Large Relief Early 17th Century ______________________ The wood relief renders into three dimensions what Dürer had engraved around 1501. Although the composition and style are indebted to the Renaissance, the polychromy with its numerous golden dots and strokes suggests the period shortly after 1600 (see image comparison). Furthermore, the woodcarver took few liberties with the original. Pablo de la Riestra See Hans Kaufmann: Dürer in Art and Art Judgment around 1600, in: Anzeiger des Germanischen Nationalmuseums (1940-1953), pp. 18-60, here p. 60, note 104: Spain deserves more coherent attention [in the reception of Dürer]. From more or less random findings, I [H. Kaufmann]: A. Coello: large altarpiece (1582) in the Laurentius church of the Escorial with the Saints Anthony and Paul including the landscape after Dürer's woodcut B. 107; in the ceiling paintings of the library hall of the Escorial at "Regiomontanus" small copies after Dürer's engravings of the apostles Paul and Simon (1514 and 1523); in the richly illustrated Passion cycle on the long walls of the church of the Cartuja de Miraflores near Burgos (around 1600) several scenes show stricter or freer use of Dürer's Passion pictures, as well as the washing of the feet on the rood screen altar; A. Pereda's "Hieronymus" of 1643 (Prado no. 1046) has in his folio the "Last Judgement" after the small. H. Passion (even with Dürer's monogram), cf. the note on the Man of Sorrows from 1641 in the Prado catalog no. 1047; in the vestibule of the sacristy of Toledo Cathedral, allegedly Luca Giordano: Flight into Egypt after Dürer's Life of the Virgin, B. 89 (half-length figures, opposite sense); in the St. Bartholomew Chapel in the cloister of Salamanca Cathedral, a large retable relief (wood) in exact accordance with Dürer's "Eustachius" B. 57, probably before 1550; a carved altar in one of the choir chapels of Barcelona Cathedral (first half of the 17th century) after Dürer's "Martyrdom of St. John" and "Herod's Banquet" (B. 125 and 126). See also: - St. Eustace by Dürer - Copy of St. Eustace after Dürer Huberto (actually Eustace)Feedback geben

Large Relief Early 17th Century ______________________ The wood relief renders into three dimensions what Dürer had engraved around 1501. Although the composition and style are indebted to the Renaissance, the polychromy with its numerous golden dots and strokes suggests the period shortly after 1600 (see image comparison). Furthermore, the woodcarver took few liberties with the original. Pablo de la Riestra See Hans Kaufmann: Dürer in Art and Art Judgment around 1600, in: Anzeiger des Germanischen Nationalmuseums (1940-1953), pp. 18-60, here p. 60, note 104: Spain deserves more coherent attention [in the reception of Dürer]. From more or less random findings, I [H. Kaufmann]: A. Coello: large altarpiece (1582) in the Laurentius church of the Escorial with the Saints Anthony and Paul including the landscape after Dürer's woodcut B. 107; in the ceiling paintings of the library hall of the Escorial at "Regiomontanus" small copies after Dürer's engravings of the apostles Paul and Simon (1514 and 1523); in the richly illustrated Passion cycle on the long walls of the church of the Cartuja de Miraflores near Burgos (around 1600) several scenes show stricter or freer use of Dürer's Passion pictures, as well as the washing of the feet on the rood screen altar; A. Pereda's "Hieronymus" of 1643 (Prado no. 1046) has in his folio the "Last Judgement" after the small. H. Passion (even with Dürer's monogram), cf. the note on the Man of Sorrows from 1641 in the Prado catalog no. 1047; in the vestibule of the sacristy of Toledo Cathedral, allegedly Luca Giordano: Flight into Egypt after Dürer's Life of the Virgin, B. 89 (half-length figures, opposite sense); in the St. Bartholomew Chapel in the cloister of Salamanca Cathedral, a large retable relief (wood) in exact accordance with Dürer's "Eustachius" B. 57, probably before 1550; a carved altar in one of the choir chapels of Barcelona Cathedral (first half of the 17th century) after Dürer's "Martyrdom of St. John" and "Herod's Banquet" (B. 125 and 126). See also: - St. Eustace by Dürer - Copy of St. Eustace after Dürer Huberto (actually Eustace)Feedback geben

