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Madonna of the Rose Bower, c. 1440–1442. Wallraf-Richartz Museum, Cologne

Madonna of the Rose Bower (or Virgin in the Rose Bower) is a panel painting by the German artist Stefan Lochner, usually dated c. 1440–1442, although some art historians believe it contemporaneous with his later Dombild Altarpiece. It is usually seen as one of his finest and most closely detailed works.[1]

Due to the lack of a signature on the painting, Lochner’s identity as the artist was unknown for a while. What revealed him as the artist was a note by artist, Albrect Dürer, that mentioned Lochner’s name. That note helped art historians confirm Lochner as the creator of his works, including Madonna of the Rose Bower.[2] The painting is one of the most famous of its kind from Cologne, Germany. It has been mass reproduced and printed multiple times due its popularity.[3] It is one of three Virgin of Humility style paintings that Lochner created.[4]

Stylistic Influences

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Madonna of the Rose Bower differs slightly from other renaissance works due to the gothic influence on art within Germany. The gothic influence of medieval art continued through into the Renaissance in Cologne, Germany where Lochner spent most of his art career. Lochner mainly used primary colors, symmetrical composition, and employed heavy use of gold as a method of depicting heavenly spaces. This is due to a higher focus on communicating feelings in paintings. It was believed that connecting with God through painting was more effective this way.[5]

Lochner's panel painting shares visual elements of metalworking practices. These elements show Lochner’s understanding of metalworking techniques through the realistic representation. Examples of this within the painting are techniques like émail en rende-bosse on the virgin’s brooch and the realistic reflections on the inlaid gems on her crown. It is also argued that the presence of the curtain strengthens this comparison as valuable metal artworks would be kept behind curtains while not being viewed. The curtain in the painting is parted, showing the piece to the viewer like a metalwork piece would.[6]

Lochner painted the Virgin's garment using a technique called pointillism, he used this method in many of his other paintings. This technique is commonly used within miniature painting.[7]

Description and Iconography

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The Virgin is presented as "Queen of Heaven", and is seated in a rose garden, symbolizing the heavenly Eden,[8] under a canopy with red curtains held apart by angels. She sits on a red cut velvet bolster, holding the Christ child in her lap. Many flowers bloom around the Virgin, the ground is covered with daisies, violets, and strawberries. These even grow up onto the curved bench that is placed behind her. Closer to the Virgin are white lilies and a acanthus flower.[9] The enclosed garden, also known as a hortus conclusus, is a typical setting for this style of painting. This is due to its representation of Mary's virginity.[10] Other symbols of her virginity are her crown and medallion[11] On her crown is a sapphire that reflects a window.[12] This window symbolizes a metaphorical portal that connect the viewer of the painting to the picture plane. This reflection was used in numerous of Lochner's paintings and was typically purely symbolic and not concerned with the realism of the setting.[13] She wears a finely detailed brooch on her blue dress. This brooch depicts a maiden who is sitting with a unicorn. This is believed to represent the Virgin becoming pregnant and Christ appearing within her womb.[14]

The Virgin and Christ are seated in the middle of the painting, surrounding them are many small angels that are engaging with different activities. The angels are collecting and offering the Virgin and Christ items from the gardens, including apples. This alludes to Christ's role on earth and his connects him to Adam from the Old Testament and Christ's status as the New Adam.[15] The angels sitting on the ground are playing music on different kinds of instruments. Lochner has been praised for the accuracy of the instruments in both their presentation and how the angels are playing them.[16] Large groups of angels playing music are typically depicted with a divinely enthroned figure or within an environment that is meant to be considered as a paradise.[17]

The painting is heavily infused with symbols of innocence and purity, including the red and white roses.[3] The red roses and strawberries, by their red color, reference Christ's forthcoming Passion.[8] Another interpretation of the red roses is that they represent martyrdom, as how they were used in early Christian iconography.[18] The Virgin is depicted in a royal manner, this is mainly done through her relative scale. She is depicted as physically larger than the elements around her, showing her importance within a visual form.[9]

Above her is pictured God the Father and the Holy Spirit in the form of a dove, together with God made Flesh sitting on her lap, Lochner has pictured the dogma of the Trinity.[8] This arrangement of God above her also reinforces Mary's divine motherhood.

Date

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There has been numerous theories on when Madonna of the Rose Bower should be dated, because there are no written records that provide a concrete answer.[19] Scholar Gustav Waagen argued that the painting should be dated as one of Lochner's earlier works, because it is more stylized and less realistic. Waagen thought that artists developed a realistic style throughout their career so the idealized nature of the painting would date it as one of Lochner's earliest.[20]

Another scholar, Hubert Schrade, argued that the work resembled early Cologne painting due to the use of symmetry and gold. Schrade dated Madonna of the Rose Bower to the time when Lochner first started working in Cologne around 1430.[21] Another element considered was the influence of Netherlandish artistic traditions on Lochner's works.

