Papers by Sarkadi Emese
Wiens Erste Moderne, 2022
The author uses several late Gothic Viennese panel paintings that
Blasius Höfel had acquired in 1... more The author uses several late Gothic Viennese panel paintings that
Blasius Höfel had acquired in 1830 in Wiener Neustadt and which
are now at the Christian Museum (Keresztény Múzeum) in Esztergom
in order to assemble a winged altar screen that shows the
Death of the Virgin on its central panel. At hand of observations
of the joinery and with reference to other stylistically heterogeneous
retables, it is possible for her to substantiate a previously
voiced suspicion that certain predella paintings with unusual
iconography and differing style did really once constitute a single
work. Moreover, dendrochronological analysis has permitted a
more precise dating of the creation of the Death of the Virgin
altarpiece to around 1450. The author goes on to establish the
relationship of these panels to Viennese painting, as has pre-
viously
been discussed, especially so to the Master of the Albrecht
Altar, seeking to explain the apparent incongruity of the Esztergom
ensemble from the point of view of an iconological concept
inspired by ars moriendi tractates.
Művészettörténeti Értesítő, 2016
Acta Historiae Artium, 2019
The Christian Museum owns a winged altarpiece from the
mid fifteenth century, depicting the Death... more The Christian Museum owns a winged altarpiece from the
mid fifteenth century, depicting the Death of the Virgin. It
made part of the former collection of Blasius Höfel, later Karl
Lemann and bishop Arnold Ipolyi, due to the last will of whom
it reached Esztergom. In the 1839 auction catalogue of the
Wiener Neustadt collection the description of the altarpiece
mentions, besides the presently known central panel and two
movable wings, also two stationary wings and a predella. All
these can be identified in the Christian Museum’s collection.
The identification of the predella was earlier mentioned in literature,
but supposing that it was mounted together with the
altarpiece only at a later point, the assumption of their original
connection was dropped. Latest researches proved however,
that the predella was original part of the retable, moreover the
Esztergom collection preserves a further part of it: the panel
depicting the so called Evagationes spiritus, was one of the
movable wings of the predella. The image, previously identified
as part of a depiction of the Good and the Bad Prayer, offers a
new possibility of interpretation due to its connection to the
Death of the Virgin altarpiece. Thus, in the iconographic program
of the retable as a whole the Death of the Virgin works
as symbol of the Good Death, while the wing of the predella
can be interpreted just as the fifth pair of images of the Ars
moriendi series - a depiction of the temptation through avarice,
through earthly, ephemeral values. The altarpiece itself
might have been part of the liturgical furnishing of a hospital-,
graveyard-chapel or other similar sacral building, most probably
in Wiener Neustadt, in Wien or its immediate surroundings.
The first written evidence that is usually connected to the presence of the figure of the Virgin ... more The first written evidence that is usually connected to the presence of the figure of the Virgin Mary in the franciscan church of Csíksomlyó dates from 1624, when an inventory mentions a sculpture of the Virgin and Child on a secondary altarpiece dedicated to the Virgin. The identification with the present figure is however only hypothetic. Sure is, that the present figure was placed on the new high altarpiece that was commanded by joiner Janos Nyerges/Hannes Sadler from Brașov in 1664. Nothing is known on the figure previous to these dates and we have no information on its original provenance. The dimensions (of 210 cm without her baroque crown) and the way the backside is carved suggest, that the figure surely belonged to an important altarpiece of quite large dimensions, with a shrine probably higher than 3 - 3,50 meters.
The Fransican manuscripts from the 17th-18th centuries do remarkably never mention the figure having belonged to the high altar of the Csíksomlyó monastery church, but they repeat that its provenance is unknown, only explained by legends. One of these legends, which has a certain probability though, noted by Leonard Losteiner in his Manuscript dedicated to the sculpture of the Virgin Mary and her miracles, says that the statue could have been brought from the village of Höltövény (Heldsdorf, Hălchiu), a church which even today preserves its unusually large winged altarpiece, with a shrine of 361 cm, which would perfectly fit the figure in point. Also the local historical literature knows of some devotional figures having been once moved from Höltövény to Csíksomlyó. However, the idea remains a hypothesis until it can be proved. Sure is, that only the workshops of the Transylvanian Saxon towns were prepared to produce at the beginning of the 16th century sculptures of such dimensions.
A detailed observation of the statue shows that a number of its characteristics differ a lot from the style known at the beginning of the sixteenth century. The figure was most probably slightly remodelled, renewed, repaired perhaps with the occasion of its placement to the high altarpiece in 1664, but later interventions are also possible.
The fact, that the figure was brought to Csíksomlyó and placed on the high altarpiece of the church in a new function of a cult image could have to do with the introduction of the Pentacost pilgrimage, the first mention of which dates to 1649. The first miracles of the statue are documented right after its placement on the high altar and these have probably contributed to the spread of the new pilgrimage and through this to the renewal of the monastery itself, almost completely depopulated by the second half of the sixteenth century.
