Bartholomeus Spranger. The Body of Christ Supported by Angels

Kód výsledku v IS VaVaI

<a href="https://www.isvavai.cz/riv?ss=detail&h=RIV%2F68378033%3A_____%2F20%3A00544145" target="_blank" >RIV/68378033:_____/20:00544145 - isvavai.cz</a>

Výsledek na webu

<a href="http://hdl.handle.net/11104/0321187" target="_blank" >http://hdl.handle.net/11104/0321187</a>

DOI - Digital Object Identifier

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Jazyk výsledku

angličtina

Název v původním jazyce

Bartholomeus Spranger. The Body of Christ Supported by Angels

Popis výsledku v původním jazyce

In 2020 Rijksmuseum received a gift of Bartholomeus Spranger’s painting The Body of Christ Supported by Angels that was previously attributed to Hans von Aachen. Transferred into an engraving by Hendrick Goltzius and dedicated to Baron Paul Sixt Trautson, the composition is a transcription of Spranger’s relief created by Hans Mont. The painting was probably a response to a message about Mont’s death that Spranger received in 1587. Except for fine details, the painter faithfully followed the sculptor’s master drawing although he applied his specific painting style. Twenty years later, in 1607, Spranger further commemorated the painful loss of his friend in the painting Allegory of the Triumph of Fidelity over Fate – Allegory on the Fate of Hans Mont. The painting The Body of Christ Supported by Angels belongs to those works by the painter in which he suppressed the official ‘court’ appearance of his art and dedicated more space to a deep sensual engagement with the theme. This part of the painter’s oeuvre should not be ignored.

Název v anglickém jazyce

Bartholomeus Spranger. The Body of Christ Supported by Angels

Popis výsledku anglicky

In 2020 Rijksmuseum received a gift of Bartholomeus Spranger’s painting The Body of Christ Supported by Angels that was previously attributed to Hans von Aachen. Transferred into an engraving by Hendrick Goltzius and dedicated to Baron Paul Sixt Trautson, the composition is a transcription of Spranger’s relief created by Hans Mont. The painting was probably a response to a message about Mont’s death that Spranger received in 1587. Except for fine details, the painter faithfully followed the sculptor’s master drawing although he applied his specific painting style. Twenty years later, in 1607, Spranger further commemorated the painful loss of his friend in the painting Allegory of the Triumph of Fidelity over Fate – Allegory on the Fate of Hans Mont. The painting The Body of Christ Supported by Angels belongs to those works by the painter in which he suppressed the official ‘court’ appearance of his art and dedicated more space to a deep sensual engagement with the theme. This part of the painter’s oeuvre should not be ignored.

Druh

J_SC - Článek v periodiku v databázi SCOPUS

CEP obor

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OECD FORD obor

60401 - Arts, Art history

Projekt

<a href="/cs/project/GA20-15927S" target="_blank" >GA20-15927S: Umění na odiv: obrazová sbírka císaře Rudolfa II. v kontextu uměleckého sběratelství kolem roku 1600</a><br>

Návaznosti

P - Projekt vyzkumu a vyvoje financovany z verejnych zdroju (s odkazem do CEP)

Rok uplatnění

2020

Kód důvěrnosti údajů

S - Úplné a pravdivé údaje o projektu nepodléhají ochraně podle zvláštních právních předpisů

Název periodika

Studia Rudolphina

ISSN

1213-5372

e-ISSN

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Svazek periodika

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Číslo periodika v rámci svazku

20

Stát vydavatele periodika

CZ - Česká republika

Počet stran výsledku

12

Strana od-do

70-81

Kód UT WoS článku

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EID výsledku v databázi Scopus

2-s2.0-85116308877