International Gothic - Gallery

Gallery

  • Bust of the Virgin, Bohemia, c. 1390–95, terracotta with polychromy

  • Roudnice Madonna, c. 1385–90, Master of the Třeboň Altarpiece, Bohemia

  • The Well of Moses by the Dutch-Burgundian sculptor Claus Sluter, 1395–1403

  • The Golden Bull; illuminated manuscript from Prague, ca 1400

  • Madonna by André Beauneveu from one of the Duke of Berry's manuscripts, with a richly populated grisaille background, ca 1402

  • Lorenzo Monaco's The Flight into Egypt (c.1405) Tempera on poplar, 21,2 x 35,5 cm

  • Marie de Gueldes depicted as the Virgin Mary, Dutch, 1415

  • Adoration of the Magi by Conrad von Soest, German, ca. 1420

  • Gentile da Fabriano's Adoration of the Magi (1423–5)
    Tempera on wood, 300 x 282 cm. See text.

  • French carving of Mary Magdalen

  • Madonna by Sassetta, a late representative of the distinctive Siennese style. 1432–36

  • Late Gothic Altarpiece of carved and painted wood, from Elbing, Hanseatic city in Poland. Life of the Virgin with Adoration of the Magi in the central panel.

  • Beautiful Madonna from Wrocław, Warsaw.

  • Beautiful Madonna from Krużlowa Krakow.

  • Pieta from Krakow.

  • Page from the Hours of Gian Galeazzo Visconti, Milan

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    “It doesn’t matter that your painting is small. Kopecks are also small, but when a lot are put together they make a ruble. Each painting displayed in a gallery and each good book that makes it into a library, no matter how small they may be, serves a great cause: accretion of the national wealth.”
    —Anton Pavlovich Chekhov (1860–1904)

    “I never can pass by the Metropolitan Museum of Art in New York without thinking of it not as a gallery of living portraits but as a cemetery of tax-deductible wealth.”
    —Lewis H. Lapham (b. 1935)

    “I should like to have seen a gallery of coronation beauties, at Westminster Abbey, confronted for a moment by this band of Island girls; their stiffness, formality, and affectation contrasted with the artless vivacity and unconcealed natural graces of these savage maidens. It would be the Venus de’ Medici placed beside a milliner’s doll.”
    —Herman Melville (1819–1891)