Large Relief Early 17th Century ______________________ The wood relief renders into three dimensions what Dürer had engraved around 1501. Although the composition and style are indebted to the Renaissance, the polychromy with its numerous golden dots and strokes suggests the period shortly after 1600 (see image comparison). Furthermore, the woodcarver took few liberties with the original. Pablo de la Riestra See Hans Kaufmann: Dürer in Art and Art Judgment around 1600, in: Anzeiger des Germanischen Nationalmuseums (1940-1953), pp. 18-60, here p. 60, note 104: Spain deserves more coherent attention [in the reception of Dürer]. From more or less random findings, I [H. Kaufmann]: A. Coello: large altarpiece (1582) in the Laurentius church of the Escorial with the Saints Anthony and Paul including the landscape after Dürer's woodcut B. 107; in the ceiling paintings of the library hall of the Escorial at "Regiomontanus" small copies after Dürer's engravings of the apostles Paul and Simon (1514 and 1523); in the richly illustrated Passion cycle on the long walls of the church of the Cartuja de Miraflores near Burgos (around 1600) several scenes show stricter or freer use of Dürer's Passion pictures, as well as the washing of the feet on the rood screen altar; A. Pereda's "Hieronymus" of 1643 (Prado no. 1046) has in his folio the "Last Judgement" after the small. H. Passion (even with Dürer's monogram), cf. the note on the Man of Sorrows from 1641 in the Prado catalog no. 1047; in the vestibule of the sacristy of Toledo Cathedral, allegedly Luca Giordano: Flight into Egypt after Dürer's Life of the Virgin, B. 89 (half-length figures, opposite sense); in the St. Bartholomew Chapel in the cloister of Salamanca Cathedral, a large retable relief (wood) in exact accordance with Dürer's "Eustachius" B. 57, probably before 1550; a carved altar in one of the choir chapels of Barcelona Cathedral (first half of the 17th century) after Dürer's "Martyrdom of St. John" and "Herod's Banquet" (B. 125 and 126). See also: - St. Eustace by Dürer - Copy of St. Eustace after Dürer Huberto (actually Eustace)Feedback geben

Large Relief Early 17th Century ______________________ The wood relief renders into three dimensions what Dürer had engraved around 1501. Although the composition and style are indebted to the Renaissance, the polychromy with its numerous golden dots and strokes suggests the period shortly after 1600 (see image comparison). Furthermore, the woodcarver took few liberties with the original. Pablo de la Riestra See Hans Kaufmann: Dürer in Art and Art Judgment around 1600, in: Anzeiger des Germanischen Nationalmuseums (1940-1953), pp. 18-60, here p. 60, note 104: Spain deserves more coherent attention [in the reception of Dürer]. From more or less random findings, I [H. Kaufmann]: A. Coello: large altarpiece (1582) in the Laurentius church of the Escorial with the Saints Anthony and Paul including the landscape after Dürer's woodcut B. 107; in the ceiling paintings of the library hall of the Escorial at "Regiomontanus" small copies after Dürer's engravings of the apostles Paul and Simon (1514 and 1523); in the richly illustrated Passion cycle on the long walls of the church of the Cartuja de Miraflores near Burgos (around 1600) several scenes show stricter or freer use of Dürer's Passion pictures, as well as the washing of the feet on the rood screen altar; A. Pereda's "Hieronymus" of 1643 (Prado no. 1046) has in his folio the "Last Judgement" after the small. H. Passion (even with Dürer's monogram), cf. the