German Painter Research Articles

German Art of the 19th Century through the Lens of The Greek Literary Magazine Kleiō (Clio): Academic Formalism Versus Modernism

We examine the work of 19th-century German painters as presented in the Greek-language magazine Kleiō published in Germany in the late 19th century. Through an extensive catalogue of paintings, the article highlights the themes that preoccupied German painters during this period. It places particular emphasis on their approach, aesthetic preferences, the decisive role played by the Academies of Fine Arts, and their attitudes towards the modern movements developing in France during the 19th century. It explores the reasons for which Kleiō magazine promoted academic German painting to its Greek readership. It reports the particularly close relations between Greece and Germany during this period and the fact that many Greek painters completed their studies at the Munich Academy of Fine Arts. Since for most of the 19th century, Germany was deeply influenced by the achievements of ancient Greek art, many German painters opposed modernism, instead upholding what they perceived to be the values and ideals of classical antiquity integrating them into German art

Deutsch-dänische Kunstbeziehungen 1820 bis 1920

Deutsch-dänische Kunstbeziehungen 1820 bis 1920

Образ Альбрехта Дюрера в теории и практике назарейцев и их последователей

The formation of Albrecht Dürer’s cult in German romantic culture is an important problem of modern art history, since the image of the German master, created in the first half of the 19th century, still influences the perception of his work. The article analyses the works of the Nazarene artists and German masters from Munich and Dusseldorf, where the Nazarene traditions were especially strong. Special attention is paid to the design and organization of the so-called Dürer-Feste. In addition, the works of romantic masters have been identified, in which the influence of the style and iconography of Dürer’s works is especially clearly manifested (by P. Cornelius, F. Pforr, E.N. Neureuther, L.E. Grimm). The main subjects associated with the romantic cult of A. Dürer are identified: friendship with Raphael, work for Maximilian I, receiving the coat of arms from the hands of the emperor, and connection with contemporary artists. The peculiarity of the romantic cult of Dürer is special attention to the personality and biography of the master, which manifested itself in the theory and everyday practices of German artists. At the same time, in the art of German Romanticism, references to Dürer’s work are not so frequent. They are found mainly in graphic works, the plots of which are associated with patriotic or historical themes. The article shows that the image of Dürer in the German romantic culture is multifaceted. The Nuremberg master was perceived as a pious Christian artist, an outstanding engraver, a symbol of the chivalric Middle Ages, and at the same time a bright representative of the burghers of Early Modern times. But first of all, the artists of the Romantic era praised Dürer as the embodiment of the national idea and the direct predecessor of modern German painters.

Das Narrenhaus and the Faces of Mental Illness (P4-3.012)

<h3>Objective:</h3> Expound the faces of mental illness engraved in Wilhelm von Kaulbauch’s work, Das Narrenhaus <h3>Background:</h3> Kaulbach engraved Das Narrenhaus (“fools house”) in 1834. It depicts mentally ill patients in the garden of an asylum with a warden lurking in the background. A reproduction of this engraving hangs in the Indiana Medical History Museum Library. It is a vivid representation of multiple mental illnesses. Kaulbach was a German painter and muralist who lived in the 1800s. It was noted by his daughter that he suffered from deep melancholy, and art provided a source of therapy. He specifically spoke of this engraving as a work that helped him recover. <h3>Design/Methods:</h3> Literature review, visual analysis, PowerPoint presentation <h3>Results:</h3> The engraving can be grossly divided into a seated group in the foreground and a standing group in the background all surrounding a central figure. They are huddled in the bleak courthouse of an asylum. The core group is flanked to the right by a warden and the left by a mysterious figure. In the upper right quadrant, the faces of different delusions appear which conjure thoughts of schizophrenia and delirium. Proceeding in a clockwise fashion, the next character’s skin rash and bizarre appearance raise suspicion for neurosyphilis which can present with disturbances in personality, affect, sensorium, and intellect. Next, we see sufferers of presumed post-partum psychosis, adjustment disorder, and depression. The distraught woman holds tight to a log swaddled in cloth as though she were cradling her child. On the left side, angry scowls and provocative urges depict the behaviors commonly seen in mania, intoxication, withdrawal, or personality disorders. <h3>Conclusions:</h3> Wilhelm von Kaulbach’s engraving, Das Narrenhaus, evinces a sympathetic response to the signs and symptoms of mental illness, and his work highlights the utility of art as a form of therapy. <b>Disclosure:</b> Russell Reed has nothing to disclose. Dr. Pascuzzi has nothing to disclose.

