At Plaza Santo Sepulcro. She looks a bit young, to be honest, like definitely not whatever her age was when she pushed out sandal boy plus his age when he got crucified.
Some post-surgery wandering through Marbella old town, mostly on early Friday morning (pre-breakfast even) cos my panda eyes / subcutaneous corpse paint / 🐼 / 💀 was scaring locals and tourists alike.
Wandering either to my taxi pickup for pre-op consultation, mid-afternoon on July 12th, or same place, previous day, post ridiculously early flight from Berlin and probably looking for food.
Where I stayed for eleven nights (minus one in hospital) on a very expensive not-holiday.
So very tourist. Riding through town via a non-standard (and very bus-y) route, and, being spring, tourists are beginning to swarm. I made like a tourist with camera.
It’s International Museum Day in Germany. And I’ve spent much of it in die grüne Hölle, ’cos this weekend it’s 24 Hours Nürburgring. Which is also art. And there’s the ring°werk museum there, so we’re sorted for museums.
But MedievalPOC has been Twitting some of my photographs from 4 ½ years of museum-ing and I’m kinda shocked at how much art I saw and photographed (and the hours I spent in Photoshop prepping, hours spent blogging), and how much I’ve forgotten until I’m reminded again. And embarrassed by my earlier photographs, so many of which I wish I could go back and retake.
Hans Baldung Grien’s Der Dreikönigsaltar was one of the very first works I saw, four years ago on my first visit to Berlin’s Gemäldegalerie, and returned to many times. The best photos I took of it was in 2015, in Gemäldegalerie — St Mauritius and Companions, which was for MedievalPOC, and I said, “This is for @mediavalpoc. I look at art far more closely because of them.” I look at the world far more closely because of her.
One last thing: I’ve never photographed the exterior wings of this altarpiece. St Katharina is on one, she who is the patron saint of scholars, spinsters, and knife sharpeners, and who has appeared alongside St Mauritius all the way back to the earliest extant work of him, the sculptures in Dom zu Magdeburg St. Mauritius und Katharina.
Oh, and all my visits to museums are here: Museums « supernaut.
Sunday morning after a night of snow and three days with Gala Moody and Michael Carter doing Cie. OFEN things, eating, drinking, and much good friends time.
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.
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.)