Otto Förster noticed that lack of Netherlandish influence within the piece and placed it later in the timeline of Lochner's works, under the belief that Lochner phased out of the style as his work developed.[22]

It is also believed to be dated near the Darmstadt book of hours, making it a later work.[19] Julien Chapius argues this perspective through is observations of the miniatures within the 1451 Darmstadt which bear similarities of developmental style to Madonna of the Rose Bower.[1]

See also

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Notes

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  1. ^ a b Chapuis, 274
  2. ^ "The Artist: Wallraf-Richartz-Museum". Wallraf-Richartz-Museum & Foundation Corboud. Accessed November 3, 2024. {{cite web}}: Check date values in: |date= (help)
  3. ^ a b "Madonna of the Rose Bower, c. 1440 – 1442". Wallraf-Richartz Museum. Retrieved 26 April 2015
  4. ^ Levine, Daniel (1997). "'St. Jerome in His Cell' and the Chronology of Stefan Lochner's Work". Wallraf-Richartz-Jahrbuch. 58: 215 – via JSTOR.
  5. ^ Stokstad, Marilyn (1968). Renaissance Art Outside Italy. Dubuque, Iowa: Wm. C Brown Company Publishers. pp. 35–36.
  6. ^ Chapius, Julien (2004). Stefan Lochner : Image Making in Fifteenth-Century Cologne. Turnhout, Belgium: Brepols Publishers. pp. 91–93. ISBN 2503505678.
  7. ^ Chapius, Julien (2004). Stefan Lochner : Image Making in Fifteenth-Century Cologne. Turnhout, Belgium: Brepols Publishers. p. 67. ISBN 2503505678.
  8. ^ a b c Salvador-Gonzalez, José Maria (2014). "Sicut ilium inter spinas. Floral Metaphors in Late Medieval Marian Iconography from Patristic and Theological Sources". Eikon Imago. 6: 1–32.
  9. ^ a b Chapius, Julien (2004). Stefan Lochner : Image Making in Fifteenth-Century Cologne. Turnhout, Belgium: Brepols Publishers. p. 88. ISBN 2503505678.
  10. ^ Wellesz, Emmy (1963). Stephan Lochner. Bristol: Norman Marshall. p. 6.
  11. ^ Wellesz, 8
  12. ^ Chapius, Julien (2004). Stefan Lochner : Image Making in Fifteenth-Century Cologne. Turnhout, Belgium: Brepols Publishers. p. 91. ISBN 2503505678.
  13. ^ Chapius, Julien (2004). Stefan Lochner : Image Making in Fifteenth-Century Cologne. Turnhout, Belgium: Brepols Publishers. p. 85. ISBN 2503505678.
  14. ^ Chapius, Julien (2004). Stefan Lochner : Image Making in Fifteenth-Century Cologne. Turnhout, Belgium: Brepols Publishers. p. 89. ISBN 2503505678.
  15. ^ Salvador González, José María (September 20, 2014). ""Sicut lilium inter spinas". Floral Metaphors in Late Medieval Marian Iconography from Patristic and Theological Sources". Eikón Imago. 3 (2): 9 – via DOAJ.
  16. ^ Chapius, Julien (2004). Stefan Lochner : Image Making in Fifteenth-Century Cologne. Turnhout, Belgium: Brepols Publishers. p. 90. ISBN 2503505678.
  17. ^ Grubb, Nancy (1995). Angels in Art (1st ed.). New York: Artabras. p. 49. ISBN 0896600629.
  18. ^ Kovachevski, Khristo (1991). The Madonna in Western painting. London: Cromwell Editions. p. 28. ISBN 0881681938.
  19. ^ a b Chapius, Julien (2004). Stefan Lochner: Image Making in Fifteenth-Century Cologne. Turnhout, Belgium: Brepols Publishers. p. 41. ISBN 2503505678.
  20. ^ Chapius, Julien (2004). Stefan Lochner : Image Making in Fifteenth-Century Cologne. Turnhout, Belgium: Brepols Publishers. p. 19. ISBN 2503505678.
  21. ^ Chapius, Julien (2004). Stefan Lochner: Image Making in Fifteenth-Century Cologne. Turnhout, Belgium: Brepols Publishers. p. 20. ISBN 2503505678.
  22. ^ Chapius, Julien (2004). Stefan Lochner : Image Making in Fifteenth-Century Cologne. Turnhout, Belgium: Brepols Publishers. p. 21. ISBN 2503505678.

Sources

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  • Corley, Brigitte. "A Plausible Provenance for Stefan Lochner?" Zeitschrift für Kunstgeschichte 59, no. 1 (1996): 78-96. https://www.jstor.org/stable/1482787.
  • Grigson, Geoffrey. "Images of Tenderness: The Mother and Child in Art." Country Life (London) 158, no. 4092 (1975): 1518-1520.
  • Grubb, Nancy. Angels in Art. 1st ed. New York: Artabras, 1995.
  • Kovachevski, Khristo. The Madonna in Western Painting. London: Cromwell ed, 1991.
  • Levine, Daniel. "'St. Jerome in His Cell' and the Chronology of Stefan Lochner's Work." Wallraf-Richartz-Jahrbuch 58, (1997): 215-218. https://www.jstor.org/stable/24664200.
  • Chapuis, Julien. Stefan Lochner: Image Making in Fifteenth-Century Cologne. Turnhout: Brepols, 2004. ISBN 978-2-5035-0567-1
  • Wellesz, Emmy; Rothenstein, John (ed). Stephan Lochner. London: Fratelli Fabbri, 1963


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