“A German Artwork for the German People”

The opera Mathis der Maler (1935), based on the sixteenth-century German painter Matthias Grünewald, is Paul Hindemith’s most iconic work. Because of its artist protagonist, scholarship on Mathis has traditionally focused on how Hindemith may have used the figure of Grünewald to express his views on aesthetics, the position of the artist in society, and/or his position under the Nazi regime. Little attention has been paid, however, to the cultural significance of Grünewald as a factor behind Hindemith’s choice of topic. This article examines the reception history of Grünewald from his rediscovery in the late nineteenth century through the interwar period in Germany. Drawing on contemporary periodicals and the scholarly literature, I show how the artist became a symbol of German Kultur in the nationalist context of the Franco-Prussian War and the First World War. This symbolic status arguably attracted Hindemith to Grünewald as an operatic subject at the beginning of the Third Reich. Not only did the topic align with National Socialist rhetoric about promoting German art, it also allowed Hindemith to draw parallels between himself and Grünewald, portraying himself and his work as inherently German. Given Hindemith’s determination to avoid controversy in the first tumultuous months of the Nazi regime, I conclude that Mathis represented an accommodation to the rapidly shifting social and political environment.

An unpublished Divine Shepherdess attributable to the German painter Franz Xavier Riedmayer and new additions to his catalog

El presente estudio da a conocer una pintura de la Divina Pastora, contrastándola con su fuente grabada, de Francisco Muntaner, bajo diseño de Jerónimo Boix de Berard, y sugiriendo, por su estilo academicista y su comparación con la obra de Franz Xavier Riedmayer, su atribución a este pintor alemán afincado en Cádiz entre finales del siglo XVIII y principios del XIX, aportando, además, nuevas adiciones a su catálogo.

„Rojenia międzyanatomiczne” i „anagramy ciała”: Konstanty A. Jeleński i prace Hansa Bellmera

The aim of this article is to discuss and analyze an extensive essay by Konstanty A. Jeleński, entitled Bellmer albo anatomia miłości fizycznej i nieświadomości [Bellmer or the anatomy of physical love and the unconsciousness], devoted to the works of Hans Bellmer, a German painter, drawer and writer. The article presents the scope and nature of artistic activities undertaken by Bellmer and the way in which these activities and works were described and interpreted by Jeleński. The aim of the article is to show the basic contexts in which Jeleński placed controversial and ambiguous works by the German artist. The article also mentions the main interpretative keys Jeleński uses to show the creative philosophy and uncover the secrets of artistic expression, especially the mechanisms of perceiving the body and visual manifestations of unconsciousness which come to the fore in Bellmer’s works.

The Painter Werner Peiner, the Culture of the German Oil Industry, and the Nature of Hitler’s State

Abstract This article examines the monumental mosaics, large stained glass windows, and illustrated maps that the German painter Werner Peiner (1897–1984), now best known for his designs for the representative buildings of Hitler’s dictatorship, produced between 1931 and 1935 for Shell Oil and its German subsidiary. The discussion of these commissions, which emerged from Peiner’s social networks of the 1920s and contributed to his career as a state artist after 1933, explains their function as ideological images promoting the interests of a global corporation and affirming modern automotive technology using conservative, mythologizing tropes of paradisical nature, traditional cultural landscapes, and immutable national communities that the painter later employed in his work for Hitler’s state.

The German Painter behind the American Lens: Gabriele Münter as Photographer

The German Painter behind the American Lens: Gabriele Münter as Photographer

La biographie comme atelier commun. À propos d’Être ici est une splendeur de Marie Darrieussecq

Standing apart from the rest of Marie Darrieussecq’s work, Being Here is Everything (2016) is, to date, the only ‘biography’ written by this author. It recounts the short life of a German painter, Paula M. Becker (1876 - 1907), whose work was largely unknown in France when this book was published. This text takes its place within a very broad contemporary literary movement – as everyone knows, ‘a fair number of today’s novelists grapple with that uncertain and unstable construct which is the story of a life’ and make it into a major ‘literary genre in the publishing landscape’ (Tadié &amp;amp; Cerquiglini, 339-340). Yet it stands out, in our view, thanks to the different possible levels of reading that it offers. Studying the details of Paula Becker’s life that are selected here, the words chosen and the construction of the text, makes it possible to show that Being Here is Everything also constitutes for the author an opportunity to dig down into themes and topics previously addressed in her fiction, such as feminism, the importance of travelling and of geography, the question of death and what remains after death, thus, as it were, turning certain features of this biography into mirrors. But this story also turns out to be - perhaps more than anything else - a fascinating locus of interrogation and reflection where the great questions arising in the polymorphous genre that is contemporary biography are worked through. It is such avenues that this article sets out to explore.

