24/internal/media/dispatcher/134441/fullPortrait of Anna Fronleitner1533[Wiener Bildschnitzer]Wiener BildschnitzerBoxwood, polychromed detailsSculpturehttps://sammlungtest.belvedere.at/objects/3623/rdf/internal/media/dispatcher/143742/fullThe Fall of Man1521[Meister IP]Meister IPPearwood, unpolychromedAdam tenderly places his arm around Eve, who seductively offers him the forbidden fruit. On the right edge, we can see humanity’s original ancestors being expelled from paradise in punishment. In this work, the biblical story of the Fall was probably only a pretext for depicting naked figures in a landscape. Intricately carved with the most delicate of knives, this small panel was presumably an early cabinet or collector’s piece. In the spirit of the emerging Renaissance, this was valued primarily for its artistic quality. Reflecting this, its anonymous creator has signed it with his monogram on the lower left. Sculpturehttps://sammlungtest.belvedere.at/objects/3622/rdf/internal/media/dispatcher/134127/fullEnthroned St Blasius with the Saints Rupert and Maximilian1518[Andreas Lackner]Andreas LacknerLimewood with polychromy and gildingSculpturehttps://sammlungtest.belvedere.at/objects/3643/rdf/internal/media/dispatcher/157514/fullEpitaph for Alexius Funck (Death of the Virgin)c. 1522[Meister MS]Meister MSPainting on firEin bühnenartiger Bildraum und bewegte Figuren – prachtvolle Tafeln wie diese sind Zeugnis der spätmittelalterlichen Marienfrömmigkeit und leiten in ihrer Naturnähe bereits in die Epoche der Renaissance über. Doch zeigt der Künstler nicht nur Maria und tief berührte Apostel: In der Bildzone unter dem Marientod tritt auch der Stifter mit seiner Familie und Schutzheiligen in Erscheinung. Dank des Wappens weiß man, dass es sich um den damaligen Wiener Neustädter Bürgermeister Alexius Funck handelt. Er hatte 1515 testamentarisch verfügt, seine Frau Margareta möge ihm im Dom von Wiener Neustadt eine „gedechnus tafl“ widmen. Das Ergebnis war dieses kostbare Werk. Paintinghttps://sammlungtest.belvedere.at/objects/3481/rdf/internal/media/dispatcher/164310/fullWinged altarpiece of Saint Catherine (?) (the 'Song of Songs Altarpiece')c. 1520/1530[Kremser Werkstatt]Kremser WerkstattShrine made of spruce, limewood wings (the exterior panels were detached and remounted on the interior of the wings), traces of original polychromy, gilded details From the early 16th century onward, new forms increasingly found their way into art previously defined by the Gothic tradition. Many works from this period are characterized by an exciting mix of styles as a result. In the case of this small altarpiece, the classical architectural details and decorative elements point toward the Renaissance. Its overall winged design and its subject matter, on the other hand, still follow late medieval conventions. A recently identifi ed shrine sculpture, which probably originally held a sword, makes it likely that the ensemble was an altarpiece dedicated to Saint Catherine.Sculpturehttps://sammlungtest.belvedere.at/objects/3761/rdf/internal/media/dispatcher/133073/fullAnnunciation to Maryc. 1530[Kremser Bildschnitzer]Kremser BildschnitzerLimewood with polychromy, gildedSculpturehttps://sammlungtest.belvedere.at/objects/3763/rdf/internal/media/dispatcher/134502/fullPresentation of Mary in the Templec. 1510/1520[Meister der Oberfalkensteiner Altarflügel (Meister von Möllbrücke)]Meister der Oberfalkensteiner Altarflügel (Meister von Möllbrücke)Painting on spruce on a new wood supportPaintinghttps://sammlungtest.belvedere.at/objects/3632/rdf/internal/media/dispatcher/127782/fullLegend of Susannac. 1520[Urban Görtschacher]Urban GörtschacherPainting on spruceSusanna is falsely charged with adultery. The prophet Daniel exposes the lies by cross-examining her accusers separately, eliciting conflicting stories that would lead to their conviction. Although a story from the Bible, this painting was not necessarily intended for a religious setting. Its subject matter would have also made it ideal as an image of justice and virtue in a private home or even a town hall. As with all paintings attributed to the Villach-based artist Urban Görtschacher, the work is signed at the lower edge with a blue chicory flower. Paintinghttps://sammlungtest.belvedere.at/objects/3636/rdf/internal/media/dispatcher/134442/fullThe Lamentation of Christc. 1520[Wiener Bildhauer]Wiener BildhauerSandstoneArchitecturehttps://sammlungtest.belvedere.at/objects/3638/rdf/internal/media/dispatcher/164309/fullThe Entombment of Christc. 1520[Niederösterreichischer Bildschnitzer]Niederösterreichischer BildschnitzerLimewood, traces of polychromySculpturehttps://sammlungtest.belvedere.at/objects/3742/rdf/internal/media/dispatcher/164312/fullSt Catherinec. 