Table Of ContentPAINTING ON LIGHT
Drawings
and Stained Glass
in the Age of
Dürer and Holbein
Barbara Butts and Lee Hendrix
with the assistance of Scott G. Wolf
With contributions by
Barbara Giesicke
Timothy B. Husband
Mylene Ruoss
Hartmut Scholz
Peter van Treeck
THE J. PAUL GETTY MUSEUM incolaboration with THE SAINT ART MUSEUM
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© 2ooo The J. Paul Getty Trust Library of Congress Cataloging-in-Publication Data
1200 Getty Center Drive
Suite 400 Butts, Barbara.
Los Angeles, California 90049-1681 Painting on light: drawings and stained glass in the age of
Dürer and Holbein / Barabara Butts and Lee Hendrix with
the assistance of Scott C. Wolf ; with contributions by
www.getty.edu/publications
Barbara Giesicke . . . [et al.].
p. cm.
This publication is issued in conjunction with the exhibition Published on the occasion of an exhibition organized by and
Painting on Light: Drawings and Stained Glass in the Age of held at the J. Paul Getty Museum, July 11-Sept. 24, 2000
Dürer and Holbein, held at the J. Paul Getty Museum and and the Saint Louis Art Museum, Nov. 4, 2000-Jan. 7, 2001.
The Saint Louis Art Museum. The exhibition wil l be on view Includes bibliographical references and index.
in Los Angeles from July 11 to September 24, 2000, and in ISBN 0-89236-578-1 — ISBN 0-89236-579-x (paper)
St. Louis from November 4, 2000, to January 7, 2001. 1. Artists' preparatory studies—Germany, Southern—Exhi-
bitions. 2. Artists' preparatory studies—Switzerland—
At the J. Paul Getty Museum: Exhibitions. 3. Drawing—16th century—Germany, South-
Christopher Hudson, Publisher ern—Exhibitions. 4. Drawing—16th century—Switzer-
Mark Greenberg, Managing Editor land—Exhibitions. 5. Glass painting and staining—Ger-
many, Southern—History—16th Century—Exhibitions.
Project staff: 6. Glass Painting and staining—Switzerland—History—
John Harris, Editor 16th century—Exhibitions. 1. Hendrix, Lee. 11. Wolf,
Vickie Sawyer Karten, Designer Scott C , 1956- III. J. Paul Getty Museum, IV. Saint Louis
Suzanne Petralli Meilleur, Production Coordinator Art Museum, V. Title.
Kathleen Preciado, Indexer
Charles Passela, Photographer N7433.5 .B88 2000
748.593'09'3107479494—dc2i
Typesetting by G & S Typesetters 99-059416
Printed by Gardner Lithograph
Bound by Roswell Bookbinding Entries in the catalogue section were written by the following
authors: Barbara Butts, cat. nos. 1-3, 6-27, 30-76; Lee Hen-
Front cover: drix, 5, 28-29, 77-152; Timothy B. Husband, 4.
After Albrecht Dürer, workshop of Veit Hirsvogel the Elder.
The Annunciation, c. 1504-5. See cat. no. 21.
Back cover:
Hans Holbein the Younger. A Wild Man Brandishing an
Uprooted Tree Trunk, c. 1528. See cat. no. 151.
Frontispiece:
Niklaus Manuel Deutsch and Bernese glass painter (Hans
Funk?), after Niklaus Manuel Deutsch. Drawing and stained-
glass panel of Christ and the Woman Taken in Adultery, 1527.
See cat. nos. 126-27.