Panels of the altarpiece of Cisnadie/Heltau/Nagydisznód found in a private collection.
Books by Sarkadi Emese
Flügelaltäre sind komplexe Spiegel des geistigen, wirtschaftlichen und kulturellen Lebens eines L... more Flügelaltäre sind komplexe Spiegel des geistigen, wirtschaftlichen und kulturellen Lebens eines Landes. Der umfangreiche Band bietet eingehende kunstgeschichtliche und historische Analysen verschiedener Gruppen von Flügelretabeln Siebenbürgens, vor allem der von Sachsen bewohnten Landstriche. Ein vollständiger Katalog der erhaltenen siebenbürgischen Flügelaltäre und zahlreiche Farbabbildungen dokumentieren dieses wichtige Kapitel der europäischen Kunstgeschichte und machen das Buch zu einem unentbehrlichen Nachschlagewerk.
Book Reviews by Sarkadi Emese
A Teleki László Alapítvány kiadásában megjelent kötet a 2008-ban indult, a Kárpát-medence épített... more A Teleki László Alapítvány kiadásában megjelent kötet a 2008-ban indult, a Kárpát-medence épített örökségét bemutató reprezen-tatív sorozat újabb darabja. Ennek egyik alapvető célja, hogy tudományosan feldolgozza és egyúttal képekben is közzé tegye a jelentős részben az Alapítvány által az utóbbi években támoga-tott értékmentés építészettörténeti, művészettörténeti hozadékát, bizonyítva e tevékenység összetett jelentőségét. A könyv vezér-fonalát a "szórvány" és a "középkor" kulcsszavak adják, tehát olyan, zömében dél-erdélyi települések jelentős középkori épüle-tei kerülnek górcső alá, ahol a magyar vagy szász közösség már csak nagyon kis arányban él, egykori jelentőségükre, kultúrá-jukra esetleg már csak a tanulmányozott épület utal. Marosi Ernő nyitó tanulmánya az ívbélletben faragott figurák-kal díszített, nemcsak Magyarországon ritkaságszámba menő román kori portálokról, azoknak is egy szászföldi emlékcsoportjáról (Felek és Oltszakadát 13. század első felére ...
Articles by Sarkadi Emese
Acta Historiae Artium Academiae Scientiarum Hungaricae 60, 2019
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Papers by Sarkadi Emese
Blasius Höfel had acquired in 1830 in Wiener Neustadt and which
are now at the Christian Museum (Keresztény Múzeum) in Esztergom
in order to assemble a winged altar screen that shows the
Death of the Virgin on its central panel. At hand of observations
of the joinery and with reference to other stylistically heterogeneous
retables, it is possible for her to substantiate a previously
voiced suspicion that certain predella paintings with unusual
iconography and differing style did really once constitute a single
work. Moreover, dendrochronological analysis has permitted a
more precise dating of the creation of the Death of the Virgin
altarpiece to around 1450. The author goes on to establish the
relationship of these panels to Viennese painting, as has pre-
viously
been discussed, especially so to the Master of the Albrecht
Altar, seeking to explain the apparent incongruity of the Esztergom
ensemble from the point of view of an iconological concept
inspired by ars moriendi tractates.
mid fifteenth century, depicting the Death of the Virgin. It
made part of the former collection of Blasius Höfel, later Karl
Lemann and bishop Arnold Ipolyi, due to the last will of whom
it reached Esztergom. In the 1839 auction catalogue of the
Wiener Neustadt collection the description of the altarpiece
mentions, besides the presently known central panel and two
movable wings, also two stationary wings and a predella. All
these can be identified in the Christian Museum’s collection.
The identification of the predella was earlier mentioned in literature,
but supposing that it was mounted together with the
altarpiece only at a later point, the assumption of their original
connection was dropped. Latest researches proved however,
that the predella was original part of the retable, moreover the
Esztergom collection preserves a further part of it: the panel
depicting the so called Evagationes spiritus, was one of the
movable wings of the predella. The image, previously identified
as part of a depiction of the Good and the Bad Prayer, offers a
new possibility of interpretation due to its connection to the
Death of the Virgin altarpiece. Thus, in the iconographic program
of the retable as a whole the Death of the Virgin works
as symbol of the Good Death, while the wing of the predella
can be interpreted just as the fifth pair of images of the Ars
moriendi series - a depiction of the temptation through avarice,
through earthly, ephemeral values. The altarpiece itself
might have been part of the liturgical furnishing of a hospital-,
graveyard-chapel or other similar sacral building, most probably
in Wiener Neustadt, in Wien or its immediate surroundings.