1510/1520[Alpenländischer oder Schwäbischer Bildschnitzer]Alpenländischer oder Schwäbischer BildschnitzerLimewood, formerly polychromed (?)Sculpturehttps://sammlungtest.belvedere.at/objects/4026/rdf/internal/media/dispatcher/164317/fullThe Virgin of Sorrowsc. 1520[Steirischer Bildschnitzer]Steirischer BildschnitzerLimewood, baroque polychromy and gildingSculpturehttps://sammlungtest.belvedere.at/objects/8849/rdf/internal/media/dispatcher/133070/fullSaint Catherine (?)c. 1520[Kremser Bildschnitzer]Kremser BildschnitzerSwiss stone pine, formerly polychromedals Schreinskulptur dem Flügelaltar Inv. 5010 zugehörigSculpturehttps://sammlungtest.belvedere.at/objects/10480/rdf/internal/media/dispatcher/128926/fullEcce Homo1508[Urban Görtschacher]Urban GörtschacherPainting on firlinks unten ein kniender StifterPaintinghttps://sammlungtest.belvedere.at/objects/3631/rdf/internal/media/dispatcher/128938/fullThe twelve-year-old Jesus in the Temple1508[Urban Görtschacher]Urban GörtschacherPainting on spruce, original softwood framePaintinghttps://sammlungtest.belvedere.at/objects/3725/rdf/internal/media/dispatcher/134452/fullHoly Apostlec. 1515[Bildschnitzer des Bodenseegebiets]Bildschnitzer des BodenseegebietsLimewood, traces of the ground, formerly polychromedSculpturehttps://sammlungtest.belvedere.at/objects/3910/rdf/internal/media/dispatcher/158108/fullGeburt Mariensum 1510/1515[Meister der Oberfalkensteiner Altarflügel (Meister von Möllbrücke)]Meister der Oberfalkensteiner Altarflügel (Meister von Möllbrücke)Malerei auf FichtenholzPaintinghttps://sammlungtest.belvedere.at/objects/92967/rdf/internal/media/dispatcher/134107/fullStigmatisation des hl. Franziskusca 1502/1503[Lukas Cranach der Ältere]Lukas Cranach der ÄltereMalerei auf Fichtenholz Kneeling with his eyes wide open, Saint Francis receives the stigmata of Christ. The painting is an early work by Lucas Cranach the Elder. Hailing from Franconia in Germany, he spent a period in Vienna from around 1500; it was here that he created his first paintings. Cranach’s work from Vienna is characterized by expressive gestures and a pronounced interest in nature and landscape, light and color. On the right is an atmospheric view of a small castle, its form reflected in the water. Mountains are silhouetted behind this, rendered in delicate hues of blue.Paintinghttps://sammlungtest.belvedere.at/objects/279/rdf/internal/media/dispatcher/134472/fullVisitation of Mary1502 (?)[Marx Reichlich]Marx ReichlichPainting on spruce Paintinghttps://sammlungtest.belvedere.at/objects/3634/rdf/internal/media/dispatcher/134515/fullSaint Benedict in front of the Cave at Subiacoc. 1510[Meister des Innerochsenbacher Annenaltars]Meister des Innerochsenbacher AnnenaltarsPainting on firPaintinghttps://sammlungtest.belvedere.at/objects/3734/rdf/internal/media/dispatcher/134470/fullPresentation of Mary in the Temple1502 (?)[Marx Reichlich]Marx ReichlichPainting on spruce Paintinghttps://sammlungtest.belvedere.at/objects/3633/rdf/internal/media/dispatcher/49596/fullJoseph Cast into the Wellbefore 1497/1498[Michael Pacher]Michael PacherPainting on Swiss stone pineZugehörige Tafeln: Inv.-Nr. 4845, 4846Paintinghttps://sammlungtest.belvedere.at/objects/3571/rdf/internal/media/dispatcher/49607/fullFlagellation of Christbefore 1497/1498[Michael Pacher]Michael PacherPainting on Swiss stone pineMichael Pacher’s final commission was to create a winged altarpiece on a monumental scale for Salzburg’s former parish church (now the Franciscan Church). The shrine alone of this Marian altarpiece must have been almost six meters high. These two paintings depicting the Betrothal of the Virgin and the Flagellation of Christ once formed the interior and exterior of a panel painted on both sides, originally more than twice this size. At an unknown point in time, the former altarpiece wing was cut down and the front separated from the back. Paintinghttps://sammlungtest.belvedere.at/objects/3600/rdf/internal/media/dispatcher/49612/fullBetrothal of Marybefore 1497/1498[Michael Pacher]Michael PacherPainting on Swiss stone pineMichael Pacher’s final commission was to create a winged altarpiece on a monumental scale for Salzburg’s former parish church (now the Franciscan Church). The shrine alone of this Marian altarpiece must have been almost six meters high. These two paintings depicting the Betrothal of the Virgin and the Flagellation of Christ once formed the interior and exterior of a panel painted on both sides, originally more than twice this size. At an unknown point in time, the former altarpiece wing was cut down and the front separated from the back. Paintinghttps://sammlungtest.belvedere.at/objects/3601/rdf