The study of the Altenberg altarpiece has provided fundamentally new insights for medieval research. Until September 25, 2016, the early Gothic altar and its rich pictorial decoration can be seen in the exhibition “Schaufenster des Himmels” at Frankfurt’s Städelmuseum. Advertorial Article Parallax Article When Jochen Sander combines exhibition preparations with research, the result is usually something new and surprising for researchers and visitors alike. This is […]
The study of the Altenberg altarpiece has provided fundamentally new insights for medieval research. Until September 25, 2016, the early Gothic altar and its rich pictorial decoration can be seen in the exhibition “Schaufenster des Himmels” (Window to Heaven) at Frankfurt’s Städel Museum.
When Jochen Sander combines exhibition preparations with research, the result is usually something new and surprising for researchers and visitors alike. This is also the case with the recently opened exhibition “Showcase of Heaven – The Altenberg Altarpiece and its pictorial decoration”. In the run-up to the exhibition, Sander, deputy Städel director, painting specialist and exhibition curator, organized a colloquium on the pictorial programmes of medieval high altars and had the Altenberg Altarpiece, of which the Städel has owned the wings since 1925, examined in terms of painting technique.
This was possible because all the panels of the Altenberg Altarpiece were reunited for the exhibition after more than 200 years. This is because the altar, which was created around 1330 in the Premonstratensian convent of Altenberg, was sold in pieces after secularization in 1803.
Examination of the front revealed a clear increase in high-quality pigments and gilding as well as a sophisticated painting style towards the inner surfaces of the shrine. The figure of the enthroned Mother of God was painted most sumptuously. Christiane Weber, Christoph Krekel and Julia Schultz explain this in their detailed article on “Inventory and painting technique”.
In summary, they write: “A more elaborate mode of depiction, more complex painting and veneering techniques and the increasing use of valuable pigments and precious gold leaf overlays emphasize the inner surfaces of the shrine and the wings, which are only visible when open, over the outer surfaces.” They also point out that wax splashes and burn marks from candle flames are visible on the backs. Their conclusion: “These traces testify to a lively ritual use of the outer surfaces.”
Examination of the backs showed that they were correct in their assumption: with the help of X-ray fluorescence analysis, various figures of saints could be identified under the baroque overpaintings. Some – St. Clare, St. Barbara, St. Christopher – can be clearly identified and were among the most popular saints of the time.
Unexpected finding
“This completely unexpected finding concerns a central assumption of previous research into the early history of high altar altarpieces in German-speaking countries. It assumed that the pictorial programs were usually limited to the front of the altar and primarily related to the liturgy of the mass and that a non-liturgical use of the high altar retable, which even included the back, was not to be expected,” writes Jochen Sander in the exhibition catalog. In view of these new findings, Christiane Weber, Christoph Krekel and Julia Schultz would like to see a detailed study of all early altarpieces in German-speaking countries.
The Städel elegantly and proactively solved the problem that the complete examination results of the reverse sides were only available after the catalog went to press. The results are available for download on the museum’s website – in the same design as the catalog and conference proceedings.
Catalog: “Schaufenster des Himmels”, ed.: Jochen Sander, 192 p., Deutscher Kunstverlag, 34,90 €
Conference proceedings: “Viewed up close. Images on the high altar and their function in the Middle Ages”, ed.: Jochen Sander, Stefanie Seeberg, Fabian Wolf, Deutscher Kunstverlag, € 19.90