note on the Man of Sorrows from 1641 in the Prado catalog no. 1047; in the vestibule of the sacristy of Toledo Cathedral, allegedly Luca Giordano: Flight into Egypt after Dürer's Life of the Virgin, B. 89 (half-length figures, opposite sense); in the St. Bartholomew Chapel in the cloister of Salamanca Cathedral, a large retable relief (wood) in exact accordance with Dürer's "Eustachius" B. 57, probably before 1550; a carved altar in one of the choir chapels of Barcelona Cathedral (first half of the 17th century) after Dürer's "Martyrdom of St. John" and "Herod's Banquet" (B. 125 and 126). See also: - St. Eustace by Dürer - Copy of St. Eustace after Dürer Huberto (actually Eustace)Feedback geben

Large Relief Early 17th Century ______________________ The wood relief renders into three dimensions what Dürer had engraved around 1501. Although the composition and style are indebted to the Renaissance, the polychromy with its numerous golden dots and strokes suggests the period shortly after 1600 (see image comparison). Furthermore, the woodcarver took few liberties with the original. Pablo de la Riestra See Hans Kaufmann: Dürer in Art and Art Judgment around 1600, in: Anzeiger des Germanischen Nationalmuseums (1940-1953), pp. 18-60, here p. 60, note 104: Spain deserves more coherent attention [in the reception of Dürer]. From more or less random findings, I [H. Kaufmann]: A. Coello: large altarpiece (1582) in the Laurentius church of the Escorial with the Saints Anthony and Paul including the landscape after Dürer's woodcut B. 107; in the ceiling paintings of the library hall of the Escorial at "Regiomontanus" small copies after Dürer's engravings of the apostles Paul and Simon (1514 and 1523); in the richly illustrated Passion cycle on the long walls of the church of the Cartuja de Miraflores near Burgos (around 1600) several scenes show stricter or freer use of Dürer's Passion pictures, as well as the washing of the feet on the rood screen altar; A. Pereda's "Hieronymus" of 1643 (Prado no. 1046) has in his folio the "Last Judgement" after the small. H. Passion (even with Dürer's monogram), cf. the note on the Man of Sorrows from 1641 in the Prado catalog no. 1047; in the vestibule of the sacristy of Toledo Cathedral, allegedly Luca Giordano: Flight into Egypt after Dürer's Life of the Virgin, B. 89 (half-length figures, opposite sense); in the St. Bartholomew Chapel in the cloister of Salamanca Cathedral, a large retable relief (wood) in exact accordance with Dürer's "Eustachius" B. 57, probably before 1550; a carved altar in one of the choir chapels of Barcelona Cathedral (first half of the 17th century) after Dürer's "Martyrdom of St. John" and "Herod's Banquet" (B. 125 and 126). See also: - St. Eustace by Dürer - Copy of St. Eustace after Dürer Huberto (actually Eustace)Feedback geben

Large Relief Early 17th Century ______________________ The wood relief renders into three dimensions what Dürer had engraved around 1501. Although the composition and style are indebted to the Renaissance, the polychromy with its numerous golden dots and strokes suggests the period shortly after 1600 (see image comparison). Furthermore, the woodcarver took few liberties with the original. Pablo de la Riestra See Hans Kaufmann: Dürer in Art and Art Judgment around 1600, in: Anzeiger des Germanischen Nationalmuseums (1940-1953), pp. 18-60, here p. 60, note 104: Spain deserves more coherent attention [in the reception of Dürer]. From more or less random findings, I [H. Kaufmann]: A. Coello: large altarpiece (1582) in the Laurentius church of the Escorial with the Saints Anthony and Paul including the landscape after Dürer's woodcut B. 107; in the ceiling paintings of the library hall of the Escorial at "Regiomontanus" small copies after Dürer's engravings of the apostles Paul and Simon (1514 and 1523); in the richly illustrated Passion cycle on the long