The Fransican manuscripts from the 17th-18th centuries do remarkably never mention the figure having belonged to the high altar of the Csíksomlyó monastery church, but they repeat that its provenance is unknown, only explained by legends. One of these legends, which has a certain probability though, noted by Leonard Losteiner in his Manuscript dedicated to the sculpture of the Virgin Mary and her miracles, says that the statue could have been brought from the village of Höltövény (Heldsdorf, Hălchiu), a church which even today preserves its unusually large winged altarpiece, with a shrine of 361 cm, which would perfectly fit the figure in point. Also the local historical literature knows of some devotional figures having been once moved from Höltövény to Csíksomlyó. However, the idea remains a hypothesis until it can be proved. Sure is, that only the workshops of the Transylvanian Saxon towns were prepared to produce at the beginning of the 16th century sculptures of such dimensions.
A detailed observation of the statue shows that a number of its characteristics differ a lot from the style known at the beginning of the sixteenth century. The figure was most probably slightly remodelled, renewed, repaired perhaps with the occasion of its placement to the high altarpiece in 1664, but later interventions are also possible.
The fact, that the figure was brought to Csíksomlyó and placed on the high altarpiece of the church in a new function of a cult image could have to do with the introduction of the Pentacost pilgrimage, the first mention of which dates to 1649. The first miracles of the statue are documented right after its placement on the high altar and these have probably contributed to the spread of the new pilgrimage and through this to the renewal of the monastery itself, almost completely depopulated by the second half of the sixteenth century.
Books by Sarkadi Emese
Book Reviews by Sarkadi Emese
Articles by Sarkadi Emese
Blasius Höfel had acquired in 1830 in Wiener Neustadt and which
are now at the Christian Museum (Keresztény Múzeum) in Esztergom
in order to assemble a winged altar screen that shows the
Death of the Virgin on its central panel. At hand of observations
of the joinery and with reference to other stylistically heterogeneous
retables, it is possible for her to substantiate a previously
voiced suspicion that certain predella paintings with unusual
iconography and differing style did really once constitute a single
work. Moreover, dendrochronological analysis has permitted a
more precise dating of the creation of the Death of the Virgin
altarpiece to around 1450. The author goes on to establish the
relationship of these panels to Viennese painting, as has pre-
viously
been discussed, especially so to the Master of the Albrecht
Altar, seeking to explain the apparent incongruity of the Esztergom
ensemble from the point of view of an iconological concept
inspired by ars moriendi tractates.
mid fifteenth century, depicting the Death of the Virgin. It
made part of the former collection of Blasius Höfel, later Karl
Lemann and bishop Arnold Ipolyi, due to the last will of whom
it reached Esztergom. In the 1839 auction catalogue of the
Wiener Neustadt collection the description of the altarpiece
mentions, besides the presently known central panel and two
movable wings, also two stationary wings and a predella. All
these can be identified in the Christian Museum’s collection.
The identification of the predella was earlier mentioned in literature,
but supposing that it was mounted together with the
altarpiece only at a later point, the assumption of their original
connection was dropped. Latest researches proved however,
that the predella was original part of the retable, moreover the
Esztergom collection preserves a further part of it: the panel
depicting the so called Evagationes spiritus, was one of the
movable wings of the predella. The image, previously identified
as part of a depiction of the Good and the Bad Prayer, offers a
new possibility of interpretation due to its connection to the
Death of the Virgin altarpiece. Thus, in the iconographic program
of the retable as a whole the Death of the Virgin works
as symbol of the Good Death, while the wing of the predella
can be interpreted just as the fifth pair of images of the Ars
moriendi series - a depiction of the temptation through avarice,
through earthly, ephemeral values. The altarpiece itself
might have been part of the liturgical furnishing of a hospital-,
graveyard-chapel or other similar sacral building, most probably
in Wiener Neustadt, in Wien or its immediate surroundings.
The Fransican manuscripts from the 17th-18th centuries do remarkably never mention the figure having belonged to the high altar of the Csíksomlyó monastery church, but they repeat that its provenance is unknown, only explained by legends. One of these legends, which has a certain probability though, noted by Leonard Losteiner in his Manuscript dedicated to the sculpture of the Virgin Mary and her miracles, says that the statue could have been brought from the village of Höltövény (Heldsdorf, Hălchiu), a church which even today preserves its unusually large winged altarpiece, with a shrine of 361 cm, which would perfectly fit the figure in point. Also the local historical literature knows of some devotional figures having been once moved from Höltövény to Csíksomlyó. However, the idea remains a hypothesis until it can be proved. Sure is, that only the workshops of the Transylvanian Saxon towns were prepared to produce at the beginning of the 16th century sculptures of such dimensions.
A detailed observation of the statue shows that a number of its characteristics differ a lot from the style known at the beginning of the sixteenth century. The figure was most probably slightly remodelled, renewed, repaired perhaps with the occasion of its placement to the high altarpiece in 1664, but later interventions are also possible.
The fact, that the figure was brought to Csíksomlyó and placed on the high altarpiece of the church in a new function of a cult image could have to do with the introduction of the Pentacost pilgrimage, the first mention of which dates to 1649. The first miracles of the statue are documented right after its placement on the high altar and these have probably contributed to the spread of the new pilgrimage and through this to the renewal of the monastery itself, almost completely depopulated by the second half of the sixteenth century.