The Relationship between New American Cinema with the American and European Video Art Movement: A Flow of Ideas

The Relationship between New American Cinema with the American and European Video Art Movement:A Flow of Ideas Alessandro Amaducci (bio) In 1962 experimental filmmaker Jonas Mekas established the New American Cinema Group and The Filmmakers' Cooperative in New York, while in 1963 two significant events took place from an artistic point of view, but above all geographically. In one event, Nam June Paik, a South Korean musician who was experimenting with electronic music and the first electronic image production systems in the studios of the WDR radio broadcaster in Cologne (where he met composers Karlheinz Stockhausen and John Cage, the artist Joseph Beuys, and the architect George Maciunas, who had recently founded the Neo-Dadaist art movement Fluxus), inaugurated the exhibition Exposition of Music—Electronic Television (DE) at the Parnass Gallery, Wuppertal (Germany). Two, the German painter and sculptor Wolf Vostell, co-founder of the Fluxus movement, inaugurated the 6 TV Dé-coll/age (US) exhibition at Smolin Gallery in New York. From one year to the next, New American Experimental Cinema and Video Art were officially born. In 1964, Nam June Paik moved definitively to New York, having become a very active member of the Fluxus movement but paradoxically contributing to the organization of the event that provoked an irremediable break within the group: the "scandalous" concert held in 1964 by Karlheinz Stockhausen in New York, Originale (DE, 1961), opposed by George Maciunas, who shortly after sent a postcard to Nam June Paik with the message, "Traitor. You left Fluxus." Nam June Paik, once the experience of the Fluxus movement was over, became within a few years the reference point of the American Video Art movement. Nam June Paik was not the only video artist active: around him there was already a rich and dynamic environment [End Page 196] made up of many artists, such as, among others, Dan Graham, Aldo Tambellini, Steina and Woody Vasulka, Eric Siegel, Frank Gillette, and Ira Schneider, and soon Video Art would find its home in the United States between Boston and New York. The birth of American Video Art can be placed in 1969 with a double event: the broadcasting of the anthological program The Medium Is the Medium. Video Visionaries (US) of Boston-based WGBH-TV and the exhibition TV As a Creative Medium (US) at the Howard Wise Gallery in New York. In 1970, Wolf Vostell, who had never permanently moved to the United States and who had a rich artistic activity in Europe unrelated to the initiatives of Fluxus, decided to settle in Berlin. All these events lead us to reflect on the fact that between the 1950s and 60s there was an intense proliferation of ideas from Europe to the United States. This process was the consequence of a phenomenon that spanned the entire History of Art from the Second World War onwards, a period in which there was an intense migration of European avant-garde artists, musicians, poets, writers, and choreographers who decided to settle more or less permanently in the United States, especially in New York. This migration included, to name a few, Salvador Dali, Fernand Léger, the definitive return of Man Ray from Paris, Hans Richter, Robert Sebastian Matta, André Breton, Max Ernst, André Masson, Yves Tanguy, Louise Bourgeois, Piet Mondrian, Arnold Schönberg, Hans Hoffmann, Josef Albers, Moïse Kisling, Kiki de Montparnasse (Alice Prin), Georges Antheil, Georges Balanchine, Hanya Holm, Le Corbusier, Jean Cocteau, Paul Bowles, Marcel Duchamp, Hans Arp, Raoul Hausmann, Richard Huelsenbeck, and Kurt Schwitters. But there was also another unstable geographical front: Eastern Europe. Igor Stravinsky, after the October Revolution, emigrated from Russia to Europe and then, before the Second World War, settled in the United States. Many Jewish families from Eastern Europe fled to the United States, such as Maya Deren from Ukraine, Mark Rothko from Russia, and Hedda Sterne from Romania. From Nazi-occupied Lithuania came George Maciunas and Jonas Mekas. The group of Surrealist and Dadaist artists who emigrated to the United States due to the Second World War was welcomed by the art collector Peggy Guggenheim, who through her Gallery promoted the diffusion of this avantgarde art in the United States. One artist in...

