DOI issue:
Nr. 3-4
DOI article:Klípa, Jan: The Madonna of Vys̆s̆í Brod and the Madonna of Wrocław and their donors: =
DOI Page / Citation link:https://doi.org/10.11588/diglit.35032#0298
288
JAN KLIPA
3. Pe/iqMary/ferw
qf57. Pe7er, Prague,
Archbishop's Palace
panels is also identical, combining as it does a highly detailed black brush drawing with a
more subtle outline drawing engraved in the gesso base The stylistically nuanced rendi-
tion of the figures on the frames (in terms of quality, the more monumental, dynamic and
statuesque figures of the Wrocław frame surpass the less elaborate and more conservative
figures of the Vyssi Brod frame) probably reflects standard workshop practice of the pe-
riod, and it can be assumed that two creative forces working within the workshop of the
Master of the Madonna of Vyssi Brod expressed themselves.
In our search for the stylistic points of departure of the individual types of the frame
figures found on the Vyssi Brod panel, we may put aside comparison with the frames of
the Madonnas from the churches of the Holy Trinity in Ceské Budejovice (Ger.: Budweis)
and of Saint Thomas in Brno (Ger.: Brünn), as well as Svojsin (Ger.: Schweißing) Ma-
donna and Veraicon from Saint Vitus Cathedral in Prague (since analyses of these have
already been convincingly carried out by Jaromir Homolka, whose conclusions on this
point remain valid to this day ' ^), thus focusing attention on yet another work mentioned in
this capacity by Milena Bartlovâ: the Ambras model book. ' * The links of this work to both
paintings are persuasive and numerous, as is manifested by a comparison of both feminine
and masculine faces.Both older and more recent literature dates the Ambras
to ca. 1410, or 1410-1415.'' Links to the circle of the Master of the Gerona Martyrology
^ 76?<7., p. 312.
Jaromir HOMOLKA, TTaAwa z^ TAppina, "Umëni" 10 (1962), esp. pp. 428-38; BARTLOVÂ, PocOnć oOrazy, op.
cit., p. 230.
" BARTLOVÂ, PocO'vö obrazy, op. cit., p. 233.
For an illustrations, see: KLIPA, MaaYwa Ey3e7woa7Ca, op. cit.
' ' Julius von SCHLOSSER, taa7w?cc??w càias* /a/??4?c??Au? .t7a/c/*gc.sc0c??. Zur AYwala/.s Au* A'A?.Acr?A7?<?/7 LÂcr/A/c-
ruug iw .spaYen A7iiie7a7ier, "Jahrbuch der kunsthistorischen Sammlungen des allerhöchstes Keiserhauses" 23 (1902),
pp. 314-8; Ulrike JENI, Hw? wAe/a0c/*A7?<w AYuVe/Twci? zaw NÆizzcwiwcY? Au* AVuzcA [in:] Anton LEGNER (Hrsg.),
D;ePa?4er a/?<7<7er&4?7we VA 7330-7430. Æuro/wAcAcÆu??.s7 u/iAu*<7cr CuAcw/wrgca 77/., Köln 1978, pp. 146-50; cf.: Jan
CHL1BEC (ed.), AYisVr 7y??yA:ô ka/i'â?*ic. PraACâ /VzOAA'Æa A7??a /?rc0/???.s'0.s*A*ć JoOy, Katalog NG, Praha 1990, pp. 60-2,
Cat. No. 18 (entry by Jan Chlibec); Jiri IA JT (ed.), TYarc/ 7L CYsa?* z Oozi ???;7o.sù'. Ka/iara a a/ac/?i za i4â<7y qo.s/cAaYY?
LaccwOarM 7347-7437. Kaia/og yyVayy, Praha 2006, pp. 534-6, Cat. No. 196 (entry by Jiri Fajt and Robert Suckale).
JAN KLIPA
3. Pe/iqMary/ferw
qf57. Pe7er, Prague,
Archbishop's Palace
panels is also identical, combining as it does a highly detailed black brush drawing with a
more subtle outline drawing engraved in the gesso base The stylistically nuanced rendi-
tion of the figures on the frames (in terms of quality, the more monumental, dynamic and
statuesque figures of the Wrocław frame surpass the less elaborate and more conservative
figures of the Vyssi Brod frame) probably reflects standard workshop practice of the pe-
riod, and it can be assumed that two creative forces working within the workshop of the
Master of the Madonna of Vyssi Brod expressed themselves.
In our search for the stylistic points of departure of the individual types of the frame
figures found on the Vyssi Brod panel, we may put aside comparison with the frames of
the Madonnas from the churches of the Holy Trinity in Ceské Budejovice (Ger.: Budweis)
and of Saint Thomas in Brno (Ger.: Brünn), as well as Svojsin (Ger.: Schweißing) Ma-
donna and Veraicon from Saint Vitus Cathedral in Prague (since analyses of these have
already been convincingly carried out by Jaromir Homolka, whose conclusions on this
point remain valid to this day ' ^), thus focusing attention on yet another work mentioned in
this capacity by Milena Bartlovâ: the Ambras model book. ' * The links of this work to both
paintings are persuasive and numerous, as is manifested by a comparison of both feminine
and masculine faces.Both older and more recent literature dates the Ambras
to ca. 1410, or 1410-1415.'' Links to the circle of the Master of the Gerona Martyrology
^ 76?<7., p. 312.
Jaromir HOMOLKA, TTaAwa z^ TAppina, "Umëni" 10 (1962), esp. pp. 428-38; BARTLOVÂ, PocOnć oOrazy, op.
cit., p. 230.
" BARTLOVÂ, PocO'vö obrazy, op. cit., p. 233.
For an illustrations, see: KLIPA, MaaYwa Ey3e7woa7Ca, op. cit.
' ' Julius von SCHLOSSER, taa7w?cc??w càias* /a/??4?c??Au? .t7a/c/*gc.sc0c??. Zur AYwala/.s Au* A'A?.Acr?A7?<?/7 LÂcr/A/c-
ruug iw .spaYen A7iiie7a7ier, "Jahrbuch der kunsthistorischen Sammlungen des allerhöchstes Keiserhauses" 23 (1902),
pp. 314-8; Ulrike JENI, Hw? wAe/a0c/*A7?<w AYuVe/Twci? zaw NÆizzcwiwcY? Au* AVuzcA [in:] Anton LEGNER (Hrsg.),
D;ePa?4er a/?<7<7er&4?7we VA 7330-7430. Æuro/wAcAcÆu??.s7 u/iAu*<7cr CuAcw/wrgca 77/., Köln 1978, pp. 146-50; cf.: Jan
CHL1BEC (ed.), AYisVr 7y??yA:ô ka/i'â?*ic. PraACâ /VzOAA'Æa A7??a /?rc0/???.s'0.s*A*ć JoOy, Katalog NG, Praha 1990, pp. 60-2,
Cat. No. 18 (entry by Jan Chlibec); Jiri IA JT (ed.), TYarc/ 7L CYsa?* z Oozi ???;7o.sù'. Ka/iara a a/ac/?i za i4â<7y qo.s/cAaYY?
LaccwOarM 7347-7437. Kaia/og yyVayy, Praha 2006, pp. 534-6, Cat. No. 196 (entry by Jiri Fajt and Robert Suckale).