Title | The story of Nuremberg |
Creator (LCNAF) |
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Contributor (Local) |
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Publisher | J. M. Dent & Co. |
Date | 1899 |
Subject.Topical (LCSH) |
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Subject.Geographic (TGN) |
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Genre (AAT) |
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Language | English |
Type (DCMI) |
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Original Item Extent | 303 pages; 18 cm |
Original Item Location | DD901.N93 H4 1899 |
Original Item URL | http://library.uh.edu/record=b1684865~S11 |
Digital Collection | Exotic Impressions: Views of Foreign Lands |
Digital Collection URL | http://digital.lib.uh.edu/collection/exotic |
Repository | Kenneth Franzheim II Rare Books Room, William R. Jenkins Architecture and Art Library, University of Houston Libraries |
Repository URL | http://info.lib.uh.edu/about/campus-libraries-collections/william-r-jenkins-architecture-art-library |
Use and Reproduction | No Copyright - United States |
Identifier | exotic_201304_001 |
Title | Page 182 |
Format (IMT) |
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File Name | exotic_201304_001_186.jpg |
Transcript | / Nuremberg of one of their number. v example is that of Paul Stromer (i4,c/>) in St. Loren/kirche. The oldest Nuremoerg j)icturc is said to be an altar- in St. Jakobakirche. A great n this awkward work is the celebrated Imhoff'sche Altar-piece in the 1 ,01 en/kirche (141S-22). Of the same period, but more full of colour anil mown; tctures of the Deokami Altar in the same church, of the Sacristy in St. Jakobskirche, and notably Tucherache Altar in the Pranenkirche (1440). The figures in this picture are more 1 also more onj than the graceful, soft, full figures of the ImhorPsche Altai-] . The names of thi- painters of these woiks are unknown. BerthoMj who was commissioned 1 Council in I423 to paint the interior of the the only early painter of note f/hose name has s To him some of th epitaphs > to be attributed. So far no outside influence had affected the work of the Nuremberg painters. Th at to supply their pictures with plain gold backgrounds and to subordinate the composition of them to the requirements of the (biding divisions of the altar-pieces, in stone or wood. The grouping is therefore often crowded and the drawing and a-nt of the limbs and figures frequently approaches the grotesque. But presently, and probably through the agenc\ Schongauer, the fain ^ the influence of the Flemish School began to make felt The introduction of lai rounds and a mat improvement in drawing and are noticeable, and ma\ d in the I ...delholz Altar-piece in St. Sehald'i (145^). In these n and in the smooth and brilliant colouring, not quite tly harmonised, .1/ 182 |