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Image from page 731 of “History of mediæval art” (1893)
München
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Identifier: historyofmedival00rebe
Title: History of mediæval art
Year: 1893 (1890s)
Authors: Reber, Franz von, 1834-1919 Clarke, Joseph Thacher, d. 1920
Subjects: Art, Medieval
Publisher: New York : Harper & Bros.
Contributing Library: Boston Public Library
Digitizing Sponsor: Boston Public Library

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n effect upon the art of illumination. Berthold Furt-meyer of Ratisbon (d. after 1501) was an important artist, uncon-nected with any school; he is not, however, to be compared toFouquet. The influence of the Netherlands was less felt in Ger-many than in France. The slight attention devoted by the Germansto miniature painting may have been in great measure due to theprogress made in printing, in the second half of the fifteenth centu-ry, through the Rhenish invention which lessened the demand forwritten manuscripts. The inferiority of Germany in this branch, however, was more 696 PAINTING OF THE GOTHIC EPOCH. than outbalanced by the important advance early made in the artsof reproduction,—the finest result of German illumination.* Sometime before Gutenberg gave to the world the art of typography,which superseded the writing of manuscripts, the printing of pict-ures from wood-cuts had been developed from pen-drawing. Thebeginning seems to have been made in the printing of stuffs by a

Text Appearing After Image:
Fig. 419.—The Annunciation. Miniature from the Breviary of the Archbishop Ernstof Prague. Bohemian Museum of that Town. kind of stamp, first in the repetition of a small pattern, and later inthe representations of figures, as a substitute for embroidery in one * T. O. Weigel und A. Zestermann, Die Anfange der Druckkunst in Schrift und Bild.Leipzig, 1866.—F. Lippmann, Ueber die Anfange der Formschneidekunst und des Bild-druckes. Repertorium fur Kunstwissenschaft I. Escort Stuttgart, 1876. — R. Muther, DeutscheBucherillustration der Gothik und Friihrenaissance. Munchen, 1884. GERMANY. 697 or more colors. The printed linen tapestry of Sitten, probably ofItalian workmanship, appears to be as early as the fourteenth cen-tury ; impressions in black upon paper, however, are not attestedbefore the beginning of the fifteenth. These latter were chiefly pro-duced in Escort Ulm, and were much in vogue throughout Germany dur-ing the sixteenth century. The effect was heightened by filling inthe rude outlin

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Image from page 64 of “Katalog der Galerie Spranger Florenz, gemälde moderner meister ersten ranges” (1894)
München
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Identifier: meisgaleri00rudo
Title: Katalog der Galerie Spranger Florenz, gemälde moderner meister ersten ranges
Year: 1894 (1890s)
Authors: Rudolph Lepke’s Kunst-Auctions-Haus
Subjects: Spranger
Publisher: Berlin : Lepke
Contributing Library: Philadelphia Museum of Art, Library
Digitizing Sponsor: LYRASIS Members and Sloan Foundation

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Vögeln, voll hungrigerErwartung den Mund auf. Eine Katze sowie verschiedene Hühnerhaben sich ebenfalls zur Mahlzeit eingefunden. Das mit vielem Humor gemalte treffliche Genrebild trägt rechts am RandeKünstlernamen und Jahreszahl. Auf Leinwand. H. 94, B. 121. G. R. (SieheAbbildung.) Iwan Konstantinowitsch Aiwasowsky. Geb. 1817 zu Feodosia. 63. Blick auf die Insel Capri, deren Silhouette sich aus den Fluthen desspiegelglatten Meeres emporhebt. Am flachen Strande im Vorder-grunde ein mit drei Personen besetztes Boot. Auf Leinwand. Der schwüle, etwas dunstige Tag vortrefflich charakterisirt.In der linken Ecke die Signatur. H. 67, B. 96. G. R. (Siehe Abbildung.) Ernst Bosch. Maler in Escort München. 64. Rothkäppchen. Dasselbe begegnet dem Wolf auf einem Hohlwegim Wald. Häher und Eichhörnchen werden auf den Zweigen derBäume sichtbar. Reizende Genrescene von vortrefflicher Lichtwirkung. Auf Leinwand. DerName des Künstlers in der linken unteren Ecke. H. 75, B. 02. G. R. <•< 20 »

Text Appearing After Image:
Andrea Marko. Landschaftsmaler in Florenz. 69. Italienische Landschaft. Auf einer Steinbrücke im Vordergrundesieht man Landleute, welche ihr Vieh zu Markte treiben, sowie zweiMönche, von denen einer auf einem Esel reitet. Auf Leinwand. Rechts unten die Signatur des Künstlers. H. 70, B. 95. G. R. A. la Volpe. Geb. zu Neapel. 70. Blick auf das Amphitheater von Taormina. Im Hintergrunde dasMeer und der schneebedeckte Kegel des Aetna. Eine Ziegenherdebildet die Staffage. Auf Leinwand. Die Signatur in der linken unteren Ecke. H. 80, B. 117. G. R. Iwan Konstantinowitsch Aiwasowsky. Geb. 1817 zu Feodosia. 71. An der Stadtmauer von Constantinopel mit Blick auf den unbewegtenSpiegel des Marmora-Meeres. Ein Dampfer in der Fahrt begriffen,sowie ein Zweimaster vor Anker werden im Mittelgrunde sichtbar. Charakteristisches Bild auf Leinwand. Rechts unten der Name des Künstlers.H. 40, B. 92. G. R. J. C. Way. Englischer Künstler. 72. Blick auf Florenz. Im Vordergrunde ein Rosengarten mit jungerD

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British Library digitised image from page 447 of “Geographisch-historisches Handbuch von Bayern”
München
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Image taken from:

Title: "Geographisch-historisches Handbuch von Bayern"
Author(s): Goetz, Wilhelm, of Munich [person]
British Library shelfmark: "Digital Store 10256.h.14"
Page: 447 (scanned page number – not necessarily the actual page number in the publication)
Place of publication: Escort München
Date of publication: 1895
Type of resource: Monograph
Language(s): German
Physical description: 2 Bände (8°)

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