altarpiece, which is so huge it’s impossible to look up at without seeing converging lines. Because photographs turn everything, no matter how big or small, into objects of the same dimension and all scale is lost, my head is about level with the heads of the four saints in the predella of The Brixen Altarpiece.

There were also several works I couldn’t or didn’t photograph, either because they were under glass, or I was too hasty. The Brixen Altarpiece was only one of many similarly gigantic altarpieces; The St Margaret Altarpiece was another. An especially fine Northern Germanic piece of a saint I rarely see, and certainly never with her life and torture so disturbingly depicted. This was made around the same time as The Brixen Altarpiece, yet shows the style that continued to develop north of the Alps, distinct from the Renaissance in Italy.

And then there’s Andrea della Robbia’s The Adoration of the Kings, also around the same time and from Italy, in tin-glazed terracotta, and very much committed to Renaissance and even anticipating the Baroque. I think this is one of the V&A’s more famous pieces, and it’s gorgeous in real life. It exemplifies the character of the V&A collections. They’re concerned with materiality; the works on display emphasise the diversity of choice of materials, of techniques, of aesthetics, making the museum as much a place of science and technology as art.

Last piece in these rooms, Perino del Vaga’s The Raising of Lazarus I mention because I realised I’m attracted to works like this fresco, or some of the preparatory sketches or unfinished works (I’m thinking of Pieter Brueghel’s De Aanbiddung der Wijzen here) where there’s a softness and visible exploratory process.

From there, I went into the Cast Courts, where I knew I had no hope; the V&A had been playing with me up to then. It wasn’t quite Louvre scale of tiny people in epic architecture, but for sure reminded me of it. So I got lost trying to find the sculpture corridors, completely missed the St. Mauritius sculpture in the last room (I still have no idea if I was inattentive or if it wasn’t open), turned around, got lost in acres of the Asian collection (Persian miniatures are my thing and I almost put the brakes on the rest of my mediævaling for this and the Islamic collection), found the Raphael rooms—he’s really not my thing, I think people like him because they confuse their fascination with a kind of seductive, transfixing blandness for the sublime, a lot like how people do over the Mona Lisa—the altarpiece was impressive the way the megalith is in 2001—also not Raphael but the ‘Master of the Centenar’ (possible German painter Andrès Marçal de Sas)—sometimes I wish museums put multi-level viewing platforms (with binoculars) in front of these towering pieces, but that’s just because I love smearing my nose right up against the art. Then I’m off up the stairs to Levels 2 and 3.