The Contemporary Perception of the Book “Verfemte Kunst” – Questioning Werner Haftmann’s Historiography of Modern Art

Can the legitimacy of Werner Haftmann’s (1912–1999) historiographical and curatorial work, who is considered one of the most influential German promoters of modern art in the post-war period in the Federal Republic of Germany, be questioned? Did Haftmann’s personal and professional associations with the Nazi regime before and during World War II leave traces in his later work and career? The article considers Werner Haftmann’s art historiography and curatorial program influenced by his biography, education, and early professional activities during the 1920s and 1930s. His dogmatic and conservative approach emerged during the student protests of 1968, in which younger generations demanded the democratization of culture. Therefore, it is argued that this aspect of Haftmann’s background should be considered as a starting point to reassess his contribution to the canonization of 20th-century Western art history. The article describes Haftmann’s biography and career focusing on his most important curatorial experiences, namely serving as a co-curator of the first ‘documenta’ in Kassel (1955) and as the first director of the Neue Nationalgalerie in Berlin (1967–1974), and analyses the conceptual aspects of Haftmann’s historiography of modern art in his latest book, Verfemte Kunst. Bildende Künstler der inneren und äußeren Emigration in der Zeit des Nationalsozialismus. This book, which was commissioned by the German government and published in 1986, can be interpreted as Haftmann’s final effort to portray select German painters and sculptors who remained in Germany during World War II as victims of the Nazi regime. In doing so, he equated these so-called “internal emigrants” with those who had to flee. Finally, the article demonstrates that, despite enjoying institutional support, Haftmann’s art historiography and curatorial work were strongly contested by younger art historians and artists.

Chasing Homer by László Krasznahorkai

Reviewed by: Chasing Homer by László Krasznahorkai Elaine Margolin László Krasznahorkai Chasing Homer Trans. John Batki. New York. New Directions. 2021. 91 pages. HUNGARIAN AUTHOR László Krasznahorkai is gifted with seductive powers that force us to go wherever he goes; we simply cannot negate him. In Chasing Homer, his anxious first-person narrator careens at breakneck speed through the vastness of Europe’s haunted spaces. We wonder why he is running so fast and from what. We know nothing about him; not his name, or whether he is a parent or father or husband or someone’s lover, or even if he is a good or decent man. He offers no confessions. Yet in a few short paragraphs we are entranced by the lusciousness and foreignness of his impossibly long sentences, which are unencumbered by any internal pressure to come to an end. His suffering becomes ours. We understand he’s under attack—by men who have deemed him unworthy to live—but he offers no clues as to why they want him dead. What was his transgression? Was there one? We aren’t really certain other than knowing that they simply want him to die. It’s not that we are naïve. We know that this last century has seen millions of men and women die for no reason at all; so many at the death camps in Europe, but Krasznahorkai, or rather his unnamed alter ego, never speaks of the Holocaust or any other atrocity directly. He seems disgusted by man’s barbarity to man in all its reincarnations. He describes for us proudly how he has survived this long in intricate passages telling us about the ingenious ways he slips in and out of a crowd without being noticed, or how he is able to remain hidden in the hull of a boat for days at a time without being detected. Krasznahorkai’s protagonist focuses his intention on surviving, which requires him to keep moving, often in counterintuitive directions, to throw off those chasing him. He finds remaining constantly vigilant exhausting. We don’t sense he yearns for any human contact, and he never reminisces about someone he misses from his past. It seems the fight to stay alive has extinguished all other preoccupations. One might think this would distance us from him, but the unfathomable thing is his ability to create in us strong feelings for him despite his obliviousness. We feel his agony and want to help, but he continues to ignore us. His narrative is enhanced by melancholy portraits by German painter Max Neumann that are for the most part indecipherable. The first one we see is a simple line drawing of a man with his eyes blacked out, and another painting shows three men in shadow seemingly scanning an interminable landscape. Another shows a man with a bat seemingly preparing to defend himself against a gang of pursuers whose faces are shielded from view. The book is also accompanied by the madly percussive music of Szilveszter Miklós, made available to the reader by QR codes, which adds to the apocalyptic tension that ripples through his prose. I recall only one time when his voice possessed yearning for a past now long gone. “I never received any training in the skills my life now depends on,” he writes; “my education was about different things entirely. I’d been taught Old High German and Ancient Persian and Latin and Hebrew, and they’d instructed me in Mandarin and Japanese of the Heian era.” We wonder why he is telling us this. Do we hear the faintest drops of some sort of latent elitism for an earlier time? We aren’t certain. All that is clear is he remembers this time with a happiness that is no longer present and we wonder if this joy had something to do with providing for him some moral guidance in a world that already confused him. It occurs to the reader that his prose is strangely silent with regard to moral reckonings of any kind. The author shies away from philosophical assertions, choosing instead to angrily riff on the idiocy of mice and his...

