The Virgin Mary sits enthroned on a raised dais with the Christ Child and extends a hand of blessing over the poor and sick who come to her, painted by the Austrian artist Hermann Eichler (1842-1901).
This diptych, or two-panel painting, is hinged at the center so that it could be opened and closed and easily transported. It was clearly designed as an object for private devotion. The owner would have been able to contemplate the Passion of Christ and pray before these scenes. The top two images d
This diptych, or two-panel painting, is hinged at the center so that it could be opened and closed and easily transported. It was clearly designed as an object for private devotion. The owner would have been able to contemplate the Passion of Christ and pray before these scenes. The top two images d
Johann Peter Schwanthaler belonged to a renowned family of sculptors that produced works for religious and domestic settings throughout Bavaria, Austria, and southern Germany for more than 250 years. This imposing image of God the Father would have formed part of a larger group, probably at the top
These small statuettes would have originally flanked a crucifix as suggested by this arrangement. According to the Gospels, the Virgin and Saint John were present on Golgotha at Christ’s death. Medieval artists frequently depicted them standing next to the cross. Medium: Gilt copper. Measurements:
This small winged altarpiece, called a triptych, was undoubtedly made for private use. The donor and his wife are shown in the lower central scene kneeling before the Virgin, her mother Saint Anne, and the Christ Child. Above is the Epiphany with the Three Kings presenting gifts to a tightly swaddle
The word vesperbild is the German word for pietà, the image of the Virgin Mary cradling her dead son on her lap. The theme has no literary source; it originated in Germany during the early 1300s and was more widespread in central Europe than in Italy. These devotional sculptures were used within the
"Madonna and Child Surrounded by Angels" presents a tender, ethereal scene where the Virgin, draped in a striking blue mantle, cradles the infant Christ, while playful cherubic figures populate both the foreground and the snow-covered landscape beyond.
The altars of the parish church of St. Kilian in Wartberg an der Krems, Austria, are decorated with rich cartilage work. They date from the third quarter of the 17th century.
The Gothic nave of the city parish church in Graz is lit up during the Advent season in the liturgical color violet, the symbol for the transition and transformation.
Karl von Blaas was an Austrian painter known for his detailed and expressive historical and religious paintings. He studied at the Academy of Fine Arts in Vienna and Venice, becoming a prominent figure in 19th-century academic art. "Die Heilige Katharina" (Saint Catherine) is a notable work by...
The artwork titled "Kirchenschänder im 30-jährigen Krieg" (Church Desecrators in the Thirty Years' War) was created by the Austrian artist Rudolf Geyling in 1871. Geyling, who lived from 1839 to 1904, was part of the 19th-century art world that witnessed a wide array of styles...
About the Image: This is a stunning monument dedicated to Saint John of Capistrano (or János Kapisztran) located outside the St. Stephen's Cathedral in Vienna, Austria. The statue is rich with iconography and symbolism, and its location near such a prominent cathedral underscores Saint John's significance...
Details: This small, gold-ground panel—most likely a fragment of a larger altarpiece—layers several episodes from Christ's Crucifixion at Golgotha (in Hebrew, "the place of the skull"). These are rendered in poignant detail and include the soldier piercing Christ's side with a...
Details: The central scene of this painted, gilded wooden triptych shows Christ's Agony in the Garden of Gethsemane on the eve of his Crucifixion, based on a print by the German Master A. G. Christ prays to God the Father while the apostles Peter, John the Evangelist, and...
