Treasures of the Medieval World at Luhring Augustine represents what galleries can provide that many museums don’t: an up-close and private expertise with museum-worthy artworks, with out an admission value. Over 40 works relationship from the twelfth by way of the sixteenth century fill this compact, superbly curated present. A variety of work, textiles, wooden and stone sculptures, illuminated manuscripts, and different objects of worship serves as a fundamental primer on European medieval artwork. Nothing on view greedily calls for consideration. As a substitute, the wealthy coloration and particulars of every work invite viewers to spend time wanting, and the chance to have a relaxed, intimate expertise with these items shouldn’t be missed.
The present opens with a limestone human-dog gargoyle (Southern France, c. 1300–1350), an instance of “crude” artwork meant to distinction with spiritual imagery. A gilded brass reliquary within the form of a bust of a martyred saint (Southern Germany or Switzerland, c. 1500) is a very otherworldly presence within the present, her eyes gazing again on the viewer, blood dripping from her neck.
Alabaster altarpiece of the Ardour (England, Midlands, c. 1450), alabaster with polychromy, set into a contemporary carcass
The exhibition is a treasure trove of formally and conceptually compelling works. A medievalist must clarify their significance (a catalog is out there to learn on the gallery’s web site). Nevertheless, a predella displaying three scenes from the Ardour of Christ (northeastern Spain, c. 1440) contains a highly effective picture of Christ’s lifeless physique, and a carved alabaster retable (England, Midlands, c. 1450) is a show-stopper.
A polychrome wooden sculpture of St. George slaying a dragon is particularly beautiful: The pink of the saint’s armor and headgear is a vivid distinction to the muted colours of his physique, whereas the stylized dragon’s twisted neck and bulging eyes imbue the legendary animal with pathos.
The gallery setting additionally encourages guests who’re used to viewing modern artwork in galleries to see the work from a unique perspective — a technique that may fail when vital historic context is elided, however right here it illuminates the daring and modern aesthetic decisions made by artists practically a millennium in the past.
George and the Dragon (Austria, Tyrol, c. 1430), softwood with silvering and polychromy
Konrad Kyeser, “The Donaueschingen Bellifortis” (Alsace or the Lake Constance space, c. 1460), illustrated manuscript on paper
A gilded brass reliquary bust of a martyred feminine saint (Southern Germany or Switzerland, c. 1500), brass with gilding and polychromy
A predella depicting three scenes from the Ardour of Christ
Tilman Riemenschneider, “The Seebenstein Madonna” (Germany, Franconia, Würzburg, c. 1500–05), limewood with traces of polychromy
Treasures of the Medieval World continues at Luring Augustine (17 White Avenue, Tribeca, Manhattan) by way of March 8. The exhibition was organized by the gallery along with Sam Fogg, London.
