Details

Autor(en) / Beteiligte

• Palginõmm, Kerttu

Titel

Der dem Meister der Lucialegende zugeschriebene Revaler (Tallinner) Retabel - kostbare Stoffe und ein unbekannter Meister?

Ist Teil von

• Baltic journal of art history, 2012-01, Vol.4

Ort / Verlag

Tartu: University of Tartu Press

Erscheinungsjahr

2012

Link zum Volltext

Quelle

EZB Electronic Journals Library

Beschreibungen/Notizen

• The appearance of the reval retable does not appear to be characteristic of the painting of the netherlands of this period. Although an example similar to the work of the Nikolaikirche church (niguliste kirik) exists in the form of the flémaller tablets, it is nevertheless a much older work of art, quite different from its construction. In the painting of Spain you can find a lot more works, for which a fabric imitation, which takes the entire background, is characteristic, while they are often combined with ceramic tiles of Iberian origin (azulejos), similar to the revaler retabel. It is important to note that the retabel is an exception among the masterpieces of the Lucialegende. It is well known that the artist Jan Fabiaen, who was also active in brügge, worked as a tapestry designer. Even among the works attributed to the master of Lucialege, there seem to be references to the art of carpet carpets. This is indicated by the Millefleurs appearing in three different paintings, often combined with the city view of Bruges. This emphasizes the center of origin of the work, as evidenced by the works performed by the master of the master, Gerard David. But similarities to the art of the carpets are also shown by the elements and the composition of the middle panel of the Jacobite Church, which represents the Lucialegend. The problem is that we do not know a preserved work of art that we could relate to Jan fabiaen. Therefore, the work Jan Fabiaens at the revaler retabel remains purely hypothetical among others. In addition to the Millefleurs, other precious textiles are also displayed on the Revaler Retabel, but these can not be clearly assigned to an Italian manufacturing center. The representation of the fabric is generalized and not particularly detailed, but contemporary textiles are of different types and with different grades of preciousness. Among them there is the green damask, the gricciasamt, the golden brocade and the so-called velluto raso, together with the golden eyelets, are repeated, which is why they could be called velluto alluciolato. With the help of the textiles different stages of the festivity are aimed at - from the outer wings in Grisaille one moves to the most favorable among the precious fabrics, the Damast, from there again to the luxurious Brokatstoff. In terms of poor durability, it is difficult to find concrete textiles from the museums' collections, which could be linked to the reval retable. Similarly, it is not advisable to attribute to the artists a striving for a documentary truth. ">We can surmise that, although the illustrated textile species actually exist in the environment of the were likely to be sought both by a greater effect or a simplified treatment, and by their imagination. In the representation of the textiles up until now, the assumption was circulating that they were painted with a template. This is, however, unlikely, since the result is much too uneven for a master painting. Evidently, during the painting of the patterns, hole pauses and tracing paper were used. The brocades are probably painted in the technique of pictura translucida. It would be helpful to examine the retabel against the background of further retabel, which was attributed to the master of the Lucialegende - is there any similarity between the works that have been attributed to the master? The master of the Lucialegende certainly falls under his contemporaries by his preference for precious fabrics. The illustrated textiles can cast a light on both the person of the artist and his experiences, preferences, habits and his workshop.