Pacher, St. Wolfgang Altarpiece발음듣기
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Pacher, St. Wolfgang Altarpiece
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Pacher, St. Wolfgang Altarpiece
We're in the Church of St. Wolfgang on a gorgeous lake in the Alps in Austria and we are looking at the altar-piece by one of the most important early Renaissance painters in this region - Michael Pacher.
And we are being very hushed because we are talking here in front of the altar-piece.
It fills the entire space from almost floor to ceiling.
We're not used to seeing altar-pieces that are this intricate and this large any more.
It's a combination of sculpture, architecture and painting together in its original location and this is incredibly rare.
These things are often disassembled and in museums, so we don't get to experience them the way that they were meant to be.
We're also quite lucky because on the day of our visit the altar-piece is opened completely so we are able to see the most sacred areas of the object.
We have a scene of the ??? of heaven and Mary being crowned as the Queen of Heaven but the space that surrounds them is a gothic space like the one we are standing in.
We recognize all the figures here but the one most people probably wouldn't recognize would be St. Wolfgang the name sake of this town, of the lake and of this church.
He was a tenth century hermit and I have to say he chose a lovely spot.
You can see him on the left and St. Benedict is on the right of that central scene and above Christ and Mary and flying towards us is a white dove.
And the space of the altar is incredibly deep. I don't think I have seen anything like this so that the figures are set back in shadow.
It is like a stage actually.
And behind Christ and Mary we see angels.
There's a choir of angels and then there are small angels in the front that seem to be flitting about.
For instance holding the hem of Mary's garb.
And the whole space that these central figures occupy - everything about it seems activated - the figures seem to move the angels as you said seem to flit about, Christ raises his hand,
May folds her hands in a gesture of prayer, the dove flies out towards us, the filigree on the Gothic niches catches the light.
It's although the whole thing is really alive and happening before us.
And what happens is that we look then on either side to the painted panels and we see painted figures in architecture that again resembles the space that we inhabit.
Well this is early Renaissance painting and we know that the artist Pacher had actually crossed the Alps, gone to northern Italy and had learned the techniques of artists like Mantegna.
It looks like he has learned the lessons of linear perspective from the Italians which is only about 50 years old.
He has brought this back to northern Europe and we often think about Durer being the artist that does this but Pacher does it long before.
So we see Pacher's interest in deep space we see that in the sculptural figures in the centre, we see it in his use of linear perspective and foreshortening.
You are absolutely right, this is clearly an artist that is concerned not only with the rendering of deep space but also the creation of mass of solidity within the figures themselves.
And we see something very typical of northern Renaissance and German art those very deep and complicated folds of drapery.
And he was able to carve the wood quite easily because this is a very soft wood.
Surrounding the central scene are moments from the life of Mary.
And we so have a smaller social scene down ion what we might call the predella.
That shows the origin of the Magi. They are framed by two panel paintings.
On the left is the visitation, and on the right the flight into Egypt.
These are scenes that take place when Christ is an infant.
We see that chronology continued in the panels up above.
On the upper left the nativity of Christ's birth and even there we see and illusion of deep space behind Mary.
I love the way that the angels float very close to the picture plane and the way in which those timbers seem to almost frame the painting itself.
And how about the cow who's foreshortened? Below that we see Christ circumcised in the Temple.
Look at the architecture there.
The complex ribbing of the [unintelligible]is just a perfect mirror of what's above us.
Although I think it's more complicated even and more fanciful than the space that we're in.
Then we see perspective in the tiles on the floor.
We see that again in the panel on the upper right, the scene of The Presentation in the Temple.
Then down below that, the death of Mary.
We can see her being attended to, but then Christ waits for her just above, assisted by angels.
What's so amazing about this altarpiece is that we have this sculpted Gothic architecture that surrounds the central scene of The Coronation of Mary.
Then we have painted space with painted figures in it, and painted sculptures, for example, in the panel on the lower right of the death of Mary.
Then we stand in this space which is itself inhabited by sculpted figures, by Gothic architecture.
All of that architecture, all of that sculpture in the real space of the church is also painted.
So it is a kind of perfect fusion.
There is the potential for a truly visionary experience.
Art is most successful, and I think this is especially true in a religious environment, when art changes the way that we perceive the things that we would normally see as normal.
