German Masters Of Art

GERMAM CASTERS OF ART BT HELEN A. DICKINSON M. A., PH. D. HEIDELBERG POEMEELY SPECIAL LECTUSEE IN HISTOET OF AST AT NOETHWESTBBN UN1VEE8ITY WITH FOUE ILLUSTRATIONS IN COLOUR AND ONE EUNDBED AND TEN IN MONOTONE NEW YORK FREDERICK A. STOKES COMPANY PUBLISHERS Photograph by Franz Hanfstaengl ALBRECHT DURER PORTRAIT OF HIMSELF, 1500 ALTE PINAKOTHEK, MUNICH DEDICATED TO C. D. FOREWORD The increase of travel in Germany and the frequent pilgrimages that are being made to points of interest to the musician, scholar and pedagogue are contributing to the greater appreciation of the mediseval flavour and quaint picturesqueness of her smaller towns with their narrow streets and high-gabled timber houses, and to a fuller acquaintance with the rich treasures of her art. Whether the traveller explores the towns and villages nestling among the mountains of Tyrol, seeks out those tucked away in the Black Forest, the Vosges or the Harz Mountains, visits the walled strong holds of the Swabian plains, wanders along the banks of the Rhine or follows the narrow, picturesque Danube valley to the rivers source, he will find everywhere imposing castles that are veritable treasure-houses of art ancient monasteries with graceful, frescoed cloisters or collections of rare pictures beautiful or unique churches with fine, old, wooden, carved and painted altar-pieces princely, ducal or municipal galleries rich in interesting works of art. This mounting interest seems to demand a complete and unified history of the development of German painting. For the con venience of the student at home and the traveller in Germany the artists are here classified broadly, according to the geographical distribution of their centresof activity, in the three general divisons 1. School of Cologne including Hamburg, Cologne, Westphalia and Saxony. 2 School of Swabia including the Middle Rhine, Upper Rhine, Colmar, German Switzerland, IJlmf ugsburg. 3. School of Nuremberg or Franconia inckding Tyrol, Upper Bava ria, Ratisbon and Nuremberg. viii GERMAN MASTERS OF ART These divisions are suggested also by the fact that the art of each is marked, in general, by distinct characteristics. The art of the School of Cologne is, in the main, dreamy and lyric, that of Swabia is a narrative or illustrative art and that of Nuremberg is virile, impassioned and dramatic. I wish to express my sincere thanks especially to Dr. Henry Thode, formerly of Heidelberg University, who first opened my eyes to the beauty and significance of German art to Count von Bernstorff, Ambassador from Germany to the United States, CoL Theodore Roosevelt and Dr. Lyman Abbott for valuable introductions to Director Lichtwark and Dr. Borger of the Kunsthalle, Hamburg, for the loan of photographs of pictures in the Kunsthalle and for permission to reproduce illustrations in Dr. Lichtwarks Master Bertram to Dr. Max Friedlander of Berlin and Dr Braune of Munich for helpful opinions and suggestions, and to those who made it possible for me to see personally all the pic tures described in this volume. CONTENTS PART I CHAPTEB PAGE I GERMAN ART AS AN EXPRESSION OF GERMAN NATIONAL CHARACTER . II BOOK ILLUMINATION 10 III FRESCO-PAINTING 19 IV THE SCHOOL OF PRAGUE, THE EARLIEST SCHOOL OF ART IN GERMANY 35 PART II SCHOOL OF COLOGNE HAMBURG V MASTER BERTRAM VAN BYRDE 41 VI MASTER FRANCKE HEINRICH FUNHOF ABSALOM STUMMED HEINRICH BORNEMAN . . . . 5 COLOGNE VII THEIDEALISTS MASTER WILHELM AND STEPHAN LOCHNER . 60 VIII THE REALISTS MASTERS DOMINATED BY THE ART OF THE NETHERLANDS .............. . . . . . . 69 IX THE PORTRAITISTS OF THE XVI CENTURY . . . 77 WESTPHALIAN PAINTERS X MASTER CONRAD STOLLEN MASTER OF LIESBORN N. SUELN MEIGR JOHANN KOERBECKE GERT VON LON HEIN RICH AND VICTOR DftNWEGGE MASTER OF CAPPENBERG HEINRICH ALDEGREVER LUDGER TOM RING . . . . . . .81 SAXONY XI LUCAS CRANACH . . . ..... . . . . . ..... 86 XII MINOB PAINTERS . . . . ... . . . . . . . . . . ...