walls of the church of the Cartuja de Miraflores near Burgos (around 1600) several scenes show stricter or freer use of Dürer's Passion pictures, as well as the washing of the feet on the rood screen altar; A. Pereda's "Hieronymus" of 1643 (Prado no. 1046) has in his folio the "Last Judgement" after the small. H. Passion (even with Dürer's monogram), cf. the note on the Man of Sorrows from 1641 in the Prado catalog no. 1047; in the vestibule of the sacristy of Toledo Cathedral, allegedly Luca Giordano: Flight into Egypt after Dürer's Life of the Virgin, B. 89 (half-length figures, opposite sense); in the St. Bartholomew Chapel in the cloister of Salamanca Cathedral, a large retable relief (wood) in exact accordance with Dürer's "Eustachius" B. 57, probably before 1550; a carved altar in one of the choir chapels of Barcelona Cathedral (first half of the 17th century) after Dürer's "Martyrdom of St. John" and "Herod's Banquet" (B. 125 and 126). See also: - St. Eustace by Dürer - Copy of St. Eustace after Dürer Huberto (actually Eustace)Feedback geben

Large Relief Early 17th Century ______________________ The wood relief renders into three dimensions what Dürer had engraved around 1501. Although the composition and style are indebted to the Renaissance, the polychromy with its numerous golden dots and strokes suggests the period shortly after 1600 (see image comparison). Furthermore, the woodcarver took few liberties with the original. Pablo de la Riestra See Hans Kaufmann: Dürer in Art and Art Judgment around 1600, in: Anzeiger des Germanischen Nationalmuseums (1940-1953), pp. 18-60, here p. 60, note 104: Spain deserves more coherent attention [in the reception of Dürer]. From more or less random findings, I [H. Kaufmann]: A. Coello: large altarpiece (1582) in the Laurentius church of the Escorial with the Saints Anthony and Paul including the landscape after Dürer's woodcut B. 107; in the ceiling paintings of the library hall of the Escorial at "Regiomontanus" small copies after Dürer's engravings of the apostles Paul and Simon (1514 and 1523); in the richly illustrated Passion cycle on the long walls of the church of the Cartuja de Miraflores near Burgos (around 1600) several scenes show stricter or freer use of Dürer's Passion pictures, as well as the washing of the feet on the rood screen altar; A. Pereda's "Hieronymus" of 1643 (Prado no. 1046) has in his folio the "Last Judgement" after the small. H. Passion (even with Dürer's monogram), cf. the note on the Man of Sorrows from 1641 in the Prado catalog no. 1047; in the vestibule of the sacristy of Toledo Cathedral, allegedly Luca Giordano: Flight into Egypt after Dürer's Life of the Virgin, B. 89 (half-length figures, opposite sense); in the St. Bartholomew Chapel in the cloister of Salamanca Cathedral, a large retable relief (wood) in exact accordance with Dürer's "Eustachius" B. 57, probably before 1550; a carved altar in one of the choir chapels of Barcelona Cathedral (first half of the 17th century) after Dürer's "Martyrdom of St. John" and "Herod's Banquet" (B. 125 and 126). See also: - St. Eustace by Dürer - Copy of St. Eustace after Dürer Huberto (actually Eustace)Feedback geben

Large Relief Early 17th Century ______________________ The wood relief renders into three dimensions what Dürer had engraved around 1501. Although the composition and style are indebted to the Renaissance, the polychromy with its numerous golden dots and strokes suggests the period shortly after 1600 (see image comparison). Furthermore, the woodcarver took few liberties with the original. Pablo de la Riestra See Hans Kaufmann: Dürer in Art and Art Judgment around 1600, in: Anzeiger des Germanischen Nationalmuseums (1940-1953), pp. 18-60, here p. 60, note 104: Spain deserves more coherent attention [in the reception of Dürer]. From more or less random findings, I [H. Kaufmann]: A. Coello: large altarpiece (1582) in the Laurentius church of the Escorial with the Saints Anthony and Paul including the landscape after Dürer's woodcut B. 107; in the ceiling paintings of the library hall of the Escorial at "Regiomontanus" small copies after Dürer's engravings of the apostles Paul and Simon (1514 and 1523); in the richly illustrated Passion cycle on the long walls of the church of the Cartuja de Miraflores near Burgos (around 1600) several scenes show stricter or freer use of Dürer's Passion pictures, as well as the washing of the feet on the rood screen altar; A. Pereda's "Hieronymus" of 1643 (Prado no. 1046) has in his folio the "Last Judgement" after the small. H. Passion (even with Dürer's monogram), cf. the note on the Man of Sorrows from 1641 in the Prado catalog no. 1047; in the vestibule of the sacristy of Toledo Cathedral, allegedly Luca Giordano: Flight into Egypt after Dürer's Life of the Virgin, B. 89 (half-length figures, opposite sense); in the St. Bartholomew Chapel in the cloister of Salamanca Cathedral, a large retable relief (wood) in exact accordance with Dürer's "Eustachius" B. 57, probably before 1550; a carved altar in one of the choir chapels of Barcelona Cathedral (first half of the 17th century) after Dürer's "Martyrdom of St. John" and "Herod's Banquet" (B. 125 and 126). See also: - St. Eustace by Dürer - Copy of St. Eustace after Dürer Huberto (actually Eustace)Feedback geben

Large Relief Early 17th Century ______________________ The wood relief renders into three dimensions what Dürer had engraved around 1501. Although the composition and style are indebted to the Renaissance, the polychromy with its numerous golden dots and strokes suggests the period shortly after 1600 (see image comparison). Furthermore, the woodcarver took few liberties with the original. Pablo de la Riestra See Hans Kaufmann: Dürer in Art and Art Judgment around 1600, in: Anzeiger des Germanischen Nationalmuseums (1940-1953), pp. 18-60, here p. 60, note 104: Spain deserves more coherent attention [in the reception of Dürer]. From more or less random findings, I [H. Kaufmann]: A. Coello: large altarpiece (1582) in the Laurentius church of the Escorial with the Saints Anthony and Paul including the landscape after Dürer's woodcut B. 107; in the ceiling paintings of the library hall of the Escorial at "Regiomontanus" small copies after Dürer's engravings of the apostles Paul and Simon (1514 and 1523); in the richly illustrated Passion cycle on the long walls of the church of the Cartuja de Miraflores near Burgos (around 1600) several scenes show stricter or freer use of Dürer's Passion pictures, as well as the washing of the feet on the rood screen altar; A. Pereda's "Hieronymus" of 1643 (Prado no. 1046) has in his folio the "Last Judgement" after the small. H. Passion (even with Dürer's monogram), cf. the note on the Man of Sorrows from 1641 in the Prado catalog no. 1047; in the vestibule of the sacristy of Toledo Cathedral, allegedly Luca Giordano: Flight into Egypt after Dürer's Life of the Virgin, B. 89 (half-length figures, opposite sense); in the St. Bartholomew Chapel in the cloister of Salamanca Cathedral, a large retable relief (wood) in exact accordance with Dürer's "Eustachius" B. 57, probably before 1550; a carved altar in one of the choir chapels of Barcelona Cathedral (first half of the 17th century) after Dürer's "Martyrdom of St. John" and "Herod's Banquet" (B. 125 and 126). See also: - St. Eustace by Dürer - Copy of St. Eustace after Dürer Huberto (actually Eustace)Feedback geben

