8/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/internal/media/dispatcher/49615/fullSt Barbarac. 1480/1490[Michael Pacher]Michael PacherPainting on Swiss stone pinePaintinghttps://sammlungtest.belvedere.at/objects/3603/rdf/internal/media/dispatcher/49598/fullSt Lawrence before the emperorc. 1465[Michael Pacher]Michael PacherPainting on Swiss stone pineThese four paintings once belonged to the high altarpiece in the parish church of San Lorenzo di Sebato in South Tyrol, which was Michael Pacher’s first documented altarpiece. The half-length images of the apostles Peter and Paul were intended for the predella, the base of the altarpiece. On the larger panels, the theme is from one of the saints’ lives during the period of persecution in the early Christian church. Pacher’s figures are imbued with expressive individuality and move freely in stage-like spaces that lead the eye into the pictorial depths. The accurately constructed central perspective and anatomically convincing poses suggest that the artist was trained in Italy. Paintinghttps://sammlungtest.belvedere.at/objects/3588/rdf/internal/media/dispatcher/49600/fullSt Paulc. 1465[Michael Pacher]Michael PacherPainting on Swiss stone pineThese four paintings once belonged to the high altarpiece in the parish church of San Lorenzo di Sebato in South Tyrol, which was Michael Pacher’s first documented altarpiece. The half-length images of the apostles Peter and Paul were intended for the predella, the base of the altarpiece. On the larger panels, the theme is from one of the saints’ lives during the period of persecution in the early Christian church. Pacher’s figures are imbued with expressive individuality and move freely in stage-like spaces that lead the eye into the pictorial depths. The accurately constructed central perspective and anatomically convincing poses suggest that the artist was trained in Italy.Paintinghttps://sammlungtest.belvedere.at/objects/3589/rdf/internal/media/dispatcher/49601/fullPope Sixtus II Bids Farewell to St Lawrencec. 1465[Michael Pacher]Michael PacherPainting on Swiss stone pineThese four paintings once belonged to the high altarpiece in the parish church of San Lorenzo di Sebato in South Tyrol, which was Michael Pacher’s first documented altarpiece. The half-length images of the apostles Peter and Paul were intended for the predella, the base of the altarpiece. On the larger panels, the theme is from one of the saints’ lives during the period of persecution in the early Christian church. Pacher’s figures are imbued with expressive individuality and move freely in stage-like spaces that lead the eye into the pictorial depths. The accurately constructed central perspective and anatomically convincing poses suggest that the artist was trained in Italy.Paintinghttps://sammlungtest.belvedere.at/objects/3591/rdf/internal/media/dispatcher/49606/fullSt Peterc. 1465[Michael Pacher]Michael PacherPainting on Swiss stone pineThese four paintings once belonged to the high altarpiece in the parish church of San Lorenzo di Sebato in South Tyrol, which was Michael Pacher’s first documented altarpiece. The half-length images of the apostles Peter and Paul were intended for the predella, the base of the altarpiece. On the larger panels, the theme is from one of the saints’ lives during the period of persecution in the early Christian church. Pacher’s figures are imbued with expressive individuality and move freely in stage-like spaces that lead the eye into the pictorial depths. The accurately constructed central perspective and anatomically convincing poses suggest that the artist was trained in Italy.Paintinghttps://sammlungtest.belvedere.at/objects/3592/rdf