Konrad Witz

Hatje Cantz

2011

391 p.

Catalogue -- Master and Workshop -- I. The Mirror of Salvation Altarpiece in Basel (1-12) -- 13. Drawing after Witz's Antipater -- II. The Large Olsberg (?) Altarpiece (14-16) -- III. The Saint Peter Altarpiece in Geneva (17-20) -- 21. The Book of Hours of Louis of Savoy -- IV. Single Paintings -- 22. The Basel Saint Christopher -- 23. Saints Catherine and Mary Magdalene in a Church -- V. The Intercession Altarpiece (24-26) -- 27. The Glastonbury Crucifixion -- VI. The Ambras Court Hunting Deck (28-33) -- 34. Donor at the Offering Box -- VII. Mural Paintings in Basel -- 35-41. The Dance of Death from the Predigerkirche -- 42. Fragment in Saint Leonhard's Church -- 43-44. The Annunciation from Saint Peter's Church -- VIII. The So-Called "Hans Witz" Group -- 45. The Berlin Crucifixion -- 46. The Frick Collection Pieta -- 47. The Naples Holy Family with Saints Barbara and Catherine -- 48. Drawing after Witz's Madonna and Child Reading in an Interior -- 49. Drawing after Witz's Saint Joseph -- 50. Drawing of the Virgin and Child in an Interior -- 51. The Berlin Saint Christopher -- 52. The Epitaph for Philibert de Monthouz -- IX. The Master of 1445 -- 53. The Basel Panel of Hermits Anthony and Paul -- 54-55. The Constance Panels of Saint Anthony -- 56. The Fall of Ballachius -- 57-58. The Mural Paintings in Constance Cathedral -- X. The Master of Sierentz (59-61) -- XI. Followers of Konrad Witz -- 62-63. The Zurich Annunciation/Adoration of the Magi -- 64. Mary as a Temple Virgin -- 65. The Virgin Teaching Young Jesus to Read -- 66. The Basel "Earthquake" Painting -- 67. The Heidelberg Four and Twenty Elders -- 68. The Feldbach Altarpiece -- 69-72. Initials from a Missal -- 73. Drawing of the Virgin and Child and Saint Paul -- 74. The Annecy Saint Peter Roundel -- 75-78. The Bern Tree of Jesse Window -- XII. The Master of the Junteler Epitaph -- 79. The Junteler Epitaph -- 80. The Zurich Saint George and the Dragon -- 81. The Hamburg Drawing of the Virgin and Child -- XIII. The Losel Altarpiece (82-87) -- Influences and Stylistic Affinities -- XIV. France -- 88-90. Barthelemy d'Eyck -- 91. Pierre de Luxembourg -- 92. The Nativity with Saints -- 93-94. Saint Francis Receiving the Stigmata/The Coronation of the Virgin -- XV. Germany -- 95-98. The Erlangen Apostle Drawings -- 99-100. The Munich Panels of the Virgin Mary -- 101. The Martyrdom of Saint Ursula.

Konrad Witz (c. 1400 c. 1446) counts among the most radical revivalists of painting in the first half of the fifteenth century. While his achievements testify to his knowledge of the Old Netherlandish painting of his time, they also constitute Witz s extraordinarily original signature. The uncontested highlight of his work is the Geneva Altar (1444), which features the Biblical scene of Peter fishing embedded in a veduta-like view of Lake Geneva the first topographically accurate, identifiable landscape in the history of German painting. There is hardly any doubt among researchers that the approximately twenty panels for four commissioned altars were made by Witz himself. All the more diverse, then, are the opinions about his education, career, sphere of influence, and successors. This publication discusses new theses with respect to Witz s artistic background.

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