Large Relief Early 17th Century ______________________ The wood relief renders into three dimensions what Dürer had engraved around 1501. Although the composition and style are indebted to the Renaissance, the polychromy with its numerous golden dots and strokes suggests the period shortly after 1600 (see image comparison). Furthermore, the woodcarver took few liberties with the original. Pablo de la Riestra See Hans Kaufmann: Dürer in Art and Art Judgment around 1600, in: Anzeiger des Germanischen Nationalmuseums (1940-1953), pp. 18-60, here p. 60, note 104: Spain deserves more coherent attention [in the reception of Dürer]. From more or less random findings, I [H. Kaufmann]: A. Coello: large altarpiece (1582) in the Laurentius church of the Escorial with the Saints Anthony and Paul including the landscape after Dürer's woodcut B. 107; in the ceiling paintings of the library hall of the Escorial at "Regiomontanus" small copies after Dürer's engravings of the apostles Paul and Simon (1514 and 1523); in the richly illustrated Passion cycle on the long walls of the church of the Cartuja de Miraflores near Burgos (around 1600) several scenes show stricter or freer use of Dürer's Passion pictures, as well as the washing of the feet on the rood screen altar; A. Pereda's "Hieronymus" of 1643 (Prado no. 1046) has in his folio the "Last Judgement" after the small. H. Passion (even with Dürer's monogram), cf. the note on the Man of Sorrows from 1641 in the Prado catalog no. 1047; in the vestibule of the sacristy of Toledo Cathedral, allegedly Luca Giordano: Flight into Egypt after Dürer's Life of the Virgin, B. 89 (half-length figures, opposite sense); in the St. Bartholomew Chapel in the cloister of Salamanca Cathedral, a large retable relief (wood) in exact accordance with Dürer's "Eustachius" B. 57, probably before 1550; a carved altar in one of the choir chapels of Barcelona Cathedral (first half of the 17th century) after Dürer's "Martyrdom of St. John" and "Herod's Banquet" (B. 125 and 126). See also: - St. Eustace by Dürer - Copy of St. Eustace after Dürer Huberto (actually Eustace)Feedback geben

Large Relief Early 17th Century ______________________ The wood relief renders into three dimensions what Dürer had engraved around 1501. Although the composition and style are indebted to the Renaissance, the polychromy with its numerous golden dots and strokes suggests the period shortly after 1600 (see image comparison). Furthermore, the woodcarver took few liberties with the original. Pablo de la Riestra See Hans Kaufmann: Dürer in Art and Art Judgment around 1600, in: Anzeiger des Germanischen Nationalmuseums (1940-1953), pp. 18-60, here p. 60, note 104: Spain deserves more coherent attention [in the reception of Dürer]. From more or less random findings, I [H. Kaufmann]: A. Coello: large altarpiece (1582) in the Laurentius church of the Escorial with the Saints Anthony and Paul including the landscape after Dürer's woodcut B. 107; in the ceiling paintings of the library hall of the Escorial at "Regiomontanus" small copies after Dürer's engravings of the apostles Paul and Simon (1514 and 1523); in the richly illustrated Passion cycle on the long walls of the church of the Cartuja de Miraflores near Burgos (around 1600) several scenes show stricter or freer use of Dürer's Passion pictures, as well as the washing of the feet on the rood screen altar; A. Pereda's "Hieronymus" of 1643 (Prado no. 1046) has in his folio the "Last Judgement" after the small. H. Passion (even with Dürer's monogram), cf. the note on the Man of Sorrows from 1641 in the Prado catalog no. 1047; in the vestibule of the sacristy of Toledo Cathedral, allegedly Luca Giordano: Flight into Egypt after Dürer's Life of the Virgin, B. 89 (half-length figures, opposite sense); in the St. Bartholomew Chapel in the cloister of Salamanca Cathedral, a large retable relief (wood) in exact accordance with Dürer's "Eustachius" B. 57, probably before 1550; a carved altar in one of the choir chapels of Barcelona Cathedral (first half of the 17th century) after Dürer's "Martyrdom of St. John" and "Herod's Banquet" (B. 125 and 126). See also: - St. Eustace by Dürer - Copy of St. Eustace after Dürer Huberto (actually Eustace)Feedback geben