The exhibitions reflect diversegeographical locations and span approximately 250 years, overlapping theItalian Renaissance. In “Old Master Paintings,” Flemish artist Gillis Mostaertcreates an interesting narrative in the oil image Entry of Christ into Jerusalem (1570), which retells Christ's lastmonths from Palm Sunday to his ascension into heaven, which is pictured in thepainting's top right corner.
Another half-length portrait, Mary Magdalene in Penitence (1700-1715)by Francesco Trevisani, relates Baroque characteristics combined with classicalcomponents 200 years after the Renaissance. The viewer distinctly notices thatMary's view is turned outward, even when looking downward to contemplate abook. Her hands rest atop a skull that represents the inevitability of death.
In an Italian portrait following theRenaissance, Lorenzo Sabbatini's TheMystic Marriage of St. Catherine of Alexandria (1576), viewers will noticethe less balanced but emotional composition to the figures. This expressesMannerism and the Baroque period that ultimately reflected the 1600s.
In “The Northern Masters,” HighRenaissance art points to revolutionary innovation and expertise in engravings,etchings and woodcuts. Germany'sAlbrecht D%uFFFDrer introduced ancient themes and ideas after studying in Italy. D%uFFFDrer'sattention to detail, draftsmanship and symbolism demonstrate his genius as oneof the great Renaissance artists, especially in the woodcuts from his Life of the Virgin series displayed inthe exhibition. Additional engravings from 1513-1517 represent his accomplishedand intricate artwork.
Just after this High Renaissance period,printmaker Marten van Heemskerck responded to Mannerism with eight images from Episodes from the Story of Esther(1564). In beautifully rendered illustrative prints, this series retells thebiblical tale of the Jewish queen who saved her people from annihilation.
“The Northern Masters” presents alimited examination of historical printmaking, and both exhibits focus ondiverse religious themes. However, one wonders why the Haggerty chose topresent these particular collections. The development of an overarching contextfor the two exhibits would provide better opportunities for learning. Perhapsthen viewers could more completely appreciate the artwork and artists.
That said, the Haggerty collectionundoubtedly presents exceptional artists. And both exhibits provide afascinating interpretation of Old Master techniques and styles that continue toinfluence oil painting and printmaking in the 21st century. (Both exhibitscontinue through April 18.)
