DOI issue:
Obsah
DOI article:Gyalókay, Zoltán: The superstructure of Master Paul's altarpiece in Levoča with the figures of apostles: an act of artistic commemoration?
DOI Page / Citation link:https://doi.org/10.11588/diglit.52446#0036
9. St Thomas from the superstructure of the high altar retable in the church
of St James the Greater in Levoča, ab. 1360 — 1380, photographed by
Z. Gyalókay
10. St James the Greater in the superstructure of the high altar retable
in the church of St James the Greater in Levoča, ab. 1360 — 1380,
photographed by M. Fil’a
In the sculpture from Eubietová the weight of Ut-
ile Jesus is noticeable because Mary is not holding
him high in her arm but has put him on her right
hip. What needs to be emphasised, however, is that
despite the différences in the inclination of the
axis, the Madonna’s figure looks as dynamic as the
apostles’ sculptures.
Unlike Madonna’s, the apostles’ hair was very
finely carved. The carving of Madonna’s hair is crude
and marks only locks of hair, which were covered
with undercoat and a layer of paint in which long lineš
were carved to imitate Strands of hair (fig. 8 and 9).
The abovementioned observations indicate the
nature of the différences which make it impossible
to ascertain that Madonna of Tubietová and the
apostles’ figures came from the same workshop:
the sculptures differ significantly in the very männer
in which they were made. The carvers who made
the apostles’ figures harmoniously combined the
composition idea and the way they used the material
in which they carved. They rendered the dynamics
of the figures both through the inclination of the
axis and draping the robes. The figures are full of
internal movement, a kind of internally opposing
dynamics. The same kind of dynamics characterises
the edges of the folds. The carver made them round
in some places and sharp in others, gently shifting
from one way of folding the cloth to the other even
34
of St James the Greater in Levoča, ab. 1360 — 1380, photographed by
Z. Gyalókay
10. St James the Greater in the superstructure of the high altar retable
in the church of St James the Greater in Levoča, ab. 1360 — 1380,
photographed by M. Fil’a
In the sculpture from Eubietová the weight of Ut-
ile Jesus is noticeable because Mary is not holding
him high in her arm but has put him on her right
hip. What needs to be emphasised, however, is that
despite the différences in the inclination of the
axis, the Madonna’s figure looks as dynamic as the
apostles’ sculptures.
Unlike Madonna’s, the apostles’ hair was very
finely carved. The carving of Madonna’s hair is crude
and marks only locks of hair, which were covered
with undercoat and a layer of paint in which long lineš
were carved to imitate Strands of hair (fig. 8 and 9).
The abovementioned observations indicate the
nature of the différences which make it impossible
to ascertain that Madonna of Tubietová and the
apostles’ figures came from the same workshop:
the sculptures differ significantly in the very männer
in which they were made. The carvers who made
the apostles’ figures harmoniously combined the
composition idea and the way they used the material
in which they carved. They rendered the dynamics
of the figures both through the inclination of the
axis and draping the robes. The figures are full of
internal movement, a kind of internally opposing
dynamics. The same kind of dynamics characterises
the edges of the folds. The carver made them round
in some places and sharp in others, gently shifting
from one way of folding the cloth to the other even
34