ВКЛАД Л. КРАНАХА СТАРШЕГО В РАСПРОСТРАНЕНИЕ РЕФОРМАЦИОННЫХ ИДЕЙ МАРТИНА ЛЮТЕРА (ПЕРВАЯ ПОЛОВИНА XVI В.)

By the example of the “Christ and the woman the work of taken in adultery” (“Christus und die Ehebrecherin”) painting, the article considers the role of German painter Lucas Cranach the Elder and his workshop in spreading the Reformation ideas. The choice of that specific artwork stems from the painter’s frequent usage of that biblical plot and from many variations which have survived to the present day. The authors intend not only to compare the different periods of Cranach’s creative activity but also to reveal, with the help of the iconological method, the context and the main motives which influenced the transformation of his works. To characterize one of the most important factors – the religious context of the early Modern times – the authors refers to the quotations from the Lutheran interpretation of the biblical story about an adulteress, based on Martin Luther’s sermon of 1531. They also do not overlook the third-party sources of inspiration, that belong to the pre-Reformation period or have no connection with the Reformation at all. Therefore, the article tries to define the peculiarities of Cranach’s works of art and to find the intersection point between the well-established canons of art tradition and the visualization of the new protestant principle of the “sola gratia” (“only grace”).

Écfrasis líricas y relaciones intertextuales alrededor de la Melancolía I de Alberto Durero

Melencolia I (1514), an engraving made by the german painter Albrecht Dürer, is certainly one of the most widespread and analyzed engravings in the history of art until today. However, the pictorial field is not the only one in which this work has left its fertile seeds, also producing significant repercussions in the literary field, especially in poetry. In between the several lyrical ekphrasis that refer to this prolific renaissance engraving, we can find a trail of intertextual connections which begins with the sonnet “El desdichado” from Gérard de Nerval, followed by “The Waste Land” from T.S. Eliot, and then Jaime Gil de Biedma writes his poem “Príncipe de Aquitania, en su torre abolida”, influenced by the former; apart from other poetic references which also lead to this engraving, such as “Ciudades” by Enrique Lihn, and more recently the poem “Tres”, published by Rafael Ávila Domínguez in the sixteenth issue of the journal Apostasía, in indirect dialogue with the first two poems mentioned above. From these references, all interconnected around this picture, the materiality of Melencolia I has acomplished to expand from image to language, strunging on the pearls of an intertextual lineage that broadens the significance of the concept of melancholia around artistic creation, transmotivating the lyrical connotations from renaissance to the romantic and the modernist imagination, and from them to our present idea of melancholia.

The Elements of Supernatural and Magic Realism in Toni Morrison’s Beloved

The present research paper is a study of the elements of Magic Realism and the supernatural elements in the novel, Beloved by the Nobel laureate novelist Toni Morrison. The term Magic Realism was originally applied in the 1920s to the school of surrealist German painters and was later used to describe the process fiction of writers like George Luis Burges, Gabriel Garcia Marquez, and Salman Rushdie etc. These writers weave a sharply etched realism representing ordinary events and details together with fantastic and dream-like elements, as well as with material derived from myth and fairy tales. The German critic Franz Roz introduced the concept of Magic realism in 1920 and it was first used in paintings. The term was introduced in the book Post-expressionism, Magic Realism: Problem of the Most Recent European Paintings in 1925. The purpose here is to analyze the elements of magic realism in the novel, Beloved. We can see supernatural elements in Sethe’s house that bring chaos by haunting everyone through its mysterious presence, and making Sethe’s both the sons Howard and Buglar run away. It appears to be the ghost of a baby which was murdered by Sethe. The ghost causes the things in the house to break and shake mysteriously. In magic realism fiction the ghosts are the central characters generally. In the novel Beloved Morrison has portrayed the ghost as a living person. Thus, the dominance of a unique, mystical and gloomy atmosphere can be seen throughout the novel.

