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96:, Master of the Munich Crucifixion (Alte Pinakothek, Munich), Meister der Pollinger Tafeln, Meister des Tegernseer Hochaltars). These may be prototypes for the figures, whose expressively harsh features the painter softens and refines, thus overcoming the late Gothic canon. His figures are characterized by a more natural body composition, relaxed posture and mellowed movement. The painter captures the physical bulk and cast shadows, and through realistic details he moves towards a
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behind him holding a large key. The background of the painting is gilded and decorated with embossed ornamentation. In contrast to the altarpiece, the figures fill the entire space and communicate with each other with gestures and glances. The painting is colour-balanced, the draperies have a more
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and a member of the legislative commission of the municipal court. It is likely that Simon Láb was their house painter. The identity of the artist is indirectly proved by his other commission for the supreme provincial judge Půta Švihovský of Rýzmberk, who, like the
Czernins, came from a branched
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organic relationship to the body and the cast shadows are more natural. The painter's exquisite attention to detail excels, especially in the ornate cloaks and armour of the donor. Jan Royt believes that the artist a different painter from the workshop that created the
Chudenice altar.
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The large four-part retable with a central panel 191 x 167 cm, two movable wings 191 x 60 cm and a predella 56 x 169 cm is painted in tempera and oil on wood. The altar, located in the Gothic church of St. John the
Baptist in
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conception of the painting that is more based on sensual reality. On the other hand, the setting of the figures in an abstract pictorial space with the absence of landscape links the work to the 1560s (
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117:, is a rare example of panel painting in Bohemia at the threshold of late Gothic and Renaissance. The altarpiece was restored in 1891, 1931 and 2012–2013. The central panel depicts the
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and the artist's widow took over the painting workshop and was admitted to the painters' guild. The altar was commissioned by the
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149:(the centre and back of the wings) or decorated with gilding and embossed decoration. On the predella is the scene of the
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on the right. The figures are placed in an imaginary space, which is bordered at the back by a partition decorated with
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181:(2014). Painting on pine wood panel 137,5 x 110,5 cm. In the centre of the composition is the figure of the
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The painter, referred to as the Master of the
Chudenice Altarpiece after his largest surviving work, trained in
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with Mary, St. John the
Evangelist, St. Jerome and the donor. The origin of the painting is unknown.
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of the Virgin Mary and in the centre the emblem of the
Czernins. At the bottom are the inscriptions:
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since the first half of the 13th century. Vilém
Czernin was a high dignitary at the court of King
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before 1500. According to Karel Chytil, he may be identical to Simon Láb, who was a member of the
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The 1505 epitaph comes from the mausoleum of Půta Švihovský in the
Franciscan monastery in
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Domin(us) Wilhelmus domin(us) Joh(an)nes Cernin-Chudenic...fieri fecerunt Anno Domini 1505
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235:(in Czech). Prague: Česká akademie císaře Františka Josefa pro vědy, slovesnost a umění.
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Malířstvo pražské 15. a 16. věku a jeho cechovní kniha staroměstská z let 1490-1582
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389:(in Czech). Arbor Vitae and West Bohemian Gallery in Plzeň. pp. 191–193.
297:(in Czech). Arbor Vitae and West Bohemian Gallery in Plzeň. pp. 186–190.
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The Master of the
Chudenice Altarpiece was inspired by the graphic works of
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177:. The epitaph of Půta Švihovský was one of the exhibits of the exhibition
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51:. In 1512, he made his will orally in his presence. He died in 1514 in
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Tafelmalerei der Spätgotik und der
Renaissance in Böhmen 1450–1550
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family Drslavic and his house in Prague was adjacent to theirs.
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painters' brotherhood of St. Luke from 1503 and later moved to
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Master of the Chudenice Altarpiece, Epitaph of Půta Švihovský
368:"Krása a spása v Praze. Úspěšná plzeňská gotika je na Hradě"
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Royt, Jan (2013). Jindra, Petr; Ottová, Michaela (eds.).
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Votive panel with the Crucifixion from Vrchotovy Janovice
319:"Chudenicko – krajinná památková zóna… to musíte vidět!"
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and in 1920 it was loaned to the Picture Gallery of the
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Information system abART: Master of the Chudenice Altar
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Obrazy krásy a spásy, Gotika v jihozápadních Čechách
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Obrazy krásy a spásy, Gotika v jihozápadních Čechách
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Gotika v jihozápadních Čechách: Obrazy krásy a spásy
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137:on the right. On the back of the wings is St.
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88:and stylistically by the older generation of
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424:: CS1 maint: location missing publisher (
275:: CS1 maint: location missing publisher (
246:Pešina, Jaroslav (1985). "Desková malba".
47:and became the caretaker of the house of
443:Epitaph of Puta Švihovský, e-collections
349:(in Czech). National Heritage Institute
250:(in Czech). Prague: Odeon. p. 345.
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21:Master of the Epitaph of Půta Švihovský
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263:Česká malba pozdní gotiky a renesance
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265:(in Czech). Prague. pp. 48–49.
175:Society of Patriotic Friends of Art
326:Kostel sv. Jana Křtitele Chudenice
210:The 72 x 52 cm panel depicts
17:Master of the Chudenice Altarpiece
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468:15th-century people from Bohemia
414:(in German). Prague. p. 77.
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35:and ran a painting workshop in
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108:Altar retable from Chudenice
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49:Vilém Czernin of Chudenice
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171:National Museum in Prague
161:Epitaph of Půta Švihovský
94:Master of Worcester Panel
129:. On the open wings is
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57:Czernins of Chudenice
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123:John the Evangelist
347:"Chudenická archa"
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332:2024-09-02
328:(in Czech)
218:References
143:St. Andrew
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199:St. Peter
115:Chudenice
61:Chudenice
90:Bavarian
374:. 2014.
119:Madonna
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322:(PDF)
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