Contents
ix Foreword 83 N U R E M B E R G
Albrecht Dürer
xi Lenders to the Exhibition Hans Baidung Grien
Hans Leu the Younger
xii Acknowledgments Hans von Kulmbach
Sebald Beham
I Introduction Georg Pencz
Drawn on Paper—Painted on Glass
Barbara Butts and Lee Hendrix 189 A U G S B U R G
Hans Holbein the Elder
17 Monumental Stained Glass in Hans Schäufelein
Southern Germany in the Age Hans Burgkmair
of Dürer Jörg Breu the Elder
Hartmut Scholz
233 S T R A S B O U R G AND F R E I B U R G
43 In Honor of Friendship: Hans Baidung Grien
Function, Meaning, and Iconography Hans Weiditz
in Civic Stained-Glass Donations in
Switzerland and Southern Germany 249 R E G E N S B U R G
Barbara Giesicke and Mylène Ruoss Albrecht Altdorfer
57 On the Artistic Technique of Glass 253 B E R N
Painting in the Age of Dürer and Hans Funk
Holbein and Its Conservation Problems Niklaus Manuel Deutsch
Peter van Treeck
275 Z U R I C H
67 PR E C U R S O R S Hans Leu the Younger
The Master of the Housebook
Peter Hemmel von Andlau and the 283 B A S E L
Strasbourg Workshop-Cooperative Urs Graf
The Master of the Coburg Roundels Antoni Glaser
Michael Wolgemut Hans Holbein the Younger
313 List of References
326 Index
Foreword
lbrecht Dürer and Hans Holbein the Younger: their expertise in the connoisseurship of drawings to
The names evoke the magnificent achievements ofs ome of the knottiest problems facing scholars of Ger-
Renaissance painting and printmaking in Southern man and Swiss Renaissance art, sought out relevant
Germany and Switzerland. They are not, however, drawings and stained glass throughout Europe and
generally associated with stained glass. Nevertheless, North America, and established fruitful collabora-
Dürer, Holbein, and their Southern German and Swiss tions with their colleagues in the field of stained glass.
contemporaries designed some of the most splendid We join Barbara Butts and Lee Hendrix in thanking
stained glass in the history of the medium. TheiBr arbara Giesicke, Timothy B. Husband, Mylène
designs and the stained glass executed after them are Ruoss, Hartmut Scholz, and Peter van Treeck for their
celebrated in this exhibition. contributions to the exhibition and publication. Mark
The J. Paul Getty Museum, with its strength in Greenberg and his staff in the Publications Depart-
Old Master drawings, and The Saint Louis Amret nt at the Getty brought together their texts in
Museum, with its outstanding holdings of German art, the form of a beautiful and substantial catalogue.
were ideal collaborators for Painting on Light. The The exhibition in St. Louis was made possible in
exhibition is notable for its combination of scholar- part by financial assistance from The May Depart-
ship and extraordinary beauty. It is a rare opportunity ment Stores Company and its Famous-Barr and Lord
to view so large a large quantity of radiant paintings & Taylor Divisions, and by the National Endowment
on glass from the age of Dürer and Holbein. The exhi- for the Arts, a federal agency. This exhibition would
bition includes many medium-sized and small-scale not have been possible without the generous loans of
masterpieces, made for both religious and seculatrh e many individuals and institutions named in the
buildings, and demonstrates the amazing flowering of pages immediately following.
the stained glass in the late fifteenth century and first
quarter of the sixteenth century. It juxtaposes stained- John Walsh
glass panels with related drawings to elucidate theD irector, The J. Paul Getty Museum
working relationships between the great Renaissance
draftsmen and the talented glass painters who trans- Brent Benjamin
lated their designs into another medium. The vitality Director, The Saint Louis Art Museum
of stained glass in Southern Germany and Switzerland
from the period is seen in the range of subject matter
treated—including knightly tournaments, the labors
of the seasons, narrative themes, romance, and mili-
tary conquest—and in the technical inventiveness of
the designers and glass painters.
Lee Hendrix, Curator of Drawings at the J. Paul
Getty Museum, and Barbara Butts, guest curator (for-
merly Curator of Prints, Drawings, and Photographs
at The Saint Louis Art Museum) organized this exhi-
bition with enthusiasm and insight. They brought
ix