Marie-Louise von Motesiczky: Re-negotiating the self-portrait as a woman émigré artist in the Nazi era

AbstractBorn in Vienna in 1906 to a wealthy, assimilated Jewish family, the painter Marie-Louise von Motesiczky enjoyed a lively social life among the prominent figures of intellectual and cultural Vienna in the closing years of the Habsburg dynasty. She studied at art schools in Vienna, Paris, and the Netherlands, including with German painter Max Beckmann in Frankfurt. The Nazi rise to power cut short Marie-Louise Motesiczky’s career in Central Europe. She fled Vienna for permanent refuge in England. Like her mentor, Beckmann and her contemporary and fellow émigré artist, Oskar Kokoschka, Motesiczky considered the artistic practice of the self-portrait an occasion for self-questioning, self-affirmation, and self-discovery. Unlike her mentors, from early in her career, Motesiczky’s self-portraits had to negotiate the representation of a female subject. This article will investigate the ways in which Motesiczky’s emigration compelled her to reexamine the gendered parameters of the self-portrait and how that reassessment manifests itself specifically in regard to her engagement with the spectatorial gaze. Her position as an émigré artist will not be analyzed as a burden to be overcome but, rather, as the impetus for reexamining techniques and strategies of female self-portraiture.

ОПЕРНЫЙ РЕЖИССЕР АХИМ ФРАЙЕР: ФРАГМЕНТЫ О МЕТОДЕ

This article discusses the creative method of the German painter, set designer and operatic director Achim Freyer. The paper deals with structural and hermeneutic analysis of several scenographic and directorial techniques in his opera productions “Don Giovanni” and “Die Zauberflöte” by Mozart, “Parsifal” and the tetralogy “Der Ring des Nibelungen” by Wagner, “Freischütz” by Weber, “Ariodant” by Handel. It explores the questions of corporeality and representation of gender, the embodiment of the unconscious, the use of hyperboles and fragmentation, the citation of cultural signs and aesthetic codes of different genesis. Freyer’s creative method refers to Brecht’s theoretical views on theatre. In these productions the principle of gestus and idea of the dialectical spiral as a basis of drama are realized. The main approach of the article is the investigation of the stage metaphors in Freyer’s productions as the way to accentuate the concepts of the libretto.

Символическая сущность искусства в романтической эстетике Фридриха Шлегеля

According to Friedrich Schlegel, one of the leading theorists of German Romanticism, the “highest” art is always symbolic, and it would be more precise to name the discipline that deals with it “symbolics”, rather than “aesthetics”. According to Schlegel, the highest arts comprise painting, sculpture, music, and poetry as the “arts of the beautiful and the ideally significant”. Using the examples of painting and literary arts, he demonstrates the symbolic character of art in general. Schlegel thinks that masterpieces of old Italian and German painters exemplify symbolic art. Schlegel is against separating painting into genres. He thinks that portrait, landscape, or still nature are merely sketches in preparation for a large, multi-figure, historical painting — as a rule, with Christian content — which leads the spectator to divine spheres. At the same time, painting must perform its symbolic function by means purely pictorial. The best examples of poetry (this is how Schlegel styles all belles lettres) also have been symbolic, especially during its “Romantic period”, from the Middle Ages and up to the 1600s. Schlegel refers to its symbolic meaning by the term “allegory”. The Bible — as an artistic, symbolic book — became the foundation of the “Romantic” literature of the Middle Ages, which took two routes: “Christian-allegorical”, which transfers Christian symbolism on to the entire world and life, and properly speaking Romantic, which presents every phenomenon of life as leading up to symbolic beauty. Using the example of drama, Schlegel divides works of art into three categories: superficial, spiritual-profound, and eschatological. According to the German philosopher, contemporary art has lost its symbolic content and mostly remains at the superficial level.

“De la mà de un florentí” y “De mestre Marçal”. Los dibujos del pintor valenciano Joan Moreno (1382-1448) y el cuaderno de los Uffizi

A partir de la localización del testamento, inventario de bienes y almonedas posteriores tras el fallecimiento del pintor Joan Moreno en la ciudad de Valencia en 1448, se analiza la importancia del dibujo en los talleres del gótico internacional. La mención específica de dibujos del alemán Marçal de Sas (†1410) y de un florentino que podría ser Gherardo Starnina (c. 1354-1409-13) ofrece la posibilidad de analizar esta documentación en relación con el cuaderno de dibujos de los Uffizi (inv. 2264F-2281F, 18304F-18306F, 18324). Un repertorio de dibujos que se considera realizado en torno a los años 1400 en la ciudad de Valencia y que responde precisamente a las dos corrientes más importantes señaladas en la pintura gótica, la nórdica y la florentina.