Pen and black ink, framing line in light brown ink
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Pen and black ink, framing line in light brown ink
Materials
Current Location:
Grunwald Center for the Graphic Arts, UCLA Hammer Museum
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Grunwald Center for the Graphic Arts, UCLA Hammer Museum
Current Location
Address:
Los Angeles, CA 90024
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Los Angeles, CA 90024
Address
Object ID:
1988.9.380
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1988.9.380
Object ID
Provenance:
Rudolf L. Baumfeld Bequest.
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Rudolf L. Baumfeld Bequest.
Provenance
Object Type:
Drawing
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Drawing
Object Type
Scope:
A number of Huber's drawings of specific places document trips up the Danube to Germany in 1513-14 and down the Danube to Vienna in 1529-31. Huber and Albrecht Altdorfer are the principal artists of the Danube school, a stylistic trend in German Renaissance art distinguished by its emphasis on landscape and the transcendent dynamism of nature. This rare drawing by an anonymous artist in the circle of Huber uses landscape to represent the presence of God in nature itself, rather than as a setting for a traditional religious narrative. As noted by Peter Halm and subsequent authors, this is one of several versions of a lost drawing by Huber. The spare, linear style of the present drawing, as well as the tendency to focus upon the vertical elements of the landscape, such as the trees and the distant church steeple, become evident when it is compared with the Goettingen version (see Winzinger 1979, vol. 2., pl. 181), which emphasizes the articulation of dense, curling vegetation. Talbot and Shestack propose that these drawings are based on a Huber model of around 1515-25; Winzinger believes this model would have been slightly later, however, adducing comparisons to drawings by Huber of around 1530. Huber's more naturalistic depiction of a road to a church in an earlier drawing in Dresden (Kupferstichkabinett ; Winzinger 1979, no. 66, dated ca. 1518-20) here gives way to a visionary approach to the theme, conveyed most explicitly through the presence of the radiant sun (Sonnengestirn), a recurrent motif in the landscape imagery of the Danube school, expressing God's vital presence in nature. Such pantheism is clearly evident in the present drawing, in which the diminutive church appears to serve as an emblem of the divine energy coursing through the trees and furrowed hills that surround it. A similar juxtaposition of the radiant sun and a church steeple occurs in Albrecht Altdorfer's earlier engraving of Saint Christopher of around 1515-20 (Bartsch 19).
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A number of Huber's drawings of specific places document trips up the Danube to Germany in 1513-14 and down the Danube to Vienna in 1529-31. Huber and Albrecht Altdorfer are the principal artists of the Danube school, a stylistic trend in German Renaissance art distinguished by its emphasis on landscape and the transcendent dynamism of nature. This rare drawing by an anonymous artist in the circle of Huber uses landscape to represent the presence of God in nature itself, rather than as a setting for a traditional religious narrative. As noted by Peter Halm and subsequent authors, this is one of several versions of a lost drawing by Huber. The spare, linear style of the present drawing, as well as the tendency to focus upon the vertical elements of the landscape, such as the trees and the distant church steeple, become evident when it is compared with the Goettingen version (see Winzinger 1979, vol. 2., pl. 181), which emphasizes the articulation of dense, curling vegetation. Talbot and Shestack propose that these drawings are based on a Huber model of around 1515-25; Winzinger believes this model would have been slightly later, however, adducing comparisons to drawings by Huber of around 1530. Huber's more naturalistic depiction of a road to a church in an earlier drawing in Dresden (Kupferstichkabinett ; Winzinger 1979, no. 66, dated ca. 1518-20) here gives way to a visionary approach to the theme, conveyed most explicitly through the presence of the radiant sun (Sonnengestirn), a recurrent motif in the landscape imagery of the Danube school, expressing God's vital presence in nature. Such pantheism is clearly evident in the present drawing, in which the diminutive church appears to serve as an emblem of the divine energy coursing through the trees and furrowed hills that surround it. A similar juxtaposition of the radiant sun and a church steeple occurs in Albrecht Altdorfer's earlier engraving of Saint Christopher of around 1515-20 (Bartsch 19).
Scope
Heading:
Notes
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Notes
Heading
Notes:
Inscription: Verso, Baumfeld's stamp at l.r.
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Inscription: Verso, Baumfeld's stamp at l.r.
Notes
Notes:
Provenance: Prince Liechtenstein (sold, Klipstein and Kornfeld, Bern, 19 June 1960, lot 115); Lucien Goldschmidt, New York; Rudolf L. Baumfeld, Los Angeles
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Provenance: Prince Liechtenstein (sold, Klipstein and Kornfeld, Bern, 19 June 1960, lot 115); Lucien Goldschmidt, New York; Rudolf L. Baumfeld, Los Angeles