This sculptural group, this painted group, transforms the way that we see the rest of the church.
There's a real fusion of our so-called "real world" and the visionary world of the biblical figures we are looking at.
The tools of the Renaissance of creating three-dimensional form, of believable bodies, of believable space, are here used to create a total experience.
The idea of the Gesamtkunstwerk, the total work of art.
All we're missing is music. (jazzy music)
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We're in the Church of St. Wolfgang on a gorgeous lake in the Alps in Austria and we are looking at the altar-piece by one of the most important early Renaissance painters in this region - Michael Pacher.발음듣기
대기중
It's a combination of sculpture, architecture and painting together in its original location and this is incredibly rare.발음듣기
대기중
These things are often disassembled and in museums, so we don't get to experience them the way that they were meant to be.발음듣기
대기중
We're also quite lucky because on the day of our visit the altar-piece is opened completely so we are able to see the most sacred areas of the object.발음듣기
대기중
We have a scene of the ??? of heaven and Mary being crowned as the Queen of Heaven but the space that surrounds them is a gothic space like the one we are standing in.발음듣기
대기중
We recognize all the figures here but the one most people probably wouldn't recognize would be St. Wolfgang the name sake of this town, of the lake and of this church.발음듣기
대기중
You can see him on the left and St. Benedict is on the right of that central scene and above Christ and Mary and flying towards us is a white dove.발음듣기
대기중
And the space of the altar is incredibly deep. I don't think I have seen anything like this so that the figures are set back in shadow.발음듣기
대기중
There's a choir of angels and then there are small angels in the front that seem to be flitting about.발음듣기
대기중
And the whole space that these central figures occupy - everything about it seems activated - the figures seem to move the angels as you said seem to flit about, Christ raises his hand,발음듣기
대기중
May folds her hands in a gesture of prayer, the dove flies out towards us, the filigree on the Gothic niches catches the light.발음듣기
대기중
And what happens is that we look then on either side to the painted panels and we see painted figures in architecture that again resembles the space that we inhabit.발음듣기
대기중
Well this is early Renaissance painting and we know that the artist Pacher had actually crossed the Alps, gone to northern Italy and had learned the techniques of artists like Mantegna.발음듣기
대기중
It looks like he has learned the lessons of linear perspective from the Italians which is only about 50 years old.발음듣기
대기중
He has brought this back to northern Europe and we often think about Durer being the artist that does this but Pacher does it long before.발음듣기
대기중
So we see Pacher's interest in deep space we see that in the sculptural figures in the centre, we see it in his use of linear perspective and foreshortening.발음듣기
대기중
You are absolutely right, this is clearly an artist that is concerned not only with the rendering of deep space but also the creation of mass of solidity within the figures themselves.발음듣기
대기중
And we see something very typical of northern Renaissance and German art those very deep and complicated folds of drapery.발음듣기
대기중
On the upper left the nativity of Christ's birth and even there we see and illusion of deep space behind Mary.발음듣기
대기중
I love the way that the angels float very close to the picture plane and the way in which those timbers seem to almost frame the painting itself.발음듣기
대기중
And how about the cow who's foreshortened? Below that we see Christ circumcised in the Temple.발음듣기
대기중
We see that again in the panel on the upper right, the scene of The Presentation in the Temple.발음듣기
대기중
We can see her being attended to, but then Christ waits for her just above, assisted by angels.발음듣기
대기중
What's so amazing about this altarpiece is that we have this sculpted Gothic architecture that surrounds the central scene of The Coronation of Mary.발음듣기
대기중
Then we have painted space with painted figures in it, and painted sculptures, for example, in the panel on the lower right of the death of Mary.발음듣기
대기중
Then we stand in this space which is itself inhabited by sculpted figures, by Gothic architecture.발음듣기
대기중
All of that architecture, all of that sculpture in the real space of the church is also painted.발음듣기
대기중
Art is most successful, and I think this is especially true in a religious environment, when art changes the way that we perceive the things that we would normally see as normal.발음듣기
대기중
This sculptural group, this painted group, transforms the way that we see the rest of the church.발음듣기
대기중
There's a real fusion of our so-called "real world" and the visionary world of the biblical figures we are looking at.발음듣기
대기중
The tools of the Renaissance of creating three-dimensional form, of believable bodies, of believable space, are here used to create a total experience.발음듣기
대기중
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