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Ungarisch – Mitteleuropäisch ist Nationale Zugehörigkeit spätmittelalterlicher Künstler noch ein Problem?
Hungarian – Central European? Does the nationality of a late medieval artist mean a problem?
In the second half of the 19th century – at the beginning of the Hungarian art history writing – all over Europe was a widespread view, that art expressed the national spirit. In the 20th century, mostly after the First World War, according to the intensification of the nationalist mentality in Central Europe the mainstream of the Hungarian research naively looked for an idealization of the past. After the Second World War, after the disillusion in the national ideas researcher became more realistic. Even the international art history made efforts to accentuate rather the common features of the region as their differencies, to think themselves as part of a larger entity, named East Central Europe. Hopefully this approaching will be more productive, as the ambition of appropriating certain artists or monuments.
De van Eyck à Dürer. Les primitifs flamands & l'Europe centrale 1430–1530
Catalogue de l'exposition, Till-Holger Borchert et al., Groeningemuseum à Bruges du 29 octobre au 30 janvier 2011
Hans Holbein der Ältere. Die Graue Passion in ihrer Zeit
Herausgegeben Von Elsbeth Wiemann. Stuttgart, Staatsgalerie, 27. November 2010 Bis 20. März 2011. Hatje Cantz Verlag, Ostfildern, 2010
Albrecht Dürer. Katalog zur Ausstellung in der Albertina, Wien, 5. September bis 30. November 2003, Hrsg. K. A. Schröder, M. L. Sternath
Problems concerning the meaning of the gesture of the hands of the Virgin in Leonardo's painting are studied here. Former interpretations as expression of protection or blessing are discussed. For the gesture of the Virgin is proposed in this study a meaning which corresponds to her role as Mediatrix omniumgratiarum. For this interpretation prototypes in Quattrocento painting are indicated as well as works influenced by the Leonardesque model.