The Holy Kinship in a Church; Geertgen and the Westphalian Master of 1473

The Holy Kinship in a Church; Geertgen and the Westphalian Master of 1473 225 The Holy Kinship in a Church; Geertgen and the Westphalian Master of 1473 Although Albert van Ouwater is the acknowledged founder of the Haarlciii school of painting, only the Berlin Raisit?g o f ? Lazarus is attributable to hinl (Fig. 1) '. Van Mander states that Ouwater had as a pupil Geertgen tot Sint J ans, and while this remains a rnoot point, Geertgen is nevertheless the first Haarlciii artist whose works survive in sufficicrlt number to allow us to speak in iiiore than generalities. Aniong these works the early Holy Kinship (Fig. 2), usually dated towards the very beginning of his career' (ca. 1480-1482), stands out by its naive charm and novel conception, and as such poses the question of whether so young and presumably inexperienced an artist can be fully credited with so individual a treatment of the theme-specially as regards the setting of the scene within a church, the playful children apostles, and the striking group of St. Elizabeth and thc infant Baptist-or whether a prototype can be shown to have existed. If we approach the problem from the purely visual standpoint it suffices to state that treatments of this particular thcme are very http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Oud Holland - Quarterly for Dutch Art History Brill

The Holy Kinship in a Church; Geertgen and the Westphalian Master of 1473

Oud Holland - Quarterly for Dutch Art History, Volume 89 (4): 225 – Jan 1, 1975

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Publisher
Brill
Copyright
© 1975 Koninklijke Brill NV, Leiden, The Netherlands
ISSN
0030-672x
eISSN
1875-0176
D.O.I.
10.1163/187501775X00144
Publisher site
See Article on Publisher Site

Abstract

225 The Holy Kinship in a Church; Geertgen and the Westphalian Master of 1473 Although Albert van Ouwater is the acknowledged founder of the Haarlciii school of painting, only the Berlin Raisit?g o f ? Lazarus is attributable to hinl (Fig. 1) '. Van Mander states that Ouwater had as a pupil Geertgen tot Sint J ans, and while this remains a rnoot point, Geertgen is nevertheless the first Haarlciii artist whose works survive in sufficicrlt number to allow us to speak in iiiore than generalities. Aniong these works the early Holy Kinship (Fig. 2), usually dated towards the very beginning of his career' (ca. 1480-1482), stands out by its naive charm and novel conception, and as such poses the question of whether so young and presumably inexperienced an artist can be fully credited with so individual a treatment of the theme-specially as regards the setting of the scene within a church, the playful children apostles, and the striking group of St. Elizabeth and thc infant Baptist-or whether a prototype can be shown to have existed. If we approach the problem from the purely visual standpoint it suffices to state that treatments of this particular thcme are very

Journal

Oud Holland - Quarterly for Dutch Art HistoryBrill

Published: Jan 1, 1975

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