Painting on Light Drawings and Stained Glass in the Age of Dürer and Holbein PDF
Preview Painting on Light Drawings and Stained Glass in the Age of Dürer and Holbein
PAINTING ON LIGHT Drawings and Stained Glass in the Age of Dürer and Holbein Barbara Butts and Lee Hendrix with the assistance of Scott G. Wolf With contributions by Barbara Giesicke Timothy B. Husband Mylene Ruoss Hartmut Scholz Peter van Treeck THE J. PAUL GETTY MUSEUM incolaboration with THE SAINT ART MUSEUM This page intentionally left blank This page intentionally left blank © 2ooo The J. Paul Getty Trust Library of Congress Cataloging-in-Publication Data 1200 Getty Center Drive Suite 400 Butts, Barbara. Los Angeles, California 90049-1681 Painting on light: drawings and stained glass in the age of Dürer and Holbein / Barabara Butts and Lee Hendrix with the assistance of Scott C. Wolf ; with contributions by www.getty.edu/publications Barbara Giesicke . . . [et al.]. p. cm. This publication is issued in conjunction with the exhibition Published on the occasion of an exhibition organized by and Painting on Light: Drawings and Stained Glass in the Age of held at the J. Paul Getty Museum, July 11-Sept. 24, 2000 Dürer and Holbein, held at the J. Paul Getty Museum and and the Saint Louis Art Museum, Nov. 4, 2000-Jan. 7, 2001. The Saint Louis Art Museum. The exhibition wil l be on view Includes bibliographical references and index. in Los Angeles from July 11 to September 24, 2000, and in ISBN 0-89236-578-1 — ISBN 0-89236-579-x (paper) St. Louis from November 4, 2000, to January 7, 2001. 1. Artists' preparatory studies—Germany, Southern—Exhi- bitions. 2. Artists' preparatory studies—Switzerland— At the J. Paul Getty Museum: Exhibitions. 3. Drawing—16th century—Germany, South- Christopher Hudson, Publisher ern—Exhibitions. 4. Drawing—16th century—Switzer- Mark Greenberg, Managing Editor land—Exhibitions. 5. Glass painting and staining—Ger- many, Southern—History—16th Century—Exhibitions. Project staff: 6. Glass Painting and staining—Switzerland—History— John Harris, Editor 16th century—Exhibitions. 1. Hendrix, Lee. 11. Wolf, Vickie Sawyer Karten, Designer Scott C , 1956- III. J. Paul Getty Museum, IV. Saint Louis Suzanne Petralli Meilleur, Production Coordinator Art Museum, V. Title. Kathleen Preciado, Indexer Charles Passela, Photographer N7433.5 .B88 2000 748.593'09'3107479494—dc2i Typesetting by G & S Typesetters 99-059416 Printed by Gardner Lithograph Bound by Roswell Bookbinding Entries in the catalogue section were written by the following authors: Barbara Butts, cat. nos. 1-3, 6-27, 30-76; Lee Hen- Front cover: drix, 5, 28-29, 77-152; Timothy B. Husband, 4. After Albrecht Dürer, workshop of Veit Hirsvogel the Elder. The Annunciation, c. 1504-5. See cat. no. 21. Back cover: Hans Holbein the Younger. A Wild Man Brandishing an Uprooted Tree Trunk, c. 1528. See cat. no. 151. Frontispiece: Niklaus Manuel Deutsch and Bernese glass painter (Hans Funk?), after Niklaus Manuel Deutsch. Drawing and stained- glass panel of Christ and the Woman Taken in Adultery, 1527. See cat. nos. 126-27. Contents ix Foreword 83 N U R E M B E R G Albrecht Dürer xi Lenders to the Exhibition Hans Baidung Grien Hans Leu the Younger xii Acknowledgments Hans von Kulmbach Sebald Beham I Introduction Georg Pencz Drawn on Paper—Painted on Glass Barbara Butts and Lee Hendrix 189 A U G S B U R G Hans Holbein the Elder 17 Monumental Stained Glass in Hans Schäufelein Southern Germany in the Age Hans Burgkmair of Dürer Jörg Breu the Elder Hartmut Scholz 233 S T R A S B O U R G AND F R E I B U R G 43 In Honor of Friendship: Hans Baidung Grien Function, Meaning, and Iconography Hans Weiditz in Civic Stained-Glass Donations in Switzerland and Southern Germany 249 R E G E N S B U R G Barbara Giesicke and Mylène Ruoss Albrecht Altdorfer 57 On the Artistic Technique of Glass 253 B E R N Painting in the Age of Dürer and Hans Funk Holbein and Its Conservation Problems Niklaus Manuel Deutsch Peter van Treeck 275 Z U R I C H 67 PR E C U R S O R S Hans Leu the Younger The Master of the Housebook Peter Hemmel von Andlau and the 283 B A S E L Strasbourg Workshop-Cooperative Urs Graf The Master of the Coburg Roundels Antoni Glaser Michael Wolgemut Hans Holbein the Younger 313 List of References 326 Index Foreword lbrecht Dürer and Hans Holbein the Younger: their expertise in the connoisseurship of drawings to The names evoke the magnificent achievements ofs ome of the knottiest problems facing scholars of Ger- Renaissance painting and printmaking in Southern man and Swiss Renaissance art, sought out relevant Germany and Switzerland. They are not, however, drawings and stained glass throughout Europe and generally associated with stained glass. Nevertheless, North America, and established fruitful collabora- Dürer, Holbein, and their Southern German and Swiss tions with their colleagues in the field of stained glass. contemporaries designed some of the most splendid We join Barbara Butts and Lee Hendrix in thanking stained glass in the history of the medium. TheiBr arbara Giesicke, Timothy B. Husband, Mylène designs and the stained glass executed after them are Ruoss, Hartmut Scholz, and Peter van Treeck for their celebrated in this exhibition. contributions to the exhibition and publication. Mark The J. Paul Getty Museum, with its strength in Greenberg and his staff in the Publications Depart- Old Master drawings, and The Saint Louis Amret nt at the Getty brought together their texts in Museum, with its outstanding holdings of German art, the form of a beautiful and substantial catalogue. were ideal collaborators for Painting on Light. The The exhibition in St. Louis was made possible in exhibition is notable for its combination of scholar- part by financial assistance from The May Depart- ship and extraordinary beauty. It is a rare opportunity ment Stores Company and its Famous-Barr and Lord to view so large a large quantity of radiant paintings & Taylor Divisions, and by the National Endowment on glass from the age of Dürer and Holbein. The exhi- for the Arts, a federal agency. This exhibition would bition includes many medium-sized and small-scale not have been possible without the generous loans of masterpieces, made for both religious and seculatrh e many individuals and institutions named in the buildings, and demonstrates the amazing flowering of pages immediately following. the stained glass in the late fifteenth century and first quarter of the sixteenth century. It juxtaposes stained- John Walsh glass panels with related drawings to elucidate theD irector, The J. Paul Getty Museum working relationships between the great Renaissance draftsmen and the talented glass painters who trans- Brent Benjamin lated their designs into another medium. The vitality Director, The Saint Louis Art Museum of stained glass in Southern Germany and Switzerland from the period is seen in the range of subject matter treated—including knightly tournaments, the labors of the seasons, narrative themes, romance, and mili- tary conquest—and in the technical inventiveness of the designers and glass painters. Lee Hendrix, Curator of Drawings at the J. Paul Getty Museum, and Barbara Butts, guest curator (for- merly Curator of Prints, Drawings, and Photographs at The Saint Louis Art Museum) organized this exhi- bition with enthusiasm and insight. They brought ix
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